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SBDC @ SUNY Polytechnic Institute
The Mohawk Valley Small Business Development Center on the campus of the State University of New York Institute of Technology (SUNY Poly) serves Fulton, Herkimer, Madison, Lewis, and Oneida Counties. SBDC @ SUNY Poly provides free business advisement to anyone currently in business, or contemplating starting a business in New York State.
Request Services Online
Directions to SUNY Poly
Download Current Training Events (pdf)
Updated 1/10/2017
Mohawk Valley SBDC
Kunsela Hall, Room B206
SUNY Polytechnic Institute
100 Seymour Road
Utica, NY 13502
Phone: (315) 792-7547 • Fax: (315) 792-7554
e-mail: email@example.com


text: Mystique Braxton Cocoon Style: 570085940 Out of Stock Love it? Everyone else did too. This item sold out! Use our search tool, chat online or call 1.888.855.4986 to find something equally desirable. We love the look of a long breezy layer with extra flowy sleeves. Dramatic for day, gorgeous at night. Length: 33". 100% polyester. Machine wash. Imported. Read More… Share on Facebook Tweet Pin

subset: commoncrawl


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Find Your "Destiny's Child" Name with the "Bey Bey Name Generator"
From this point forward, I will not be "Laura." Just call me "Sapphire Birch."
I kind of like it, actually. Birch trees are one of my favorites, and the sapphire is my birthstone.
If you want to find your own Destiny's Child/Bey Bey/Jay-Z/Beyonce name, just click HERE and let me know what your name is, or what name the generator says your next child's name should be!


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Kmart is making getting an advance jump on holiday purchases a little easier this year.
While it might still be September, Toys "R" Us isn't wasting any time announcing what they clearly consider to be some newsworthy changes set to take effect this holiday season.
Kmart is offering a no-money-down layaway program to members of the Shop Your Way loyalty program for the holiday season, starting Sept. 4.
Toys "R" Us announced that it is extending its free layaway program through Dec. 16, due to significant positive response by consumers.
Kmart and Sears are gearing up for the holiday shopping season with the elimination of layaway service fees, a new layaway home delivery service and an enhanced in-store mobile experience.
Sears Holdings Corp. said Wednesday that its namesake and Kmart stores will offer ship-to-home delivery for items purchased through online layaway.
A survey of 2,339 shoppers by CouponCabin.com found that 34% are at least somewhat likely to purchase items on layaway this holiday season.
Toys "R" Us' holiday 2012 plans include a "hot toy" reservation program, free and expanded layaway services and offering more exclusive toys from branded manufacturers along with more proprietary products.
Sears Holdings Corp. said that both its Sears and Kmart banners would waive layaway fees for the holidays, allowing shoppers to open interest-free pay-over-time programs at both stores and online with no customary initial fees.
Toys "R" Us said that it will waive upfront service fees for its holiday layaway program, kicking off immediately and running through Oct. 31.
Wal-Mart Stores said it has lowered its holiday layaway fee from $15 to $5, saying that the move is in response to customer feedback.


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What is the total duration provided for Winter Sports cover on a Backpacker policy?
Provided you have paid the appropriate additional premium you will be covered for up to 93 days of wintersports activities. You may use these days in any order that you choose. Wintersports definitions and policy limits can be found on the Policy Wording.
<< Back to FAQs


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VPN Agent Service not responding?
Installed Cisco AnyConnect VPN on a Windows 7 Professional laptop. However, as soon as I start the application, I receive the error:
"The VPN Agent Service is not responding. Please restart this application after a minute."
No matter how many times I restart the application, or uninstall and reinstall, I still receive this error. I really need help to solve this problem! Any help will be greatly appreciated. Thank you.


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SBA to DNC: "NYC Isn't Safe"
Ed Mullins, president of the Sergeants Benevolent Association, talks about why the union doesn't support Mayor de Blasio's bid for Brooklyn to host the 2016 Democratic National Convention. In his open letter to the DNC chair, Mullins wrote that the city is "lurching backwards to the bad old days of high crime."
Does he really believe that convention-goers wouldn't be safe in 2016?
Yes, Mullins said on the show. "Unfortunately the mayor is trying to change the topic by making this about contract talks." The clashes between protestors and police in 2004 is what he's trying to avoid.
Are the other cities being considered actually safer? (both Philadelphia and Phoenix, as other large cities, had lower murder rates in 2012 according to FBI stats)
"What I am highlighting is that crime is beginning to slide and the shootings are the beginning of it… It's easy to sit and talk about what's there today. How do you know the city of Philadelphia is not going to have low crime stats in two years from now, or any of the other cities? We're talking about where we're at today and what we're seeing as a sliding effect based on this mayor's policies."
On Broken Windows policing:
"It's a smoke and mirrors game. It's 'enforce Broken Windows' until something goes wrong and then everyone talks about why we're not enforcing it. Why are we not prosecuting marijuana arrests in Brooklyn? Why is that happening? We're not supposed to make arrests now for loosies… If you don't want minor crimes on the books, then change the laws. You can't have it both ways."
On crime statistics, which show that while shootings are up other crimes (including crimes overall) are down:
"Why are the shootings up? Because there's more guns on the street," Mullins said. "I am not saying unequivocally that there is [a connection between changes to Stop and Frisk and the rise in shootings]. What I am saying is that the scale is beginning to slide and if the policies of this administration do not change then come 2016 what will this city look like?"
On Stop and Frisk:
Under the Ray Kelly administration, Stop and Frisk was "a numbers game", Mullins said, "and it was wrong and the community was somewhat of a victim to I'm sure many stops that probably occurred. And they have a valid argument for their expressions and their feelings. But the reverse of it now is policies that are in place to which the police officers don't really know where they stand. We're being second-guessed as to what takes place out there and what we're seeing is an increase in guns and an increase in shootings." Mullins said One Police Plaza needs to create "clear and concise" policies for what's expected of officers. "We have lost the presumption of innocence for police officers."
Was he referring to Al Sharpton as one of the "anti-safety agitators" and "anti-safety political opportunists" in his letter to the DNC?
"No doubt… What has Al Sharpton really accomplished for the City of New York?" Mullins said. "You always need people who represent the community," he added, citing community board leaders and clergy. "Are you telling me that Al Sharpton is a credible individual based on his history?... We're looking at an individual who has been nothing but divisive to law enforcement." Mullins added that if the mayor wanted to work on improving relations between communities and the police he should bring in other clergy.
Has he heard back from the DNC?
"No and I don't think they will reply... What many people seem to not realize is that New York is a Democrat state and their real value is not in New York." Columbus, he added, might be a good choice.


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WGN America's MANHATTAN Hits Over 2.2 Million Total Viewers with L+3
WGN America's critically acclaimed drama "Manhattan" increased its audience in Live + 3 viewing for last Sunday's premiere night, growing to more than 2.2 million Total Viewers (+24%), 796,000 Adults 25-54 (+31%) and 634,000 Adults 18-49 (+38%), for its three-play gross telecasts on WGN America and 14 of Tribune's local stations. The telecast aired in all of Tribune's 33 markets; however, the remaining 19 markets do not receive daily demographic data. WGN America, Tribune's (TRBAA:OTC) flagship entertainment network, covers 61.7% of U.S. households.
"We are very pleased with the critical reception as well as the audience turnout for 'Manhattan' and see it as a significant step forward in establishing WGN America as a destination for high-quality programming," said Matt Cherniss, president and general manager, WGN America and Tribune Studios.
The series debut of "Manhattan" on WGN America lifted to nearly 1.8 million Total Viewers (+26%), 605,000 Adults 25-54 (+35%) and 471,000 Adults 18-49 (+44%), during three combined airings on the network (9 p.m. ET / 6 p.m. PT, 10:10 p.m. ET / 7:10 p.m. PT, 12:00 a.m. ET / 9:00 p.m. PT).
The "Manhattan" premiere telecast on WGN America at 9 p.m. ET / 6 p.m. PT, grew to 1.1 million Total Viewers (+19%), 282,000 Adults 18-49 (+21%) and 379,000 Adults 25-54(+15%) in Live +3 DVR viewing over Live + Same Day. The performance of the 9 p.m. telecast represents a solid +253% increase over the network's season-to-date time period average among Total Viewers in Live + 3 viewing.


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A medically-prescribed weight loss pill sold as Belviq was approved June 2012.Top Rated Diet Pills of 2017
Lorcaserin is a new prescription weight loss drug manufactured by Arena Pharmaceuticals, Inc. In June 2012 it became the first weight loss drug to receive FDA approval since Alli in 1999. The drug name Lorcaserin will be sold to consumers as Belviq and will require a prescription from a doctor.
Belviq is indicated as an adjunct to a reduced-calorie diet and increased physical activity for adults with BMI > 30 or > 27 with at least 1 co-morbid condition (high blood pressure, diabetes, high cholesterol).
Lorcaserin is a new class of selective serotonin 2C receptor agonists. The serotonin 2C receptor is expressed in the areas of the brain that are involved in the control of appetite and metabolism. Stimulation of this receptor is strongly associated with reducing hunger and increasing satiety.
In a large-scale study, patients who took Lorcaserin lost five percent of their body weight in comparison to a placebo group. Lorcaserin patients also achieved greater improvements in total cholesterol, triglycerides, HDL cholesterol and insulin resistance compared to placebo across all subgroups. Greater improvements were also seen in fasting insulin, fasting glucose and blood pressure for Lorcaserin patients compared to placebo overall and in most subgroups.
In clinical trials of at least 1 year, 6888 patients participated where 3451 patients received Belviq and 3437 received placebo. Ages ranged from 18 to 66 years old and almost 80% of patients were women, 66.6% were caucasian, 19.2% African American, 11.8% Hispanic, 2.4% other races and 7.4% were type 2 diabetic. 426 patients took Belviq for two years.
Three trials were conducted, two without patients who had diabetes and one with patients with diabetes. All patients received one-on-one counseling about a reduced calorie diet and exercise at first dose of medication and every four weeks after. At one year, 47.1% of patients had lost greater than or equal to five percent of their body weight in the Belviq group and 22.4% of patients had lost greater than 10% of their body weight. While in the placebo group which is those who did not receive the study drug, 22.6 % had lost greater than or equal to 5% of their body weight and 8.7% had lost 10 or greater percent of their weight.
As part of the FDA approval, Belviq (Lorcaserin) will have to undergo six post-market studies to monitor the drug's effects on heart health.
Do You Know the Best Diet Pills of 2017?
- May help those who are obese or very overweight gain control over their health
- FDA-approved
- Prescription only
- Produces minimal side effects in comparison to other medically-prescribed weight loss drugs
- Does recommend following a healthy diet and regular fitness regimen
- Long-term health effects are still unknown even after FDA approval
- Does not address real issues of overeating
- Can be mistakenly used as a quick fix for weight loss
- Very modest weight loss in comparison to other prescription weight loss pills and diet and exercise alone
Dr. Sarah G. Khan, contributing pharmacist for DietsInReview.com
Belviq (lorcaserin) should NOT be taken in pregnancy.
Patients should discontinue if they do not lose 5% of the body weight in the first twelve weeks of use. Duration of therapy and whether it should be weeks or 1 to 2 years has not been determined.
Use caution with other drugs that effect serotonin levels such as antidepressants (Paxil, Zoloft, Cymbalta, Effexor etc.). There is a risk of Serotonin Syndrome, which is a rare condition that can lead to seizures. Symptoms of serotonin syndrome include increased heart rate, fluctuating blood pressure, lack of coordination, nausea, vomiting and diarrhea. If someone seems to have altered mental status they need to stop taking Belviq immediately.
Male patients may also experience priapism, which is an erection lasting longer than 6 hours. If patient experiences an erection longer than 4 hours they should discontinue Belviq and go to the emergency room.
Belviq increased prolactin levels which could lead to breast development in males or lactation in females. If you begin to experience these effects your prolactin levels should be monitored.
Belviq can also have an effect on white and red blood cell count. Bloodwork may be necessary.
If patients develop any valvular heart disease they should discontinue use. This was seen in another serotonin receptor medication that activated the 2B receptor, Belviq activates the 2C receptor.
Belviq may cause memory and attention problems so caution should be used when operating a vehicle or machinery.
When used along with diabetes medications, patients may experience low blood sugar. More frequent monitoring of blood sugar may be appropriate and patients should carry a small carbohydrate snack at all times to avoid this.
It is also not advised that patients take other weight loss products along with Belviq as we do not know how they will react together.
Safety has not been established in patients under 18 years old.
Lorcaserin patients will be advised to use the pill in conjunction with a healthy, reduced-calorie diet.
The dosage for Lorcaserin is 10 mg twice daily and can be administered with or without food. Make sure to store it in an area that is room temperature and can avoid heat and moisture (avoid medicine cabinets in the bathroom!).EXERCISE
It is recommended that for best results while taking Lorcaserin that patients adhere to a regular fitness regimen.CONCLUSION
One of a trio of prescription weight loss pills that has been undergoing FDA trials and review in 2010, Lorcaserin works to suppress appetite by increasing the amount of the feel-good hormone, serotonin, in the brain. While this medication has the least amount of side effects in comparison to other medically-prescribed pills, its weight loss results are not that stellar.Common Misspellings
lorcasrin, lorcserin, lorsacerin, lorsarin, lorserin, loriserin, belviq, belvick, belvicHow Does Lorcaserin Compare?
- Product Name
- User Rating
- Has Good Appetite Suppressant
- Has Only Natural Components
- Contains No Coffee
- Sletrokor
(Editor's Choice)
- 94/100
- Brilliant Garcinia
- 93/100
- Contrave
- 78/100
- Xenical
- 75/100
- SlimQuick
- 68/100
- Lorcaserin
- /100
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The Earth Before the End of the World
At a poetry reading and talk that Ed Roberson gave at Northwestern on November 14, 2007, he pointed out that he is a Black poet who writes nature poems. Roberson didn't say, though he certainly could have, that his view of nature breaks as well as critiques the historical conventions of nature poetry, which is the picturesque view that enables the poet to believe there is a sanctuary outside of human reality. In contrast to much nature poetry written in this vein, particularly as the subject was initially formulated in English Romantic poetry, Roberson's work does not view landscapes as sublime or transcendent, or as embodying proof of God's existence. He has consciously broken with a radical literary and artistic tradition that includes William Wordsworth, William Blake, and Vincent van Gogh, but that is now both dated and diluted.
While Roberson's statement at Northwestern might not initially seem sweeping or even unusual, it gains in resonance once you place it in the historical context of what happened in American poetry after 1960, when Grove Press published the groundbreaking anthology The New American Poetry 1945–1960, edited by Donald Allen. The only Black poet in Allen's anthology was LeRoi Jones. (In 1967, Jones changed his name to Imamu Ameer Baraka, and later to Amiri Baraka.) It is within the violent decade of 1960–1970, and what happened both in America and in American poetry, that Roberson's self-definition must first be seen.
As an undergraduate, Roberson won the grand prize in the Atlantic Monthly's poetry contest in 1962. In 1970, the University of Pittsburgh Press published his first book of poetry, When Thy King Is a Boy. This means that he entered the literary scene during the 1960s, when the Black Arts Movement, which Jones started in Harlem in 1965, after the assassination of Malcolm X, was ascendant. The Black Arts Movement and its institution, the Black Arts Repertory Theater, galvanized writers such as Ed Bullins, Nikki Giovanni, and Sonia Sanchez. According to Ishmael Reed—who, along with Jones and Lorenzo Thomas, was a member of the Umbra Poets Workshop (1962–1965), located on Manhattan's Lower East Side—the Black Arts Movement spawned multiculturalism and ethnic writing by Latinos and Asian Americans. More than 40 years after the publication of When Thy King Is a Boy, Roberson remains the only Black poet who can claim to be a nature poet without the slightest hint of irony. His position is at once isolated and, given our current state of affairs, increasingly central. To go one step further than Roberson, he is a Black poet who writes nature poems unlike anyone else's.
I don't want to suggest that Roberson is without champions. Joseph Donahue has written a long, marvelous essay, for the literary journal Callaloo, "Metaphysical Shivers Reading Ed Roberson," that explores the poet's relationship to gnosticism. Nathaniel Mackey has been a longtime supporter and has published many of Roberson's poems in his magazine, Hambone. In recent years, Roberson has been the recipient of the Lila Wallace Writers' Award, and the Poetry Society of America's Shelley Award. He may be "far outside that matrix of professional critics and reviewers where literary reputations are determined," as Ed Foster said in his 1996 review of Roberson's Voices Cast Out to Talk Us In, but he has not been neglected. Rather, what I want to press forward is the idea that the significance of Roberson's literary achievement has yet to be recognized by the mainstream literary establishment because it challenges accepted conventions regarding the task of both ethnic writers and nature poets.
Clearly, Roberson is an anomaly, but this isn't why his achievement hasn't been more widely celebrated. It is because his poetry pushes back against a long-held belief that was given further credence by the Black Arts Movement, and is now accepted as a commonplace. The Black Arts Movement advanced the view that a Black poet's primary task is to produce an emotional lyric testimony of a personal experience that can be regarded as representative of Black culture—the "I" speaking for the "we." This tautological view of poetry is based on the use of "I" as the activating center of a discursive poem, the witness who lays out the evidence. Not only do many share this viewpoint, but it has also gone a long way in influencing how poetry written by ethnic writers has been received and celebrated in different quarters of the literary world.
From the outset of his career, Roberson did not subscribe to the widely accepted model of the ethnic poet. Instead of writing lyric poems in which he developed a comprehensive worldview based on personal experiences that were meant to be representative of Black culture, Roberson began his career writing poems about nature ("kenai lake alaska" is the title of one poem included in When Thy King Is a Boy). This and other poems in When Thy King Is a Boy were informed by the poet's experience in working as an undergraduate assistant in limnology, the study of inland bodies of fresh water, and in gathering and studying data in places as remote as Kodiak and Afognak Island, off the coast of Alaska.
. . . the one lake on the whole
peninsula that does not freeze
is this one.
Later, in "kenai lake alaska," Roberson writes what Nathaniel Mackey characterizes as "labyrinthine, syntactically double-jointed lines . . . " that open words up to multiple and even conflicting meanings:
ships went down
during the goldrush when the water was highway
to what men dregged out of the earth
Roberson's "dregged" evokes both "dragged" and "dredged," and also helps convey the violent relationship humans have to the earth when it comes to mining.
"News," another poem in When Thy King Is a Boy, opens with these lines:
the news is covered
today brought to you
by the same coverage
as smothered yesterday
In addition to his experience in remote parts of Alaska, Roberson was a member of the Explorers Club of Pittsburgh, went on two expeditions to the Peruvian and Ecuadorian Andes, and explored the upper Amazon jungle. These and other experiences are the sources for many of the poems. Other sources I would mention include his motorcycling across the United States, travel in Caribbean, Mexico, Nigeria, and West Africa, sexual desire, growing older, his health, and life in Chicago. And yet for all the biography that gets into these poems, they are remarkably free of anecdote. They are informed by perception, memory, and study (forms of gathering data) rather than story (the retelling of an event). Whether camping in the Andes or walking down a street in Chicago, the poet's multipronged destabilizing of language mirrors the unpredictable, constantly threatened, provisional world he has inhabited.
Along with pushing back against long-held conventions about the subject matter that is appropriate to ethnic writing, Roberson's poetry challenges many received assumptions about our relationship to nature, particularly as invented by the English Romantic poets. It is this legacy and its widely accepted notions that lead the poet to state: "I'm not creating a new language. I'm just trying to un-White-Out the one we've got." Roberson uses a double negative, a common feature of Black vernacular English, to characterize his intention of uncovering what European (or White) culture's definitions of nature have covered over (or "smothered"), as well as the cover-ups that have routinely taken place since the early 19th century, particularly in regard to the relationship between America's understanding of nature as a bottomless cornucopia that can be exploited, and the history and ongoing bequest of the "Triangle Trade."
As a boy there were no black boy
Rather than filling the poet with intimations of immortality, nature enables him to gain a perspective on his mortality and the abyss into which he (like all of us) is falling:
We look upon the world
to see ourselves in the brief moment that we are of the earth
a small fern in a crevice of the cliff face
Here, Roberson consciously confronts the English Romantic tradition, which believed that there was a supernatural or spirit world that existed beyond the physical one. He doesn't see nature as a separate entity in which he exists before going elsewhere, but scrutinizes it "in order to see [himself] in the brief moment that [he is] of the earth."
Whereas William Wordsworth advanced that poetry is "the spontaneous overflow of powerful feelings" in response to an insight about the relationship between physical experience and traces of the supernatural, and William Blake famously witnessed "a world in a grain of sand," Roberson recognizes that he is a vulnerable thing existing on the cusp of mortality and that, like a grain of sand, he is floating in infinity. Rejecting a pantheistic view of nature, he regards himself as a scientific materialist who wants to observe what it means to be a bounded being orbiting in an unbounded reality. In poems such as "As at the Far Edge of Circling," he expands upon a theme touched on by Hart Crane in his poem "Cape Hatteras." Addressed to Walt Whitman, Crane's poem meditates on our ability to recognize infinity while living in a modern industrial world, which alienates us from nature and thus reality.
Walt, tell me, Walt Whitman, if infinity
Be still the same as when you walked the beach
Near Paumanok—your lone patrol—and heard the wraith
Through surf, its bird note there a long time falling . . .
"As at the Far Edge of Circling" opens with these lines:
As at the far edge of circling the country,
facing suddenly the other ocean,
the boundless edge of what I had wanted
to know, I stepped
into my answer's shadow ocean,
For Roberson, the finite and the infinite are never so distinct and separate that he is able to forget that they are connected:
I entered as a man enters
a labyrinth, seeing
from hairline fracture to abyss
the magnified whisper
of memory not finish its sentence
Roberson believes that nature (earth) is part of an immeasurable continuum, which human beings cannot exist outside of. The closest he comes to articulating his vision of our relationship to the earth is when he writes about being in a plane in his poem "Topoi":
Gaia's gravity-swayed steps take on orbit,
we in the tropic of balance, in a basket
on her head, a blue wrap of sky, sun
ripens the thin rind of the plane to home.
The poem ends:
Sunk in time,
the footprint of life is death, the grave
there is no step out of, the compost earth.
The earth is the footprint of life.
There is no portal or sanctuary that enables the individual to transcend his physical existence, thus leaving nature behind. We become part of "the compost earth." Knowing that there is no vantage point to be gained, and that all of his experiences will be partial and contingent, the poet recognizes that "the world / is mortality, the earth goes beyond us." The world will one day cease to exist, but the earth will continue to exist "beyond us." In Roberson's view, reality (nature) is "a labyrinth." Even though there is neither an escape from the labyrinth (or reality) nor a center to it, the fact that we are caught in it requires all of our attention.
While Roberson's assault on poetic tradition may not be as overt as the ones mounted by the Language poets, particularly Charles Bernstein, Ron Silliman, and Leslie Scalapino, it certainly is as subversive and demanding. Although he has never socially aligned himself with an avant-garde tradition, such as the Black Arts Movement, Language poetry, Flarf, or, more recently, Conceptual poetry, he has become, in my mind, a central figure for at least four reasons:
- He offers an alternative to ethnic writing that is conceptual, innovative, and quietly defiant.
- His view of nature is testing but indispensable.
- He has un-Whited-Out the poetry we got.
- His use of language exposes the inherent prejudices and cover-ups that have become embedded in it over time.
Based on scientific observation, data, the study of history, and firsthand experiences, Roberson believes that nature (earth) and society (world) overlap and are inseparable, and that the relationship between them must be balanced. In To See the Earth before the End of the World, the poet's most recent book—his most jarringly visionary and bracingly apocalyptic—the first, title poem opens with these lines:
People are grabbing at the chance to see
the earth before the end of the world,
the world's death piece by piece each longer than we
As a passionate observer and dispassionate collector of data, Roberson wants to know what it means to live in a world where there is a business that provides well-heeled consumers with a rare view:
people chasing glaciers
in retreat up their valleys
Nature is a spectacle to exploit for financial gain, and the melting glacier is being billed as a performer whose once-in-a-lifetime act is a not-to-be-missed event for people who can afford to witness it. Based on an article that Roberson read in the New York Times, in which he learned about what is happening to a glacier he used to see daily when he was living in Alaska, the poem repeatedly finds ways to focus attention on a very troubling question: where and what have the pursuit of happiness (one of the three inalienable rights asserted by the Declaration of Independence) led us to? (Behind this implicit question is Roberson's understanding of the role that slavery played in both America and Europe's thinking.)
The poet wonders if we can ever break out of the habits and accepted ways of living that we have acquired through time. Can we reinvent ourselves before it is literally too late?
All that once chased us and we
chased to a balance chasing back, tooth for spear,
knife for claw,
locks us in this grip
we just now see
our own lives taken by
taking them out. Hunting the bear,
we hunt the glacier with the changes come
of that choice.
Earlier in our history we were able to negotiate a series of precarious imbalances between the natural world and ourselves, but now the imbalances have tilted past the point of no return, with disastrous consequences that we seem unable to collectively face.
now— it's days, and a few feet further away,
a subtle collapse of time between large
and our small human extinction.
The state of consciousness we must aspire to is one in which we see clearly what is in front of us as well as recognize our own mortality, which is always present and waiting. Collectively and individually, our existence is neither guaranteed nor absolute but conditional and interdependent, something we seem unable to recognize ("[a] communal instrument / with one note per player, / per person, per jar,"). The unknowable and mysterious parts of nature that we experience are not what the American naturalist John Muir called moments of "beauty-loving tenderness!" Roberson regards such humanist projections as a fictive state that exists outside of the physical universe. Rather, our life is punctuated by moments of disquieting awe that might make us all the more conscious of our brief time as mindful beings: "[t]he sight, a sci-fi alien view." Like "a small fern" determinedly growing in the inhospitable "rock face," human beings are both vulnerable and tenacious, always at the mercy of nature and time. No matter how substantial humans might believe they are, everyone in the end is materially insubstantial and, in that regard, inconsequential in the face of time: "Like wind, we have no / haloed shadow dappling the ground."
Throughout his poems, Roberson persists in trying to see for himself, to sort through and assess all the available data, no matter where it leads him. The results can be dire, melancholy, harsh, erotic, tender, and sometimes comic. While he brings his study of science, and of observing and collecting information, sharply to bear in his work, it doesn't mean that he is a literalist. A visionary power seems to heighten all of his experiences, as in the poem "Flight Record":
Some cities look like embers of a fire
when you fly in. Against the faint points
of the glowing ash, what might have been
the scale of flames you don't want to think about.
The leaps the poet makes in this stanza are scientifically objective as well as prophetic and apocalyptic. Every line in the stanza builds from an initial, not particularly far-fetched poetic insight that cities, seen from the air at night, resemble the embers of a dying fire. And yet the perception comes across as heightened and hallucinatory, a warning "you don't want to think about." Paradoxical though it may be, it seems to me that in undoing Blake, Roberson became his truest heir.
Roberson's materialist vision of being "of the earth," of being a thing among things, marks a significant break with a time-honored poetic tradition that centers on the "I," as well as with the postmodern belief in the death of the self (or author), which privileges the social milieu over all else. While much of the poet's work is rooted in personal experience—from camping in the Andes to walking the streets of Chicago—his aim is not to achieve a coherent subjectivity in which a transparent "I" discursively relays a moment or event in which a personal and cultural experience become interchangeable. In the place of revelation and transcendence, he offers this view of time:
But we are on this company line, we are on
our payroll of our clock.
We make lots of money known as
times to spend.
We are responsible for how we "spend" our time. The lines are choreographed to register the hesitations of thought and the twists, turns, and eruptions of insight and realization. Here again, the poet questions where the inalienable right to pursue happiness has led us. The poetic self in Roberson's recent poems is as much a third person "he" on the way to becoming an "it," as it is an "I." For what the poet recognizes is that all of us live in infinite time, which is merciless, inhuman, and democratic in its unavoidable transformation of all that it contains. Getting off a plane, he writes:
I accept the change
from thin air, empty handed for all I've seen,
from air to the walk away again in all my flesh,
accept what I have to leave
of flight for feet.
In addition to accepting the consequences of infinite time ("the grave / there is no step out of, the compost earth," the poet recognizes two other cycles of time, the historical and the individual, and how they and our various conceptualizations of them affect each other in myriad ways. Amid the realization that he is constantly moving closer to becoming part of the "compost earth," Roberson writes poems that move in unexpected directions, shift gears suddenly, and detail the perceptions, memories, thoughts, associations, and questions he has about nature, of which he is an infinitesimal part who is able to have the following experience:
And once, coming in late down the Hudson
into Newark, I could look up Forty Second
the whole way across Manhattan like peeking
through a crack into more light than light
across the universe, by the convergences
a worm hole off to the side on night's horizon
Each perception can suddenly and unexpectedly lead to a physical awareness of infinity, that which contains us all and cannot be fully experienced. Can we, in our boundedness, respect and honor the unbounded?
Ed Roberson's poems detail the gamut, from the intimate and social to views of deep time and glimpses of infinity, and braid together all of these perceptual experiences. Within a single poem, he can embrace the "cicadas' sound" and "cataclysmic novas" ("Planetarium") without losing his bearings. I cannot think of another poet who covers as much physical space, as many different kinds of landscapes, and as many conceptions of time. He can shift between the exterior physical world and the interior domain of the imagination as fluidly as rain running down a roof. Among his many sources, I can point to the poet's firsthand, in-depth experience of the world's one-sided exploitation of nature; to his learning about how little humans see of the world they move through ("As if we are always asleep, / the jaguar's tracks are there in the morning,"); to commonplaces of urban life; to his understanding of colonialism's promotion of the use of nature; to his articulation of domestic space and relationships; to detailing his progress towards mortality. Roberson recognizes the deep roots of slavery, "un-Whiting-Out" that the destructive development of nature and colonialism, particularly in its manifestation, expansion, and growth of the slave trade, springs from the belief, often religious in origin, that there is an elected "we" that exists outside of nature and is superior to it.
Both fertile and poisoned, this is the ground from which Roberson's poetry emerges and from which it grows. The poems in To See the Earth before the End of the World are grouped under five headings: "Topoi," "The World, Then," "Chromatic Sequences": "Playground and Parks Department Music," and "Of the Earth." They zero in on places and events the poet has experienced, where earth and world overlap and collide.
Throughout the book, the poet ponders time passing in terms of deep time, historical time, and the individual's consciousness of mortality, and considers how they are all connected. The poems are motivated by his belief that "[c]losely observed realities" are the most reliable measure by which one sees oneself "in the brief moment / that we are / of the earth." Such motivation can lead to an unexpected perception of the differences between races, which the poet (or his alter ego) expresses in the poem "1948: Art and Third Grade":
Earliest of those purely observed what
I felt only myself see by the third grade
was meat in the butcher shop pig's feet
the skins looked like my seat partner's hand
and I felt this sadness for her she was ugly and
she wasn't supposed to be being white
it was my secret that I could see it
as meat and supposed to be s'pose to be really looked at
Roberson stops at the perception. His refusal to build on it or develop a generalization is one of the hallmarks of his poetry. He doesn't try to get outside of the perception and possess it, as if it is something that could be used to market a larger view of history.
One subject Roberson returns to is the transition from flying in a plane to walking ("accept what I have to leave / of flight for feet"). At the same time, he can be precise in his awareness of being lost and circumscribed ("We can't see over the curve, / so horizons / front for the whole beyond, / lessening limit"). Perceptions collide and blur into another ("the glass facets kaleidoscope a rose / window back / of themselves full of the flash petals of grace,"), reminding us that daily life is a matter of constantly focusing, refocusing, sorting, and making choices.
As Roberson moves from word to word, and from line to line, he is always open to turns of perception and thought, replete with interruptions, shifts, hesitations, stutterings, and unstoppable bursts, all of which he scores on the page. He doesn't deliver his findings so much as enable his thinking and seeing to become ours. A speck adrift in the wake of the cataclysm that gave birth to this universe, he details the signposts he encounters in the labyrinth we call reality. Scientific objectivity and visionary exhilaration are indivisible. Roberson's poems challenge readers to reorient their relationship to nature, to reinvent themselves and the way they see reality and each other. Rooted in ethics and philosophy as well as a love for scientific data and precise observation, Roberson's poetic innovations are of the deepest kind.
Poet, art critic, and curator John Yau has published over 50 books of poetry, fiction, and art criticism. Born in Lynn, Massachusetts in 1950 to Chinese emigrants, Yau attended Bard College and earned an MFA from Brooklyn College in 1978. His first book of poetry, Crossing Canal Street, was published...
The Earth Before the End of the World
Poet, art critic, and curator John Yau has published over 50 books of poetry, fiction, and art criticism. Born in Lynn, Massachusetts in 1950 to Chinese emigrants, Yau attended Bard College and earned an MFA from Brooklyn College in 1978. His first book of poetry, Crossing Canal Street, was published...
Other Information
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Released: 1986
Genres: Rock
Listen to Music With Your Friends! Share this now!
Metallica is an American heavy metal band formed in Los Angeles, California. Metallica was formed in 1981 when vocalist/guitarist James Hetfield responded to an advertisement posted by drummer Lars Ulrich in a local newspaper. The band's current line-up comprises founding members Hetfield and Ulrich, longtime lead guitarist Kirk Hammett and bassist Robert Trujillo. Guitarist Dave Mustaine and bassists Ron McGovney, Cliff Burton and Jason Newsted are former members of the band.
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Happy St. Patricks day everyone!
Today I am sharing some of my favorites from the latest linky party! It's hard to pick just a few when everyone has such great ideas!
Most viewed item so far are these awesome signs from Full circle creations.
One of my favorites is this ombre painted dresser from Bless{ed} nest.
I feel in love with this mercury glass lamp that Angie from Beneath the Magnolia whipped up!
Kelly from Here comes the sun made this adorable pallet art table for her kids!
Thanks everyone for linking up! Don't forget to grab your Featured button if I featured you today.
Hope you all have a FUN weekend and don't forget to wear something GREEN today!


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Expats Paris Dinner!
Saturday, April 13, 2013 from 7:00 PM to 10:00 PM (PDT)
Who's Going
San Francisco, California
London, United Kingdom
Florence, Italy
Event Details
Located in the heart of Paris, Place Beauvau (ministry of internal affairs) and the Palais de l'Elysee (presidential offices); in a venue of more than 350 sqm, divided into two floors, the l'Elysée Lounge invites you to discover a magical, original venue, cuisine and service.
On this Expats Paris dinner night, the Elysée Lounge restaurant is planning to offer an elegant and refined French cuisine that is a mixture of talent and inventiveness.
An idea of what you will eat:
Entrées: Tatin de tomate Kumato, chèvre rôti, sorbet romarin, Véritables escargots de Bourgogne, Foie gras maison, Nêms: pâtés impériaux poulet / crevette / porc (Chả Giò), Salade Bio Élysée, etc
Salades : Cobb Salad (Poulet, oignon rouge, bacon, roquefort, oeuf dur, avocat, salade romaine), César Palace, etc
Main course: Blanquette de veau aux morilles, riz, Escalope de maigre-bar rôti, crémet de légumes de saison, Souris d'agneau braisé, crème d'oignons, Magret de canard snaké à l'orange sanguine, etc
Cheese: L'assiette de fromages affinés, Fromage blanc coulis de fruits noirs, etc.
Desserts : Trilogie de crèmes brûlées (Pistache, réglisse, vanille bourbon), Financier à la myrtille sauvage, nuage de crème fouettée, Corne de fruits frais au caramel beurre salé, Ultra moelleux au chocolat manjari 1er cru, macaron framboise, etc.
Budget: between 25 and 35 €.
We'll take the last drink downstairs in the nightclub (FREE ENTRACE FOR DINNER MEMBERS)
Book your place for 7 Euros (Free Access with a FREE GLASS OF WINE)
The venue's Japanese garden
Found in the heart of Paris, l'Elysée Lounge has a terrace that leads to a beautiful Japanese garden where you will breathe fresh air. We have chosen this venue for its terrace that's heated throughout the winter period giving one a home-feeling.
Subscribe now and be sure to be there because places are limited.
Remember that our events are just an excuse to meet and make new friends. Bring your friends and colleagues if you can.
When & Where
Elysée Lounge
3 Rue des Saussaies
Address Line 2
75008 Paris
Saturday, April 13, 2013 from 7:00 PM to 10:00 PM (PDT)
Add to my calendar
As the leading community for internationals who live and work in Paris, Expats Paris offers global networking opportunities, local events and expat-relevant information. We organize activities to help you meet fellow internationals and feel at home in your adopted city.


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High School-Organized TED Talks Inject Inspiration Into Traditional Curriculum [Video]
Silicon Valley high school students offer a new take on learning.
Students from Gunn High School in Palo Alto, California have started a club to organize their own series of TEDx talks, inspiring other students to think beyond themselves and beyond traditional coursework.
The group started when Librarian Meg Omainsky saw how interested students were in the TEDx presentations when she streamed them in the library at lunch times. Students then picked up on the idea of creating their own TEDx club which now raises money, recruits speakers, and promotes these events all on its own. The members focus on risk taking and how not to fear failure. Co-director Maya Ram explains, '"Failure isn't something that's encouraged in our curriculum. TED is about stories of people going for it, regardless of failure. That spirit would benefit our schools."
The aspirational students have since succeeded in actually presenting at TEDx events featuring over 1,000 attendees, the next is on January 17th 2014 taking place at their very own high school where it all began.
Watch one of their talks in the video below:


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drywall onto uneven walls?
My home is from the 1950's, it's a "panel" home I guess... It seems to have been assembled from offsite built 5-foot or so wide sections of 2x3 studs. It has like a 1/8" or 1/4" plywood nailed AND glued to the studs on the interior AND exterior.
I've been stripping the interior/exterior plywood and the glue makes it a nightmare. You never can get it off 100%. You are left with some studs bare, some with small strips of glued wood.
I'm worried that this, combined with just general lousy tolerances of the "panels" will make for trouble with new drywall.
But... there was drywall on there to begin with, so it must be possible? What kinds of offsets in the studs can you get away with before it (or I) starts to crack?
the problem will show when trying to screw in the screws... if the backing is hollow... the screw will crack the drywall... it will affect only the area of the screw... but that means the screw becomes a phantom screw and offer no support for the drywall.. and you need to find another support spot nearby... this type of issues will waste you time at installing/mudding phase... so the best is to scrap out every uneven part up front to save the headach later on...
I had a similar problem with one small section of a wall where the screws kept popping through as the studs were uneven. I opted to use a plaster repair hardware kit for the 2 sheets of drywall. It's basically a 1 inch washer that is used in conjunction with the drywall screw and distibutes the pressure over a larger area so the screw doesn't pop through. I'm not sure if this is "the right way" to do it, but it's been 2 years and no issues, and it's on an outside wall.
The stud itself, vertically, is pretty much all in the same plane
the problem is the studs may sit a bit in/out as far as the horizontal spacing between the studs. We're talking, I dunno, 1/4" between a 16" span?
If you have the time and inclination, I'd considering "sistering" your studs with new, straight 2x4s. In other words, you'd be nailing a new stud |||| right to the old one, and by doing this, you'd be able to make sure that all of the new stud faces would be in the same plane. Then you'd have no problems hanging your new 'rock.
You might end up losing somewhere <1" in room size just by the nature of this "evening" process.
Hope this helps!
like everything... build from scatch sometimes has less headache than fixing....
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clickykbd's Floor Standing Bike Pump (Presta Only)
Description: Come by and use it if you need some air. :-) Alternatively wander around the corner to "The Peddler" bike shop (if it is during shop hours).
clickykbd's Personal Story: It's a classic SKS Rennkompressor. Bombproof and style points.
Have a question about this item? Contact the owner.
Join NeighborGoods or login to your account to borrow this item.
Condition: Like New
Original Price: $90
Location: Austin, TX


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Stripe Beach Towel Set of 2 - Pink
I mentioned that these striped beach towels from Target come in various colors, but I had to include the pink specifically. I know you ladies love your pink, so if you're not willing to prance around in a hot pink bikini, wear black or brown and carry one of these bright, girly towels.
Pink Wall Art.. perfect for renters, since u usually can't paint. Under $11
It's actually pretty hard finding cute umbrellas that aren't super expensive. Being in Florida, I kinda need one all the time. Way cute.
I like this one because it is simple and is a fabulous, bright color! I can easily dress this up with heels and a necklace, top with my hat and be on my way!


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SailNet Community (http://www.sailnet.com/forums/)
- General Discussion (sailing related) (http://www.sailnet.com/forums/general-discussion-sailing-related/)
- - My First Boat...Boat Term Question... (http://www.sailnet.com/forums/general-discussion-sailing-related/28465-my-first-boat-boat-term-question.html)
My First Boat...Boat Term Question...
Hello all,
Well, it's time I buy my first boat now, after sailing for almost 6 months I'm ready to do it. I know what I'm looking to do with the boat ( cruising around the islands and long distance blue water cruising), I know I want a big sturdy and heavy keel on it.
However, I don't yet feel like I have a thorough education on some of the "boat costruction terms" and how they effect the boat in detail ie: displacement, draft, masthead vs fractional. I know what a Ketch is but I'm not sure what a Cutter is.
Also, I'd like to learn more thoroughly about the different types of keel shapes.
Can you guys help me out? And maybe give me a brief description of how each part of a boat affects the boat's handling? And perhaps point me to a good reference online on the details of a boat's construction.
K - You should spring for a copy of Nigel Calder's The Cruising Handbook. Half the book is devoted to the boat and it's systems. Very good reference guide.
While individual things affect a boat, it is how they are put together as a whole that is most important. Here's a link to a listing of "suitable" offshore boats http://www.mahina.com/cruise.html with a lengthy commentary on boat selection.
And to answer your one specific question, a cutter is a double headsail sloop.
Kac... Well congrats on making the big decision. First thing I would suggest is to search on bluewater boats here and read the already existing threads as a lot of what you ask has been discussed quite thoroughly. After that you may have more pointed questions to ask.
Here's a list of one guys take on what are "bluewater" boats worth considering which can give you some models to look at on Yachtworld.com so you can see what is appealing to you.
It is not comprehensive...and leaves out Tayana entirely (which I of course disagree with since the 37 is a classic world cruiser) but it is a starting point.
How big a boat are you considering and what is your maximum price range? Will you be single-handing or having crew? Are you looking for new, slightly used or very used? Here's a couple of very brief answers to some of your basic questions:
Masthead rig means the jib/jenny is rigged to the top of the mast vs. a fractional rig where it is rigged lower and has less sail area. Typically mainsails are bigger on fractional rigs and the mast is a bit more forward than on a masthead rig where the jib is both more powerful and harder to handle do to size.
Displacement is a measure of the weight of the water the boat displaces and tells you relatively little about the performance as a 20000 lb displacement can come from anywhere on the boat...from the masthead to the keel...but that is still how much weight the wind will have to move. Many blue-water sailors prefer heavily built high displacement boats but new materials and production techniques have some opting for lighter, more easily driven boats that are nonetheless seaworthy.
A cutter is a boat with two headsails..see my picture above of a cutter rigged ketch!
Keels go from full to cutaway forefoot to fin, to bulb to wing to centerboard. Full or cutaway forefoot keels tend to be found on heavy displacement traditional boats. They track straight and have little leeway and offer protection to the rudder and prop. They tend to be pigs for docking manoeverability and backing up. Fin keels are found on the majority of boats today as they are quicker and more manoeverable and still can provide lots of ballast to keep the boat stiff and upright. Sometimes the fins have wings on them to allow a more shallow draft and still keep the weight low but wing keels tend to get stuck harder around when you do find shallow water as we all do! Bulb keels put all the weight down deep but are generally more suceptible to damage and typically found on racer/cruisers.
Combined with these keels are either spade rudders which are fast and help manoueverability as they are a "blade on a post" but they are more prone to damage since they hang freely. Skeg hung rudders are less quick but are supported in multiple places by the hanging skeg part of the hull which also protects them.
Contruction of hulls in "fiberglass" is a huge subject since both quality of construction methods and advanced construction materials exist today. So...I will just say for now that the biggest differences people focus on are the use of "chopped spray on fiberglass" vs. hand laid up glass mat, and cored hulls (which are esstentially a sandwich of balsa or foam between two fiberglass skins). Cored hulls MAY be light, fast and strong AND may be used just above the waterline or on the entire hull. You can see the debates on this on other threads...but the big risk of cored is water intrusion between the layers and delamination as a result.
OK...go read and come back with more questions! <g>
On your list there appears an oversight as Catalina is not listed either. Must be on the same list as the Tayana. (smile)
Nauticats made the bluewater cruiser list on Cam's link . . .:)
Hello there,
Thank you for your answers! Especially Cam for your extensive answer. You're always answering my posts :)
I am going off to read all you suggested now.
I guess a fin keel boat is what I will be looking for. I have heard that bulb keels are prone to damage as the bolts that attacth the bulb to the keel take a lot of stress.
My price range?
I am looking to spend between $15,000 to $27,000 on a used boat.
I have found a boat the other day that I fell in love with, but I don't know what you'll think of it.
It is a 1969 Discovery 32' cruiser. Tell me what you think.
This is right in my price range and the size I'm looking for.(28 to 35 feet) The interior is also very well thought out and designed very well.
This boat isn't on that list that you gave me, I think because it is more or less a rare boat and there ain't much of them around.
Oh yeah, I love the green hull paint job too :) But I am still waiting on a reply with more detailed specs from the owner. Apparantly he's sailed it across the Pacific several times.
How many people am I looking for the boat to hold? I think it will be myself and 1 or 2 other crew members. I might single hand it for shorter trips for now :)
Kacper...I know nothing about this boat but she LOOKS seaworthy and well kept. If you proceed further with her, a couple of things would concern me.
1. The boat is built with a cored hull. I would not buy a cored hull but fine boats like Shannon use them so that is my personal predjudice. The main thing you need to worry about is that the hull is currently in good shape all over the hull with no delamination. Find a surveyor that YOU can trust if you make an offer and have it accepted.
2. Why is this boat priced so low? A couple of others are up near $30K and "yours" has a virtually new $10k+ engine in it. It may be a genuine deal but you rarely get a boat for 1/3 off the market price without something being wrong. Survey, Survey, Survey!
Anyway...other than that, I like her and think she looks ideal for your purposes and budget...hope #1 & 2 above are not issues!!
I would highly recommend Dave Gerr's book, The Nature of Boats. Great primer on design, construction, materials, etc.
These are drafts that I had written for another venue but they may help a bit:
Rigs: All
The next topic in our ongoing discussion on selecting the ideal boat is rigs. Like most of the topics to date, there is no single universally 'right answer' when it comes to the topic of rigs. Boats are designed as systems and the each of the various rig types have their purpose and are best suited to particular hull types, and applications. The quality of the design is also important as a poorly designed rig of any type can make for a miserable sailing vessel that is hard on the crew and the boat alike.
Cutter and Sloop rig
These are the most common rigs being produced today. In current usage these terms are applied quite loosely as compared to their more traditional definitions. Traditionally the sloop rig was a rig with a single mast located forward of 50% of the length of the sailplan. In this traditional definition a sloop could have multiple jibs. Cutters had a rig with a single mast located 50% of the length of the sailplan or further aft, multiple headsails and in older definitions, a reefing bowsprit (a bowsprit that could be withdrawn in heavy going). Somewhere in the 1950's or 1960's there was a shift in these definitions such that a sloop only flew one headsail and a cutter had multiple headsails and mast position became irrelevant. For the sake of this discussion I assume we are discussing the modern definition of a sloop and a cutter.
Historically, when sail handling hardware was primitive and sails were far more stretchy than they are today, the smaller headsails and mainsail of a traditional cutter were easier to handle and with less sail stretch, allowed earlier cutters to be more weatherly (sail closer to the wind) than the sloops of the day. With the invention of lower stretch sailcloth and geared winches, cutters quickly lost their earlier advantage.
Today sloops are generally closer winded and easier to handle. Their smaller jibs and larger mainsail sailplan are easier to power up and down. Without a jibstay to drag the Genoa across, sloops are generally easier to tack. With less hardware sloops are less expensive to build.
Sloops come in a couple varieties, masthead and fractional. In a masthead rig the forestay and jib originates at the masthead. In a fractional rig, the forestay originated some fraction of the mast height down from the masthead. Historically, sloops were traditionally fractionally rigged. Fractional rigs tend to give the most drive per square foot of sail area. Their smaller jibs are easier to tack and they reef down to a snug masthead rig. Today they are often proportioned so that they do not need overlapping headsails, making them even easier to sail. One of the major advantages of a fractional rigs is the ability when combined with a flexible mast, is the ability to use the backstay to control mast bend. Increasing backstay tension does a lot of things on a fractional rig: it tensions the forestay flattening the jib, and induces mast bend, which flattens the mainsail and opens the leech of the sail. This allows quick depowering as the wind increases and allows a fractional rig to sail in a wider wind speed range than masthead rig without reefing, although arguably requiring a bit more sail trimming skills.
While fractional rigs used to require running backstays, better materials and design approaches have pretty much eliminated the need for running backstays. That said, fractional rigs intended for offshore use, will often have running backstays that are only rigged in heavy weather once the mainsail has been reefed. The geometry of these running backstays typically allows the boat to be tacked without tacking the running backstays.
Masthead rigs came into popularity in the 1950's primarily in response to racing rating rules that under-penalized jibs and spinnakers and so promoted bigger headsails. Masthead sloops tend to be simpler rigs to build and adjust. They tend to be more dependent on large headsails and so are harder to tack and also require a larger headsail inventory if performance is important. Mast bend is harder to control and so bigger masthead rigs will often have a babystay that can be tensioned to induce mast bend in the same way as a fractional rig does. Dragging a Genoa over the babystay makes tacking a bit more difficult and slower. While roller furling allows a wider wind range for a given Genoa, there is a real limit (typically cited 10% to 15%) to how much a Genoa can be roller furled and still maintain a safely flat shape.
Cutters, which had pretty much dropped out of popularity during a period from the end of WWII until the early 1970's, came back into popularity with a vengeance in the early 1970's as an offshore cruising rig. In theory, the presence of multiple jibs allows the forestaysail to be dropped or completely furled, and when combined with a reefed mainsail, and the full staysail, results in a very compact heavy weather rig (similar to the proportions of a fractional rigged sloop with a reef in the mainsail). As a result the cutter rig is often cited as the ideal offshore rig. While that is the theory, it rarely works out that the staysail is properly proportioned, (either too small for normal sailing needs and for the lower end of the high wind range (say 20-30 knots) or too large for higher windspeeds) and of a sail cloth that makes sense as a heavy weather sail or which is too heavy for day to day sailing in more moderate conditions. Also when these sails are proportioned small enough to be used as heavy weather sails, these rigs will often develop a lot of weather helm when being sailed in winds that are too slow to use a double reefed mainsail. Like fractional rigs, cutter rigs intended for offshore use, will often have running backstays that are only rigged in heavy weather once the mainsail has been reefed. Unlike the fractional rig, the geometry of these running backstays typically requires that the running backstays be tacked whenever the boat is tacked.
Cutters make a less successful rig for coastal sailing. Generally cutters tend to have snug rigs that depend on larger Genoas for light air performance. Tacking these large Genoas through the narrow slot between the jibstay and forestay is a much harder operation than tacking a sloop. As a result many of today's cutters have a removable jibstay that can be rigged in heavier winds. This somewhat reduces the advantage of a cutter rig (i.e. having a permanently rigged and ready to fly small, heavy weather jib).
Cutters these days generally do not point as close to the wind as similar sized sloops. Because of the need to keep the slots of both headsails open enough to permit good airflow, the headsails on a cutter cannot be sheeted as tightly as the jib on a sloop without choking off the airflow in the slot. Since cutters are generally associated with the less efficient underbodies that are typical of offshore boats this is less of a problem that it might sound. Cutters also give away some performance on deep broad reaches and when heading downwind because the Genoa acts in the bad air of the staysail.
Yawls and Ketches:
As I said at the start of this discussion, boats are systems and when it comes to one size fits all answers, there is no single right answer when it comes to yawls and ketches either. A Yawl is a rig with two masts and the after mast (the mast that is further aft or further back in the boat) is aft of the rudder. A ketch is a rig with two masts, the after mast is forward of the rudder. Either rig can have either a single jib or multiple jibs. When a Yawl or a Ketch has multiple jibs it is referred to a Yawl or a Ketch with multiple headsails. It is considered lubberly to refer to that rig as a 'cutter ketch' or 'cutter Yawl'.
I lump yawls and ketches together here because the share many similar characteristics. Ketches, in one form or another, have been around for a very long time. In the days before winches, light weight- low stretch sail cloth, high strength- low stretch line, and low friction blocks, breaking a rig into a lot of smaller sails made sense. It made it easier to manhandle the sails and make adjustments. Stretch was minimized so the sails powered up less in a gust and although multiple small sails are less efficient, the hulls were so inefficient that the loss of sail efficiency did not hurt much. Multiple masts, along with bowsprits and boomkins, allowed boats to have more sail area that would be spread out closer to the water. In a time of stone internal ballasting, and high drag in relatinship to stability, this was important as it maximized the amount of drive while minimizing heeling. In theory, multiple masts meant more luff length and more luff length meant more drive forces to windward. But multiple masts also meant more weight and much more drag. There are also issues of down draft interference, meaning that one sail is operating in the disturbed and turbulent air of the sails in front of it, which also greatly reduces the efficiency of multi mast rigs.
Yawls really came into being as race rule beaters. They are first seen in the 1920's as a rule beater under the Universal and International rules. They continued to be popular under the CCA rule as well. Under these rules, the sail area of jibs and mizzens were pretty much ignored in the rating. This popularized the masthead rig and the yawl.
There was a basis for not measuring the sail area of a yawl under these rules. On a yawl going to windward, the mizzenmast and sail generally actually produce more drag than they do drive. This is because the mizzen is sailing in really turbulent air and has to be over trimmed to keep from luffing which can effectively act as an airbrake. This is slightly less of the case on a ketch where the size of the mizzen is large enough to provide a larger percentage of the drive.
Downwind mizzens also are a problem. In this case the mizzen is forcing the main or foresail to operate in their bad air and so again the mizzen is not adding as much to the speed of the boat as they are taking away. BUT in the predominantly reaching races that were typical of offshore races of that era they offered a number of advantages. First of all on a reach the sails are not acting in the slipstream of each other and so each contributes a fair amount of drive for the drag produced. Also with the advent of lightweight low stretch sailcloths, mizzen staysails, which are great reaching sails, came into widespread usage in racing. Here again a ketch has the advantage of having a taller mizzen and so can fly a bigger mizzen staysail.
It might be helpful to compare yawl and ketch rigs to sloops. The broad generalities are that for a given sail area a sloop rig will generate a greater drive for the amount of drag generated pretty much on all points of sail. That means that a sloop will be faster or will require less sail area to go the same speed. Sloops are particularly better than Multi spar rigs such as Yawls and Ketches on a beat or on a run. A sloop rig would tend to be taller for a given sail area. This means it would be better in lighter air but it potentially might heel more, or need to be depowered or reefed sooner as the breeze picks up.
Sloops work best on boats with reasonably modern underbodies. Both are more efficient and so can point higher and make less leeway.
Ketch and Yawl rigs work best with heavier boats with less efficient underbodies such as full keels and deeply Vee'd hull forms. These hull forms often need a lot more drive and the hull is the limiting factor in how fast or how close-winded the boat will be. The yawl or ketch rig's lack of windward ability is less of a liability when placed on a hull that similarly lacks windward ability. Also, the ability of a ketch or yawl to carry more sail with less heeling moment also makes it a natural for a heavier hull form which often has comparatively little stability when compared to the amount of drive required to make a heavy boat move.
Much is made of the ketch or yawl's ability to be balanced to help with self-steering, to hove to, or the ability to simply sail under Jib and mizzen in a blow. This is one aspect that a traditional ketch or yawl has over a traditional sloop. It is not so true of modern sloops. Modern (especially fractional) sloops can be easily depowered and that reduces the need to reef. With modern slab reefing gear, reefing is far more easily accomplished than dropping the mainsail to the deck on a yawl or ketch. In a properly designed sloop balance is just not all that hard to achieve.
The performance of all three rigs, both on broad reaches and in lighter air, can be improved by the ability to carry kites of different types.
In terms of comfort at sea, ketch and yawl rigs push the weight of the spars closer to the ends of the boat which can increase pitch angles, albeit, while perhaps slowing pitching rates. The taller rigs of a sloop tend to increase roll angles while slowing roll rates.
Then there are structural issues. It is often difficult to properly stay a ketch or yawl rig as the mainmast backstay often need to be routed around the mizzen and the forward load component of the mizzen if often taken by the top of the mainmast. It is also often difficult to get proper aft staying on the mizzen of a ketch or yawl as well. These structural issues are particularly pronounced on Yawls where the mast is so far aft in the boat that on a traditional boat it is hard to get adequate staying base widths.
Many of the early fiberglass yawls were very poorly engineered. I heard the story of how the Bristol 40 became a yawl. It seems that Clint Pearson (who owned Bristol) had started to build a Bristol 40 sloop on order for a particular customer. As the boat was nearing completion the prospective owner bailed out leaving Mr. Pearson with bit of a problem. Almost at the same time came an enquiry about the availability of a Bristol 40 yawl for prompt delivery for a different person. Without hesitation the potential buyer was told that they happened to have a yawl that was almost finished and would be available in a few weeks. Bristol was building a 24 foot Corsair and they took a mast and rigging from a Corsair and used that for the mizzen. A block of wood was glassed onto the hull for a mast step and a hole cut in the deck for the mast to go through and Voila- the Bristol 40 yawl. Several more were built like that and they quickly proved problematic. Eventually the design was engineered to solve the problems that occurred on the first few yawls.
You often hear people say that yawls and ketches are simpler rigs to handle. I am not clear why that is assumed to be so as there are more sails to trim and more interaction between the individual sails. As on a sloop, you start trimming from the forward most sail moving aft. Also as on a sloop, fine tuning, small adjustments are made moving forward again to reduce downdraft interference between the sails. Sailed with the same degree of precision, a ketches and yawls require more fine tunning than a sloop but on the whole about the same amount of fine tuning as a cutter.
Anyway, in conclusion, if you are interested in sailing performance or ease of handling, a sloop rig makes more sense. To me the only justification for the yawl rig today is solely romantic charm, or a sense of history. I do not mean this to be a put down to those who love historic rigs, but for sheer sailing ability a yawl or ketch is a relic of another time, or an obsolete racing rule. Still, if you live in an area that is typically windier and you like traditional boats, then a ketch or yawl is an interesting albeit complicated rig.
Schooners, more than any of the other fore and aft rigs, are really a series of rigs. They vary from the modern unstayed cat schooners (like the Freedom 39), to Fenger's experiments with wishbone schooners, to the traditional two-masted gaff schooners, to the early 19th century square topsail schooners, to the knockabout and the staysail schooners of the late 1930's, to the 4, 5 and 6 masted cargo schooners of the early 20th century. Each of these has distinct advantages and disadvantages.
By definition a schooner is a rig with two or more masts with the after mast(s) equal or taller than the forward mast(s).
Schooners, in one form or another, have been around for a very long time. Like most multi-masted rigs, they evolved in the days when breaking a rig into a lot of smaller sails made sense. Multi-masted rigs resulted in a rig with a greater number of smaller low aspect ratio sails. These proportionately smaller sails reduced stretch within the individual sails, made it easier to manhandle the sails and make sail shape adjustments. This was a time before winches, light weight- low stretch sailcloth, high strength- low stretch line, and low friction blocks. These proportionately smaller sails powered up less in a gust. While multiple small sails are less efficient, the hulls of the era were so inefficient that this loss of sail efficiency did not hurt much.
Multiple masts, along with bowsprits and boomkins, allowed boats to have more sail area that could be spread out closer to the water. In a time when stone internal ballasting was the norm, this was important as it maximized the amount of drive while minimizing heeling moments. Multiple masts meant more a little more luff length and more luff length meant greater drive force on a reach or beat. But multiple masts also meant more weight aloft and much more aerodynamic drag increasing heel some and greatly reducing the relative efficiency of the sails. Multi mast rigs also have the issue of downdraft interference, meaning that each sail is operating in the disturbed and turbulent air of the sails upwind of it, which also greatly reduces the efficiency of multi mast rigs. .
Schooners are best suited for burdensome vessels with comparatively little stability. They are best used in sailing venues where they predominantly will be reaching between 30 degrees above a beam reach to approximately 50 degrees below a beam reach. Because of the geometry and inherently high drag of the schooner rig they are not very good rigs upwind or down. Upwind, the large amount of aerodynamic drag from the spars and, in stayed rigs, rigging, coupled with the typically low aspect ratio sails typical of a schooner rig, and the down-drafting problems of a multi-masted rig, results in very poor windward performance. When compared with Yawls, which can drop their mizzen when beating without much consequence, a Schooners primary drive sail(s) are acting in the wind shadow of the entire rig.
Probably the highest upwind efficiency is achieved in schooners with lug foresails. On a schooner, lug foresails are not actually 'lug rigged'. In the case or a schooner, the term 'lug foresail' means a gaff foresail (not a jib) that foresail that over laps the mainsail in much the same manner as a Genoa over laps the mast on a modern rig. This rig was common in American working craft in the 19th century partially because there was no boom to deal with on the working deck. It was used on such boats as the yacht America's original rig, Tancook Whalers and on many Atlantic coast pilot boats. Lug foresails need to be tacked around the mast in much the same manner as a Genoa is today.
Downwind the problem of downdraft interference is a major problem as well. The large mainsail again tends to block the air on the sails forward of it and schooners really do not have a tall forward mast on which to fly a meaningful spinnaker. While there are all kinds of kites that can be flown from a schooner, and early working schooners often carried square sails on their foremasts, most of these patches really come into their own on a reach.
I once had a great conversation with Olin Stephens about schooners. Someone had asked why the schooner rig had died out. In the course of the conversation it was pretty much concluded that as hull forms became increasingly efficient, the schooner rig could not keep up. Great efforts at all kinds of rig improvements were tried but in the end the inherent limitations of the schooner rig was ill matched to the improved hull forms of the early 20th century.
Today, traditional schooners are wonderful to look at relics of a bygone age. Traditional forms of the schooner rig are complicated rigs that are expensive to build and maintain. They generally lack the strength of staying of a more modern rig. They are limited in their ability to beat to windward, hove to, or go dead downwind. They require greater skill to sail well and are pretty labor intensive to sail in shifting conditions. Still there is nothing like the romance of gaff topsail schooner with a bone in her teeth.
This month's topic looks at appemdages. In principle Appendages keep a boat from making leeway and help a boat steer. They come in many shapes and sizes. Keels are supposed to be a fixed appendage and centerboards generically are moveable appendages that occur on the centerline but centerboards are just one kind of moveable appendage. In more detail:
The earliest form of a keel was simply the backbone of the boat extending through the bottom planking. (Like a Viking ship) That works OK with running and reaching sails but when you try to point toward the wind you slip side wards at great speed. As sails and rigs were invented that allowed boats to point toward the wind the keel was extended below the boat either by planking the hull down to a deeper backbone or by adding dead wood (solid timber below the backbone. A planked down keel permitted the space between the planking to be filled with heavy material (originally stone), which served as ballast keeping the boat from heeling. After a while it was discovered that there were advantages to bolting a high-density cast metal ballast to the outside of the deadwood and interior ballast dropped out of fashion.
Full keels:
These earliest keels pretty much ran from the point of entry at the bow, to the aft most point of exit at the stern. Those are full keels in the fullest sense of the word.
They have some advantages; they theoretically form a long straight plane, which keeps a boat on course better (greater directional or longitudinal stability). If you run aground they spread out the load over a larger area reducing the likelihood of damage. Once really planted they keep the boat from tipping over fore and aft. They are easier to haul and work on. You can spread out the ballast over a longer distance and so they can be shallower for the same stability. You have a greater length to bolt on ballast so it is a theoretically sturdier and simpler connection.
They have some disadvantages; a larger portion of the keel operates near the surface and near the intersection of the hull and keel, which are both turbulent zones. They also have comparatively small leading edges, and the leading edge is the primary generator of lift preventing sideslip. Because of that they need a lot more surface area to generate the same lift. Surface area equates to drag so they need more sail area to achieve the same speed. Long keels tend to be less efficient in terms of lift to drag for other reasons as well. As a boat makes leeway water slips off of the high-pressure side of the keel to the low-pressure side of the keel and creates a turbulent swirl know as a tip vortex. This is drawn behind the boat creating drag in a number of ways. The longer the keel, the bigger the vortex, the greater the drag. So they need more sail area again to overcome this drag. To stand up to this greater sail area the boat needs more ballast and a stronger structure, which is why long keelboats are often heavier, as well. (Of course, then the spiral starts again as more sail area is needed to overcome that additional weight as well. It is the classic weight breeding more weight design cycle) Full keels tend to be much less maneuverable.
Fin keels:
By the classic definition of a fin keel any keel whose bottom is less than 50% of the length of the boat is a fin keel. Fin keels came into being in an effort to reduce drag. Cut away the forefoot or rake the stem, as well as, move the rudderpost forward and rake it sharply and pretty soon you have a fin keel. Today we assume that fin keels mean a separated rudder (skeg hung or spade) but in fact early fin keels had the rudder attached in a worst of all worlds situation. They offer all of the disadvantages of both full and fin keels, but with none of the virtues. Unknowing or unscrupulous brokers will often refer to boats with fin (or near fin) keels as full keel if they have an attached rudder.
Fin keels with separate rudders seem to be the most commonly produced keel form in the US these days. (I could be wrong, there is a resurgence of full keels these days)
Fin keels have some advantages as well. They have less drag as explained above so they typically make less leeway and go faster. You can get the ballast down lower so in theory they are more stable for their weight. They are more maneuverable. They take better advantage of the high efficiency of modern sail plans and materials.
They have some disadvantages as well, many of these have been offset or worked around by modern technology but at some level they are still accurate critiques. They have less directional stability than long keel boats so the tend to wander more under sail. Since directional stability is also a product of the dynamic balance between the sail plan and underbody, in practice they may actually hold a course as well as a full keel. In general though you can expect to make more course adjustments with a fin keel. It is sometimes argued that the lower helm loads requires less energy to make these corrections so a fin keel may also require less energy to maintain course. This I think is a product of the individual boat and could lead to a debate harder to prove than the number of angels that can dance on the head of a pin.
Fin keels are harder to engineer to withstand a hard grounding and when aground they are more likely to flop over on their bow or stern. (Although in 37 years of sailing, I have never heard of anyone actually experiencing this.) Fins typically have deeper draft. They are easier to pivot around and get off in a simple grounding.
Shoal keel
A shoal keel is just a keel that is not as deep as a deep keel. Today the term seems to be applied mostly to shallow fin keels. Shallow full keels seem to be referred to as shoal draft boats. A shallow fin is a tough animal to classify. Like a fin keel with an attached rudder, I really think it has few of the advantages of either a deep fin or a full keel and has many of the worst traits of both full and fin. This can be partially offset by combining a shallow fin with a centerboard, which is a neat set up for shoal draft cruising.
Bulb Keel:
A lot can be done to improve a shallow fin. One way is to add a bulb. A bulb is a cast metal ballast attachment added to the bottom of the keel. They concentrate the ballast lower providing greater stability and sail carrying ability than a simple shallow keel. Traditionally bulbs were torpedo or teardrop shaped. They have been re-contoured to provide some hydrodynamic properties. Recalling the discussion on tip vortex from above. Shallow keels need to be longer horizontally than a deeper fin in order to get enough area to prevent leeway. This means that a shallow longer fin would generate more tip vortex and more drag than a deeper keel. The bulb creates a surface to turn the water aft and prevent it from slipping over the tip of the keel thereby reducing tip vortex. This does not come free since a bulb increases frontal area and surface area.
Wing keels
Wing keels are a specialized type of bulb keel. Instead of a torpedo shaped bulb there are small lead wings more or less perpendicular to the keel. These concentrate weight lower like a bulb and properly designed they also are very efficient in reducing tip vortex. There has been some discussion that wings increase the effective span of the keel when heeled over but this does not seem to be born out in tank testing of the short wings currently being used in production sailboats. Not all wings are created equal. They potentially offer a lot of advantages, but they are heavily dependent on the quality of the design and I really think that many wing designs are not really working to their potential.
Then there is the whole grounding issue. In 2002, the Naval Academy did a study of keel types and grounding. They found that the popular perception that wing keels are harder to free is accurate. In their study, wing keels were extremely harder to free. Straight fins were much easier to free, especially when heeled, and the easiest keel to free was the bulb keel.
Keels that are not really keels:
Swing keels are ballasted centerboards and drop keels are ballasted daggerboards that are ballasted beyond what it takes to submerge themselves. They are really forms of centerboards. More on these in the discussion on centerboards.
Keels that are keels that move.
I said in the introduction that keels do not move. That used to be true. We now have canting keels, which can be pivoted from side to side. They are best designed to be light fins with heavy bulbs that can be canted to windward increasing the effectiveness of the righting aspects of the keel. Just one problem, a keel canted to windward losses efficiency to prevent leeway so they really need other foils to keep leeway in check. I frankly do not like the idea of a canting keel. I think canting keels are too complex and potentially problematic.
Centerboards are appendages that can be raised and lowered on or near the centerline of the boat. They can rotate up into a trunk or rotate below the boat. Daggerboards are a type of centerboard that raises vertically or near vertically in a trunk. Swing keels are a type of rotating centerboard that actually contains a substantial portion of the boat's ballast. They may be housed in a trunk like a Tartan 27 or 34 or hung below the boat like a Catalina 22. In the case of the Tartan 27 or 34 they are more frequently referred to as a Keel/ Centerboard (abbreviated k/cb). A swing keel is intended to act as a fin keel when lowered and allow some sailing in the partially raised position. My biggest problem with swing keels is that most do not have a positive lock down. In an extreme knockdown they can slam up into the hull greatly reducing the boat's stability. This is a pretty rare occurrence and usually requires big wave action combined with a lot of wind, but I have experienced it out in the Atlantic.
A drop keel is a daggerboard that actually contains a substantial portion of the boat's ballast. These are easier to lock down but can be more easily damaged in a grounding. They generally have better shape than a swing keel and can be more robust, but not always are.
Other appendages: (besides the rudders)
Bilge keels (or twin keels for our English friends) are a pair of keels (usually fins these days) that emerge on either side of the boat and angle out. They offer some advantages. If you let the boat dry out the boat can stand on the two keels and wait the next tide. There are dubious theories about increased efficiency since one is vertical like a good leeway resisting foil and one is canted like a good stability inducing foil. With computer modeling there has been greater success in approaching that theory on large bilge keel boats. While bilge keels do allow shallow draft though, they extremely difficult to free once aground since having the two keels on the ground prevents heeling the boat to get free. In practice bilge keels have enormous wetted surface creating a lot of drag at lower speeds, and produce two very large tip vortexes creating a lot of drag at speed.
Keel Centerboards are a wonderful choice for coastal and offshore cruising. Properly designed they offer nearly the performance of a fin keel, and yet permit access to shallower venues. They can be partially raised to precisely control the center of lateral resistance and therefore offers the ability to have a very neutral helm and great tracking in a wide range of conditions. Properly constructed they have proven to have a long service life. Keel-centerboard boats really proved themselves offshore during the late 1950's and into 1960's.They fell out of popularity with the advent of the wing keel in the early 1980's. The downside is that they are a little harder to maintain, and because the ballast is closer to the center of buoyancy they require more ballast and so end up requiring a higher overall displacement, a higher ballast to displacement ratio, or are more tender, or some combination of the three.
Bilge boards (for the scow guys), are a pair of centerboards that angle out of each side of the boat. They work well on scows but I've never been able to really figure out scows anyway. Seriously, You raise the windward board and lower the Leeward one on each tack and because they are close to vertical they can be small and efficient. I still don't get the scow thing.
Last but not least- Leeboards. Leeboards are foils that are bolted to the side of the hull like on Dutch Jachts and Herreshoff Meadowlarks. Phil Bolger's sharpies use them a lot as well. They have some advantages but they drive me nuts. They are vulnerable in docking and ideally are raised and lowered on each tack also. Some are raised to be hinged feather so they do not need to be raised.
So that's about it. The final is tomorrow- multiple choice and essay.
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