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Associazione culturale NEON NEON presentation - page 1 of 16
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1 The NEON Cultural Association was founded in Catania in The founders were Piero Ristagno and Monica Felloni. They trained in experimental artistic and cultural environments in the 1980s both in Italy and abroad. In Sicily they gave birth to an original view of drama: The Theatre of Diversity, working via a close network of both artistic and social contacts and partnerships. For decades they have collaborated with the Teatro Aenigma in Urbino and the Teatro Stalker in Turin and their experience with the Catania branch of AIPD (The Italian Down-Syndrome Association) gave birth, in 2000, to the theatrical company known as Bagnati di Luna ( Bathed in Moonlight ). All NEON productions are based on the principle of recognizing, through art, the skills and capabilities of those who live in a condition of social, physical and psychological fragility and the consideration that we are all masterpieces and, as human beings, unique. Original. Extraordinary. In its performances, NEON places on the stage actors who are free to act out the beauty of human beings via co-participation, no-one excluded. A path made of shapes, which focuses on the beauty of singularity and diversity, willing to acquire the culture of coexistence, with equal dignity. Magnifying diversity means inventing relationships, transforming affinities, creating communities; creating theatre with disabled people demonstrates the beauty of mankind, expressing its variegated nature, the diversity of bodies and thoughts. Behind NEON s artistic choices there is the desire to construct civility, to share a common territory through a relationship which nourishes on art and the aesthetic quality of the results achieved coincides with its moral responsibility as it pursues the aim of giving new value to the skills and capabilities of those who live in difficult conditions to exalt their rightful dignity through art. NEON has succeeded in asserting its concept of theatre, obtaining over the years various awards, notably the Theatres of Diversity award in November 2013, which it shared with the National Association of Theatre Critics. At the 1st International Book Show in Turin in 2014, held in the Pavilion of the Regione Marche, the volume "NèonTeatro. La grandezza di vivere" (published by Edizioni Nuove Catarsi) was presented. The book, which is devoted entirely to the activity of NEON, was the first to be published in the "Sentiero di(f)forme" Collection (Edizioni Nuove Catarsi together with the European Magazine "Catarsi-Teatri delle diversità"). NEON presentation - page 1 of 16
2 The Theatre and Publishing Through the languages of theatre and writing, the NEON Cultural Association has always worked to spread a culture based on the existential value of human beings. Each one of us is a poem which manifests itself with all available means: the body, movement, immobility, encounters, solitude, voice, silence, emotions. Art becomes a place of discovery, where it is possible to achieve the artifice being things in the world. Theatrical production and publishing NESSUNO ESCLUSO (NO-ONE EXCLUDED) The Theatre of diversity This is a book that should be about photography. And perhaps it is. But above all it is about an experience, or rather the work, of a group of people, including our photographer, who work in an apparently diverse reality and contact (in the sense that they touch) those who in everyday life search for the vibrant harmony of feeling common and shareable. These people, who want to use different sensitivities to make their sights and smiles heard, the ones I had come to listen to, ended up by listening to my thoughts. Jessica Hauf had photographed my thoughts. How she did so, I don t know.. Pippo Pappalardo (from the introduction to "Nessuno escluso"). IL CORAGGIO È UNA COSA (COURAGE IS ONE THING) A book and a performance to exalt daily life by valorising Diversity. Dario Fo wrote: A production of life, suffering, joy and knowledge. Because only those who can talk about their condition and experience it with others can achieve a work of art.. Il coraggio è una cosa is a splendid line by Roberto Roversi and is much more than a simple phrase. It s a way of life, a vision of existence, a challenge and also the possibility of living life fully, which comes about through a book and a performance called Il coraggio è una cosa. Il coraggio è una cosa The book Published by NEON, Danilo Ferrari wrote it thanks to the intermediation and translation of Maria Stella Accolla. In a sort of diary he wrote a story not only comprising a series of questions he asked himself but also answering a number of common doubts about his condition. About himself he writes: on two feet, or rather four wheels, I find it difficult to introduce myself in a few significant words: my name is Danilo Ferrari. Perhaps that is not much to imagine me, so I ll add that I speak a very rare language: I make signs with my eyes. It was natural for me to find this way of communicating (I have spastic-dystonic quadriplegia and no language the brackets aren t random but derive from the difficulty I have with hearing this diagnosis pronounced, which has always hidden what I really am). NEON presentation - page 2 of 16
3 Il coraggio è una cosa The performance The play id based on the poem L Italia sepolta sotto la neve by Roberto Roversi. In Il coraggio è una cosa the director Monica Felloni give shape to courage, that is, the by no means easy attempt to face and overcome the various crises we encounter in life, our state as human beings. An exceptional choreography connects the dialogue to music, to the spontaneous sound of a mouth organ which caresses the voice of the actors and directly involves the audience, which becomes the absolute protagonist when the images captured and photographed by Jessica Hauf are projected onto the backdrop of the stage. In an interpretation of Roversi s lyrics, in Il coraggio è una cosa, music, script and photography interact with the actors and the audience. Of fundamental importance is the use of the body as a strong, intense, continuous physical relationship, which shows what it actually means to be close, to give life to a single body which dances in the harmonious expression of the individual imperfections of actors who alternate, change, mix together in one whole. MAGNIFICAT 25 years of the Theatre of Diversity Magnificat is a unique performance because for the first time on September 9, 2014, a company of disabled actors and a production about the Theatre of Diversity went on stage at the Teatro Antico in Taormina. Created to celebrate the first 25 years of the association s activity, the show is a succession of theatrical actions full of music, dance and words in a passionate but light-hearted sequence which follows the artistic path of NEON, discovering new developments On the stage we see humankind, in all its variegated forms, which mixes with language, looks for itself in words, shows itself in gestures, coexists in relationships made of ordinary and exceptional specialities and becomes a single body only then to separate again, dancing in the silence of signs trace in space. The nucleus is communication between individuals beyond any encoding. The fulcrum of the performance is to be found in the words of Whitman Human bodies are words. So the infinity of signs that the bodies on the stage express magnify the complexity of living as human beings. The poems chosen by Piero Ristagno interweave and resound in the creation of a theatrical reality in which what prevails is the sense and direction of any kind of praise: the person next to you. All deserving of attention, generous in the art of being as we appear to be. Audience participation was great and intense (over people and a standing ovation against the magical background of the Greek Theatre in Taormina), as was the presence of the media, with national channel Rai1 broadcasting part of the afternoon dress rehearsal live during the second episode of the programme La vita in diretta. NEON presentation - page 3 of 16
4 Training and Theatre Workshops Removing the invisible dividing lines between inside and outside, joining up dots to reveal maps of this world and others on both imaginary and possible stages, speaking unknown languages and learning to hear this is the path taken NEON in over 20 years with its theatre workshops. Since 1989 NEON has held over 100 theatre workshops, focusing on bodily expression and writing poetry addressed to diverse participants. But beyond any merely therapeutic aim, the workshops help to get to know and appreciate each other, to pass through, which is not always and only that of others. A workshop is an ideal place to explore, invent and plan concrete projects, maturing the need to discover, express, communicate, gain knowledge. It is a place where it is possible to develop a personal artistic identity, by encouraging active listening and forms of expression linked to interaction, reciprocity and co-participation. Theatrical activity, seen as workshop activities aiming at interpersonal relationships within a group, is a valuable workspace for mutual understanding, reflection and debate for all those taking part. Acting seen as an instrument not only for inclusion but above all for giving new value to that wealth that is difference was the starting point and point of arrival of various NEON performances and has contributed to strengthen the network of relationships the association has with various local actors. NEON presentation - page 4 of 16
5 Theatrical Performances 1989 Antigone by Sophocles, directed by Monica Felloni and Piero Ristagno Cori curreri by Piero Ristagno, directed by Monica Felloni and Piero Ristagno, with Alfio Antico 1990 I siciliani (The Sicilians) by Piero Ristagno, directed by Monica Felloni and Piero Ristagno Produced by theteatro del Sole with the Ente Nazionale Sordomuti (National Institute for the Deaf and Dumb) 1991 Il sogno del marinaio (The Sailor s Dream) freely based on Il marinaio by Fernando Pessoa, directed by Monica Felloni and Piero Ristagno and the Ente Nazionale Sordomuti (National Institute for the Deaf and Dumb) Terradaranci (The Land of Oranges) by Piero Ristagno, directed by Monica Felloni and Piero Ristagno, Scenography by Pietro Guccione 1992 Chissà se i pesci piangono (Who Knows If Fish Cry) freely based on the work by Danilo Dolci, directed by Monica Felloni, Piero Ristagno and Vito Minoia Produced by the Teatro Aenigma in Urbino and the Teatro del Sole - Ente Nazionale Sordomuti (National Institute for the Deaf and Dumb) 1993 Il malato immaginario (Le Malade Imaginaire) by Molière, directed by Monica Felloni and Piero Ristagno Produced by the Teatro del Sole and the Ente Nazionale Sordomuti (National Institute for the Deaf and Dumb) I canti by G. Leopardi, directed by Monica Felloni and Piero Ristagno, 1993/1994 NEON presentation - page 5 of 16
6 1994 La caduta della luna (The Falling of the Moon) freely based on Lunaria by Vincenzo Consolo, directed by Monica Felloni and Piero Ristagno Produced by the Teatro del Sole - Ente Nazionale Sordomuti (National Institute for the Deaf and Dumb) 1995 Medea freely based on Euripides by Pier Paolo Pasolini, directed by Monica Felloni and Piero Ristagno Bar New York by Piero Ristagno, directed by Monica Felloni and Piero Ristagno, with non-eu actors 1996 Il Re muore (The King Dies) freely based on the play by Eugène Ionesco, directed by Monica Felloni and Piero Ristagno, 1997 Studi sull Amleto (Studies on Hamlet) taken from Hamlet by William Shakespeare, directed by Monica Felloni 1998 Filottete (Philoctetes) by Euripides, directed by Monica Felloni and Piero Ristagno 2000 Quello che le balene pensano degli uomini (What Whales Think of Men), freely based on a short story by Antonio Tabucchi, directed by Monica Felloni and Piero Ristagno, 2000 NEON presentation - page 6 of 16
7 2001 Canto della terra che gira (Song of the Rolling Earth) freely based on Walt Whitman, directed by Monica Felloni and Piero Ristagno Nudi e crudi by Piero Ristagno, directed by Monica Felloni and Piero Ristagno, with the patients of the S. Antonio Therapeutic Assistance Community in Piazza Armerina (EN) 2002 Anfitrione (Amphitryon) from the play by Plautus, directed by Monica Felloni and Piero Ristagno La ruota del pavone (The Peacock s Tail) by Piero Ristagno, directed by Monica Felloni Risonanze (Resonances) by Piero Ristagno, directed by Monica Felloni and Piero Ristagno with the patients of the S. Antonio Therapeutic Assistance Community in Piazza Armerina (EN) 2003 Passaggio d ali (A Passing of Wings) by Piero Ristagno directed by Monica Felloni and Piero Ristagno. Lettere a Theo (Letters to Theo) by Vincent Van Gogh, directed by Monica Felloni and Piero Ristagno, with the patients of the S. Antonio Therapeutic Assistance Community in Piazza Armerina (EN) Le regioni dell aria (The Regions of the Air) by Piero Ristagno, directed by Monica Felloni and Piero Ristagno, with the patients of Aias Csr (Sicilian Rehabilitation Centre) in Nicosia (EN) 2004 Elegie (Elegies) freely based on the Duineser Elegien by Rainer Maria Rilke, directed by Monica Felloni and Piero Ristagno Appassionati by Piero Ristagno, directed by Monica Felloni Produced by tne Compagnia Bagnati di Luna AIPD CT NEON presentation - page 7 of 16
8 2005 Diario 2005 (Diary 2005) by Piero Ristagno, directed by Monica Felloni and Piero Ristagno Produced by the Compagnia Bagnati di Luna - AIPD CT La Torre (The Tower) by Piero Ristagno, directed by Monica Felloni 2006 Antigone by Sophocles directed by Monica Fellon 2007 L ombra delle parole (The Shadow of Words) freely based on a short story by Josè Saramago, directed by Monica Felloni Il fiore più grande del mondo (The Largest Flower in the World) freely based on a short story by Josè Saramago, adapted by Piero Ristagno, directed by Monica Felloni, with the Compagnia C.S.R. in Catania In nome della madre (In the Name of the Mother) freely based on a text by Erri de Luca, directed by Monica Felloni Quando ti chiedo di Venezia (When I Ask You about Venice) freely based on Le città invisibili (Invisible Cities) by Italo Calvino and Othello by William Shakespeare, directed by Monica Felloni 2009 Oltre il limite (Beyond the Limit) by Piero Ristagno, directed by Monica Felloni Sul nascere (About to Be Born) by Piero Ristagno, directed by Monica Felloni Terra sconosciuta (Unknown Land) freely based on Journey Towards the Unknown Island by Josè Saramago, adapted by Piero Ristagno, directed by Monica Felloni NEON presentation - page 8 of 16
9 Oltre il limite (Beyond the Limit) freely based on Flying Above the World by Angelo D Arrigo, adapted by Piero Ristagno, directed by Monica Felloni 2010 Thank you Mr Down by Piero Ristagno and Stefania Licciardello, direceted by Monica Felloni 2011 L incanto (Enchantment) by Piero Ristagno and Stefania Licciardello, directed by Monica Felloni Neve (Snow) freely based on the novel by Maxence Fermine, directed by Monica Felloni 2012 Il fiore, l acqua e il bambino (The Flower, The Water, The Child) freely based on The Largest Flower in the World by Josè Saramago, directed by Monica Felloni and the Fondazione Auxilium Illusioni (Illusions) by Piero Ristagno, directed by Monica Felloni 2013 Il tempo della pazienza (A Time of Patience) freely based on Of This World and Others by Josè Saramago, directed by Monica Felloni, produced with The Parkinson s Association in Catania Messa in scena della tua libertà (Staging Your Freedom) by Piero Ristagno and Santino Papotto, directed by Monica Felloni, with the patients of the Mental Health Department in Adrano (CT) Il coraggio è una cosa (Courage is One Thing) freely based on L Italia sepolta sotto la neve by Roberto Roversi, directed by Monica Felloni, with Danilo Ferrari 2014 Magnificat Texts chosen by Piero Ristagno, directed by Monica Felloni Production to celebrate 25 years of NèonTeatro NEON presentation - page 9 of 16
10 Un incantevole grande età (An Enchanting Old Age) texts chosen by Piero Ristagno, directed by Monica Felloni The final result of a workshop by a group comprising The Social Cooperative "Nuova Socialità", The Education and Welfare Association in Rome and the NEON Cultural Association in Catania, in agreement with the Presidency of the Council of Ministers, the Department of Family Policy, within the Award for the European Year of Active Ageing. Il presepe vivente (The Living Nativity) texts chosen by Piero Ristagno, directed by Monica Felloni I re magi (The Threee Magi) texts chosen by Piero Ristagno, directed by Monica Felloni 2015 Ciatu texts chosen by Piero Ristagno, directed by Monica Felloni Media- June 2014/ May 2015 The media review of NEON activities includes, from June 2014 from May 2015, 89 online magazines, 17 television broadcastings, 2 radio broadcastings and 7 national press agencies. Online magazines Eighty-nine online magazines had already published news and articles about NEON activity. Most of it are web newspapers, which focus on themes linked to the regional territory (56). National web magazines represent also a huge part of it (33), above all concerning all NEON activities realized out of Sicily or for most important ones. Newspaper Sicilian newspaper had already given importance to NEON activity. A big visibility also into national press, above all thanks to the show called Magnificat and thanks to NEON initiatives in Lazio, after Danilo Ferrari s book launch. Excellent visibility also for Il coraggio è una cosa, with Danilo Ferrari as protagonist, who achieved, in Panorama, the cover and an insert. Press agencies NEON events were also subjects of different Press agencies, furthermore promoted into national platforms such as Adnkronos, Ansa, Italpress, Reuters. NEON presentation - page 10 of 16
11 Broadcasting NEON news had been reported by 19 radio broadcasting and regional and national televisions such as Rai 1, Rai 3, Rai Sport, Italia 1, Rete 4. Social - June 2014/May 2015 In the last semester of 2014, NEON made a renovation plan concerning its online appearance, to improve the visibility of its activities and to increase its relationships with the external world. The new website in online from June 26 th Statistics, last updated in June 2015, are reporting a good placement into Google (index: 216), with a significant increase in accesses. Our website is also connected with the strategic use of the most important social media: Facebook, Twitter, G+ and YouTube, where there is a channel entirely dedicated to all the audiovisual documents that can be consulted also into our website. On Facebook, NEON keeps a daily activity, which helped to increase likes until reaching, today, likes, with daily visits. From June to December 2014, the page shuttled from 621 to likes, from January to May 2015 likes switched from to with daily visits. Likes are continuing to increase, with around 50 likes per week. The main themes of posts concern the website update, the press review, the activities of the association and the promotion of new productions. The same activities are repeated also on Twitter, which is going to be advantageous even though we made the account just a few months ago. In the last days of May 2015, it has been created also an Instagram account, which reached 132 followers in a few days. NEON has been presented by the most important national newspapers and broadcasters. On the NEON website you can download the press review (over 220 articles from February 2014 to today). NEON presentation - page 11 of 16
12 Further information and a press review are available on: Rai Sport 1 April 2014 Rai TGR Sicilia April 2014 NEON presentation - page 12 of 16
13 Mediaset TG4 Studio Aperto April 2014 Panorama (Cover and Article) 23 April 2014 NEON presentation - page 13 of 16
14 RAI 1 La vita in diretta 9 September 2014 RAI 3 TGR Sicilia 10 September 2014 e TG nazionale 15 September 2014 NEON presentation - page 14 of 16
15 Below some extracts from the review of Il coraggio è una cosa by the theatre critic Carmelita Celi, published in the daily newspaper La Sicilia on 29 April Multiple diversity on stage Keep yourself just a little peephole on freedom. These words go beyond the charisma of Roversi (1923/2012), a great and prolific poet, but at the same time providing a refined and surprising historic presence and energy to songs, especially by Lucio Dalla. These words are the extraordinary inheritance given personally by Roversi to Piero Ristagno, poet and director who, together with Monica Felloni, his companion in both the theatre and life, has enlarged that peephole on freedom to make it become a generous, diverse stage, to a gathering place and arena for intentions and inventions, and interlacement of actions and feelings. In just three words, La Compagnia NèonTeatro. Il coraggio è una cosa becomes a sort of phantasmagorical, irreverent, unpredictable and singular show of numbers. Circus apparatus. First the delicate and disciplined interview of Ristagno by Marco about his friendship and initiation to poetry with Roberto Roversi. But shortly afterwards it becomes a mad but also level-headed succession of proper physical architectures, a linguistic Babel of bodies and souls involving the so-called normal and others who, rather than disabled or diversely able (Down-Syndrome kids) are diversely sensitive. NEON presentation - page 15 of 16
16 Here are some extracts from the article written about Magnificat by Fabio Tracuzzi in the daily newspaper La Sicilia on 12 September Magnificat was a blow to the heart. Strong but sweet. A succession of emotions in the soul and shivers down my back. Magnificat is courage and joie de vivre. It is poetry. Magnificat shakes you and tells you never to close your eyes but always to look forward because there is nothing to be afraid of. To be ashamed of. Magnificat is love. Love between men and between women. But still love. Magnificat is a marvel. These are just the first sensations that went through my mind last Tuesday at the Teatro Antico in Taormina when I saw the NEON Association s performance to celebrate 25 years of activity devoted to the Theatre of Diversity. 25 years of performances ( Neve, Il coraggio è una cosa, Nessuno escluso, Thank you Mr. Down and so many more) brought together in a sole and unique emotion: Magnificat. With the director Monica Felloni, on stage to provide a link between one title and the next. A mosaic with all the pieces in the right place: at the end Magnificat really is a new kind of performance. It s Unique. Exhilarating. There were so many working on it. So many believing in it. So many went to see it, on the great, magical stage of the Greek Theatre. It is a performance worthy of being part of the great theatrical tradition of Taormina Arte and which it was possible to stage thanks to the Bellini Festival directed by Enrico Castiglione, who had the foresight to include it in the season s billing. It s usually on your birthday that you get presents. This time it was NEON who gave a gift to all those (more than a thousand people) who went to see the show. A Magnificat gift. Thank you NEON. NEON presentation - page 16 of 16
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text:
Brand Label: La Hearts
ITEM MOVED TO ARCHIVE: On September 7, 2016 3:29 pm, Fashion Stylist Online noted this item may be out of stock at Pacific Sunwear of California Inc because it was not referenced in their latest online catalog. If this item is out of stock at Pacific Sunwear of California Inc, you may be able to find similar fashions sold there or elsewhere on our La Hearts Designer Brand Directory.
Available for Purchase Online at Pacific Sunwear of California Inc for $39.95Pin It
Made from soft, stretch fabric, this LA Hearts t-shirt dress is bound to keep you in comfy, feminine style. It comes in three of this season's must-have colors with a classic scoop neckline, short sleeves, and a tie front detail for a fun touch. 33" HPS Scoop neckline Short sleeves Adjustable tie detail on front Soft, stretch fabric Model is wearing a small Model's measurements: Height: 5'8" Bust: 34" Waist: 26" Hips: 34" 95% rayon, 5% spandex Machine washable.
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This item was published for sale online by Pacific Sunwear of California Inc on September 7, 2016 3:18 pm and last updated by us September 7, 2016 3:29 pm.
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subset: commoncrawl


text:
The man who helped develop the controversial swimsuit which smashed more than 130 world records in less than two years is adamant human evolution will surpass the supersuit era in the coming years.
Australian Institute of Sport biomechanics expert Bruce Mason will retire next month, 32 years after starting at the institute and more than a decade since work started on a prototype swimsuit which changed the sport forever.
The LZR Racer suit was banned by FINA, swimming's governing body, in 2009 after athletes wearing it set world records at an alarming pace at the 2008 Olympic Games.
It was partly developed in Canberra under Mason's watch and there were fears the world records set in the suits, which provided extra buoyancy, better oxygen flow to the muscles and reducing drag, would never be broken.
Australian swimmers failed to set new world records for five years after the suits were banned, until the women's 4x100m women's relay at the Commonwealth Games last month.
But Mason is confident technique will reign and the records of supersuits will be forgotten in the coming years.
"Records will be broken, but how far can humans go? They go in leaps ... when there were drugs records fell, the suits came and they fell again.
"The pools are getting better, but how far can you go with a pool? It's hard to imagine what [technology is] next.
"With technology you've got to be careful not to make a huge leap forward. Everyone got their knickers in a knot when the suit came out ... and the coaches said the suits made a difference, not the athletes."
Mason has dedicated his career to using science to help sport move forward.
He has worked closely with swimming greats Ian Thorpe, Kieran Perkins, Grant Hackett and Susie O'Neill.
Mason still has a stick-figure biomechanical projection of swimming great Alexander Popov on his computer, a technique he describes as the greatest he's ever seen.
"The thing that amazed me is that he made it look so easy," Mason said.
But for all the secrets he's uncovered and the edge his given athletes, it was the swimsuit era that drew the most attention.
When Mason started at the institute he was a jack of all trades, helping golfers refine their swing and track and field athletes compete against the world's best.
He led advancements in sports bras, but then narrowed his focus to the pool where his team developed wet-plate analysis, which offers real-time assessment of athletes in the pool.
"There's always going to some technology that will keep world records coming. FINA wants world records," Mason said.
"I'm on the FINA swimwear approval committee now. Things are becoming more complicated than they once were. The problem with the LZR Racer suit was that it was too good.
"It was mixed emotions when it was banned, we put so much work into it. But [it was because] we did too good a job that there was a backlash. But I don't feel bad about the suits, it was using science to show that sport can be moved forward
"The coaches were up in arms, that was a bad thing.
"I'm pushing biomechanics, not aquatics. I want to see what we can do, how we can help an athlete perform better."
Before he says goodbye for good, Mason has one more project he wants to complete to help reduce drag in the water.
He also hopes for better competition analysis technology to help the sport move forward.
"We could be better in all areas. Two-tenths of a second can make the difference," Mason said.
"We're developing a drag analysis system, it measures drag and propulsion and combine that with vision to see if there's a problem in the biomechanical peirameter."
Mason has spent the past few weeks clearing out his office after gathering 32 years of notes and secrets. He finishes at the institute on September 2.
Mason said Australian sport needed to continue using the institute's scientists and biomechanists to give athletes an edge over the rest of the world.
"Most countries have institutes these days. You can only go so far, we need to make sure we look after our people so that we can push our talent a lot further," he said.


text:
The New York Times
The Bodies Left Behindby Jeffery Deaver
The instant New York Times bestselling thriller from the "master of ticking bomb suspense" (People) who created Lincoln Rhyme and Kathryn Dance is "a tour de force…the suspense never flags" (Kirkus Reviews).
When a 911 call from an isolated vacation house on Lake Mondac is cut short, off-duty county/i>/i>/i>/i>
The instant New York Times bestselling thriller from the "master of ticking bomb suspense" (People) who created Lincoln Rhyme and Kathryn Dance is "a tour de force…the suspense never flags" (Kirkus Reviews).
When a 911 call from an isolated vacation house on Lake Mondac is cut short, off-duty county sheriff's deputy Brynn McKenzie leaves her husband and son at the dinner table to investigate—and walks into a scene of true horror. A visiting Milwaukee couple has been shot dead. Brynn, quickly connecting with the lone survivor of the carnage, realizes the perpetrators—two professional criminals—haven't left the crime scene. Unable to call for back-up, deprived of her gun and car, Brynn and her charge escape into the hostile wilderness in a terrifying cat-and-mouse chase. Will Brynn be the next victim?
Editorial Reviews
The New York Times
Usually a strong plotter, bestseller Deaver (The Bone Collector) fails to deliver on the promise of this stand-alone thriller's nicely creepy opening. When two masked men break into the isolated lakeside weekend house of Steven Feldman, who works for the Milwaukee Department of Social Services, and his wife, Emma, an attorney who may have stumbled on union corruption in the course of some corporate research, Steven has just enough time to phone 911 before the intruders shoot him and Emma dead. That interrupted plea for help brings Deputy Brynn McKenzie, who possesses a set of predictable emotional baggage (an abusive ex-wife, a troubled teenage son), to the scene. A protracted and less than suspenseful game of cat-and-mouse between McKenzie and the hired guns responsible for the murders ensues. A few twists will catch some readers by surprise, but the pacing and characterizations aren't up to Deaver's best. (Nov.)Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
More thrills from the genre's master prestidigitator (The Broken Window, 2008, etc.).
Steven and Emma Feldman retreat from their jobs in Milwaukee to Wisconsin's Marquette State Park. But they haven't retreated far enough to keep two armed and masked men from breaking into their place. Responding to a 911 call Steven made moments before he was shot dead, sheriff's deputy Brynn McKenzie is swiftly pulled into a night of terror. In short order she's deprived of her sidearm and cell phone and saddled with flighty actress Michelle Kepler, the Feldmans' house guest, who promoted herself from inconvenient witness to priority target when she winged one of the intruders with his own gun. It's a pleasure watching Deaver, who has no rivals in the realm of sneaky plot twists, spin out a series of cat-and-mouse games through which the hired guns and the two unexpectedly resourceful women try to outwit each other. With a logician's skill, he exhausts every possibility for shifting advantages within each situation before adding a single new element—a car alarm, a canoe, a pair of campers with their adorable little girl—into the mix to provide new opportunities. The result is a tour de force in which the suspense never flags for the first 250 pages. But Deaver's fatal inability to leave well enough alone is as much on display as his trademark cleverness, and Brynn and Michelle's ordeal is followed by a series of further (and further) revelations as dazzling as they are preposterous, finishing touches that show why the best suspense novels depend on making you forget that you're reading a book, not rubbing your nose in the author's cleverness.
More proof that your first Deaver, before you'velearned the formula, is likely to be your favorite.
"A tour de force...the suspense never flags....Deaver has no rivals in the realm of sneaky plot twists." Kirkus Reviews
Product Details
- 9781416595625
- Publisher:
- Pocket Star
- Publication date:
- 08/18/2009
- Edition description:
- Reprint
- Pages:
- 544
- Product dimensions:
- 7.50(w) x 4.24(h) x 1.13(d)
Read an Excerpt
The woods around Lake Mondac were as quiet as couldbe, a world of difference from the churning, chaotic city where the couple spent their weekdays.
Silence, broken only by an occasional a-hoo-ah of a distant bird, the hollow siren of a frog.
And now: another sound.
A shuffle of leaves, two impatient snaps of branch or twig.
No, that couldn't be. The other vacation houses beside the lake were deserted on this cool Friday afternoon in April.
Emma Feldman, in her early thirties, set down her martini on the kitchen table, where she sat across from her husband. She tucked a strand of curly black hair behind her ear and walked to one of the grimy kitchen windows. She saw nothing but dense clusters of cedar, juniper and black spruce rising up a steep hill, whose rocks resembled cracked yellow bone.
Her husband lifted an eyebrow. "What was it?"
She shrugged and returned to her chair. "I don't know. Didn't see anything."
Outside, silence again.
Emma, lean as any stark, white birch outside one of the many windows of the vacation house, shook off her blue jacket. She was wearing the matching skirt and a white blouse. Lawyer clothes. Hair in a bun. Lawyer hair. Stockings but shoeless.
Steven, turning his attention to the bar, had abandoned his jacket as well, and a wrinkled striped tie. The thirty-six-year-old, with a full head of unruly hair, was in a blue shirt and his belly protruded inexorably over the belt of his navy slacks. Emma didn'tcare; she thought he was cute and always would.
"And look what I got," he said, nodding towardthe upstairs guest room and unbagging a large bottle of pulpy organic vegetable juice. Their friend, visiting from Chicago this weekend, had been flirting with liquid diets lately, drinking the most disgusting things.
Emma read the ingredients and wrinkled her nose. "It's all hers. I'll stick with vodka."
"Why I love you."
The house creaked, as it often did. The place was seventy-six years old. It featured an abundance of wood and a scarcity of steel and stone. The kitchen, where they stood, was angular and paneled in glowing yellow pine. The floor was lumpy. The colonial structure was one of three houses on this private road, each squatting on ten acres. It couldbe called lakefront property but only because the lake lapped at a rocky shore two hundred yards from the front door.
The house was plopped down in a small clearing on the east side of a substantial elevation. Midwest reserve kept peoplefrom labeling these hills "mountains" here in Wisconsin, though it rose easily seven or eight hundred feet into the air. At the moment the big house was bathed in blue late-afternoon shadows.
Emma gazed out at rippling Lake Mondac, far enough from the hill to catch some descending sun. Now, in early spring, the surrounding area was scruffy, reminding of wet hackles rising from a guard dog's back. The house was much nicer than they couldotherwise afford they'd bought it through foreclosure and she knew from the moment she'd seen it that this was the perfect vacation house.
The colonial also had a pretty colorful history.
The owner of a big meatpacking company in Chicago had built the place before World War II. It was discovered years later that much of his fortune had come from selling black-market meat, circumventing the rationing system that limited foods here at home to make sure the troops were nourished. In 1956 the man's body was found floating in the lake; he was possibly the victim of veterans who had learned of his scheme and killed him, then searched the house, looking for the illicit cash he'd hidden here.
No ghosts figured in any version of the death, though Emma and Steven couldn't keep from embellishing. When guests were staying here they'd gleefully take note of who kept the bathroom lights on and who braved the dark after hearing the tales.
Two more snaps outside. Then a third.
Emma frowned. "You hear that? Again, that sound. Outside."
Steven glanced out the window. The breeze kicked up now and then. He turned back.
Her eyes strayed to her briefcase.
"Caught that," he said, chiding.
"Don't even think about opening it."
She laughed, though without much humor.
"Work-free weekend," he said. "We agreed."
"And what's in there?" she asked, nodding at the backpack he carried in lieu of an attaché case. Emma was wrestling the lid off a jar of cocktail olives.
"Only two things of relevance, Your Honor: my le Carré novel and that bottle of Merlot I had at work. Shall I introduce the latter into evid..." Voice fading. He looked to the window, through which they could see a tangle of weeds and trees and branches and rocks the color of dinosaur bones.
Emma too glanced outside.
"That I heard," he said. He refreshed his wife's martini. She dropped olives into both drinks.
"What was it?"
"Remember that bear?"
"He didn'tcome up to the house." They clinked glasses and sipped clear liquor.
Steven said, "You seem preoccupied. What's up, the union case?"
Research for a corporate acquisition had revealed some possible shenanigans within the lakefront workers union in Milwaukee. The government had become involved and the acquisition was temporarily tabled, which nobody was very happy about.
But she said, "This's something else. One of our clients makes car parts."
"Right. Kenosha Auto. See? I do listen."
She looked at her husband with an astonished glance. "Well, the CEO, turns out, is an absolute prick." She explained about a wrongful death case involving components of a hybrid car engine: a freak accident, a passenger electrocuted. "The head of their R-and-D department...why, he demanded I return all the technical files. Imagine that."
Steven said, "I liked your other case better that state representative's last will and testament...the sex stuff."
"Shhhh," she said, alarmed. "Remember, I never said a word about it."
"My lips are sealed."
Emma speared an olive and ate it. "And how was your day?"
Steven laughed. "Please...I don't make enough to talk about business after hours." The Feldmans were a shining example of a blind date gone right, despite the odds. Emma, a U of W law school valedictorian, daughter of Milwaukee-Chicago money; Steven, a city college bachelor of arts grad from the Brewline, intent on helping society. Their friends gave them six months, tops; the Door County wedding, to which all those friends were invited, had occurred exactly eight months after their first date.
Steven pulled a triangle of Brie out of a shopping bag. Found crackers and opened them.
"Oh, okay. Just a little."
Snap, snap...
Her husband frowned. Emma said, "Honey, it's freaking me a little. That was footsteps."
The three vacation houses here were eight or nine miles from the nearest shop or gas station and a little over a mile from the county highway, which was accessed via a strip of dirt poorly impersonating a road. Marquette State Park, the biggest in the Wisconsin system, swallowed most of the land in the area; Lake Mondac and these houses made up an enclave of private property.
Very private.
And very deserted.
Steven walked into the utility room, pulled aside the limp beige curtain and gazed past a cut-back crepe myrtle into the side yard. "Nothing. I'm thinking we "
Emma screamed.
"Honey, honey, honey!" her husband cried.
A face studied them through the back window. The man's head was covered with a stocking, though you could see crew-cut, blondish hair, a colorful tattoo on his neck. The eyes were halfway surprised to see peopleso close. He wore an olive drab combat jacket. He knocked on the glass with one hand. In the other he was holding a shotgun, muzzle up. He was smiling eerily.
"Oh, God," Emma whispered.
Steven pulled out his cell phone, flipped it open and punched numbers, telling her, "I'll deal with him. Go lock the front door."
Emma ran to the entryway, dropping her glass. The olives spun amid the dancing shards, picking up dust. Crying out, she heard the kitchen door splinter inward. She looked back and saw the intruder with the shotgun rip the phone from her husband's hand and shove him against the wall. A print of an old sepia landscape photograph crashed to the floor.
The front door too swung open. A second man, his head also covered with mesh, pushed inside. He had long dark hair, pressed close by the nylon. Taller and stockier than the first, he held a pistol. The black gun was small in his outsized hand. He pushed Emma into the kitchen, where the other man tossed him the cell phone. The bigger one stiffened at the pitch, but caught the phone one-handed. He seemed to grimace in irritation at the toss and dropped the phone in his pocket.
Steven said, "Please...What do you...?" Voice quavering.
Emma looked away quickly. The less she saw, she was thinking, the better their chances to survive.
"Please," Steven said, "Please. You can take whatever you want. Just leave us. Please."
Emma stared at the dark pistol in the taller man's hand. He wore a black leather jacket and boots. His were like the other man's, the kind soldiers wear.
Both men grew oblivious to the couple. They looked around the house.
Emma's husband continued, "Look, you can have whatever you want. We've got a Mercedes outside. I'll get the keys. You "
"Just, don't talk," the taller man said, gesturing with the pistol.
"We have money. And credit cards. Debit card too. I'll give you the PIN."
"What do you want?" Emma asked, crying.
Somewhere, in its ancient heart, the house creaked once more.
Copyright © 2008 by Jeffery Deaver
Meet the Author
Jeffery Deaver is the international, #1 bestselling author of more than twenty-seven suspense novels, including The Bone Collector, which was made into a film starring Denzel Washington. He lives in North Carolina.
Brief Biography
- Hometown:
- Washington, D.C.
- Date of Birth:
- May 6, 1950
- Place of Birth:
- Chicago, Illinois
- Education:
- B.A., University of Missouri; Juris Doctor, cum laude, Fordham University School of Law
- Website:
- http://www.jefferydeaver.com/
Customer Reviews
Average Review:
Most Helpful Customer Reviews
See all customer reviews
This book read like a very bad made for tv movie. Every move was predictable. Very slow and just plain boring in parts. I hope Mr deaver finds his way back to past success.
I typically enjoy a Jeff Deaver story - but I was not excited about this one. My husband and I listened to the unabriged audio version on a long trip and it was often dull. Several times it seemed unlikey the choices the characters made. For instance, it's hard to believe a trained police officer would not follow protocol when making an arrest.
April seventeenth is a day that will affect many lives in Kennnesha County, Wisconsin. It begins with Emma and Steven Feldman enjoying a drink in their mini-mansion vacation home on Lake Mondac. They hear noises outside followed by two gunmen barging into their home. Before they shoot Steven, he connects to the Sheriff¿s Office for a brief moment. --- Sheriff Tom Dahl traces the 911 call and sends Deputy Brynn McKenzie to check it out. She finds the Feldman couple dead on their floor and the two killers Terry Hart and Compton Lewis eerily sitting casually nearby. She gets away running into the nearby woods where she meets Michelle, a friend of the Feldmans, who was visiting them. The two hit men chase after the women because they must have no witnesses to the murders. Brynn leads Michelle into a nearby state park while Hart and Lewis follow them. As they flee the thugs, they soon run into meth manufacturers in a place they thought they can call for help. Even if they somehow survive, Brynn¿s nightmare will not be over as the worst is yet to come. --- This is a superb cat and mouse thriller made even more exciting once the reader concludes that Hart and McKenzie are similar personalities in spite of being on opposite sides of the law. With actions scenes that will translate easily into a movie thriller starring females who prefer to live but will do what it takes to Die Hard if at all as they refuse to break. Fans will enjoy this exciting outdoor wintry thriller with two born killers chasing two strong women. --- Harriet Klausner
I loved this book. It was suspenseful and never let my attention deviate when I was reading it. Usually fall asleep by 10 and had 3 12oclock nights in a row because I just could not put it down. Would recommend it to anyone who enjoys murder/mystery novels. Loved that the officer it is about was a woman.
Highly recommended. Full of twists and turns that are Deaver's style. The characters you thought you knew are not who they seem to be. Couldn't put it down.
I have read several Jeffery Deaver Books and find him am excellent story teller. The novel moves along at a good pace as do all his books. His charactyers build steadily if predictably in this case. The novel was a "page turner" for me but the fact that it takes place in all one day forces a great deal of action into a compressed time frame which can be a little frustarting since it seems difficult to accept that so much bad can happen to one person in so short a time. Very much like the Die Hard Movies after a while it becomes hard to swallow but worth a read as an escapist novel.
After reading The Bone Collector and other Deaver novels, this book was a real let down.
Story line was good and interesting. My only complaint was is a little too verbose. Story tended to drag at times. I purchased as an audio book (I use for long drives).
I used to love Jeffrey Deaver's books, but they keep getting more and more ridiculous. This one started off pretty well, but then became painful to read in parts with the double-, no, triple-, no wait! quadruple-crosses. I was appalled that his editor would let him get away with such sloppy writing. There were way too many "I know that he knows that I know that he knows what I am going to do, so I will do this!" plus the numerous times the victims are "cornered with no escape, surely this must be the end of the road", ad nauseam. I was very disappointed with the book. I hesitate to purchase another of his books.
It's very rare for me to find a "suspense" novel whose ending I can't predict. This one had me delightfully guessing until the very end, and threw me curveball after curveball. The action is very fast-paced, and just sucks you right in. The characters, though, are a little one-dimensional and hard to relate to. You know which ones are "the good guys" (or at least you think you do. . .) and root for them accordingly, but only because you want to see the bad guys defeated, not for any particular attachment to a character. If you're looking to get lost in a good book for a while, and being taken on a roller coaster ride to boot, this one fits the bill. I can't wait to read more.
The plot is intriguing. The characters are flawed which adds realism. The story had some twists and turns that made it a good read. After the climax, the story lost momentum. The wrap up was drawn out and needed some spicing up.
After over 200 pages of the bad guys following the good girls through the woods, I give up. Will not continue.
i usually love deavers books but both of the books for 2008 were disappointments. the bodies left behind was nice in the beginning because it was a stand alone book, all new characters, sometimes lincoln rhyme can get tiring, kathryn dance is still new. i have to say that the story i though was better then the broken window, which i thought was rushed and not throughly worked out. this book the story was interesting up until about 90 pages left when it seems like deaver got tired of writing and just quickly wrapped up the book, more like a inexperienced author would. please mr deaver if you ever see this dont put out 2 books a year again, i would gladly have one great book every year or so rather than 2 ok books every year. still worth a read though, just dont get your hopes up.
...when I reached the end of this book, I was really disappointed. It started off slow, picked up in the middle and then completely dropped at the end. I wouldn't recommend this one, but don't let this turn you off to all of the Jeffery Deaver books.
I'm a fan of Jeffrey Deaver's work, especially his Lincoln Rhyme novels, but this book just wasn't my cup of tea. It seemed to drag along and I found myself just wanting it to end.
First book I've read in a while that i couldnt put down.
Deaver's Deputy Sheriff has drive-to-excel, and an analytical mind. However, she is a day late in asking the question "What of the 'other gun' that shot the tires'"? The end question of Hart leaves several options and the reader is forced to either choose one or just smile…or frown because it was not written as to whom last saw him.


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Child Care
The following changes to the Child Care Program are effective October 2016:
- Child Care assistance will now be reviewed every 12 months
- The income limit during the review period increased to 85% of the State Median Income limit
- Customers may be eligible for the three months of Job Search Child Care
- Customers may be eligible for the continued child care for the allowable temporary changes
Additional information can be found in the Requirements section below.
Child Care assistance programs help parents cover the cost of child care. Once approved for Child Care, the payment is sent directly to the provider selected by the parent.
- Employment Support Child Care
Helps employed individuals pay for child care.
- Job Search Child Care: Helps individuals who are open for Employment Support and lose their job, pay for child care while they search for a new job.
- Temporary Change Child Care: Helps individuals who are open for Employment Support pay for child care while they are experiencing temporary house hold changes.
- Family Employment Child Care Program
Helps individuals who receive or are applying for financial assistance pay for child care.
- Eligibility Policy
- Income Limit Charts
- Top Ten Resources
- Provider Payments
- DWS Family, Friend and Neighbor (FFN) Approval
- Office of Child Care
- Kids In Care: Child Care assistance for unemployed parents
If you have already applied for or are receiving child care assistance, you can sign up or log in to myCase to get information, recertify and manage your benefits.
Choose a child care provider
- careaboutchildcare.utah.gov
Visit their website to find qualified providers across the state


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Remittance Flows under Asymmetric Information: A Contracting Approach
Seshan, Ganesh
Zubrickas, Robertas
Permanent Linkhttp://hdl.handle.net/10822/713180
Date Published2013
This item is currently unavailable in DigitalGeorgetown due to copyright restrictions by the publisher.
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Berica is helping a property consultancy replace clipboards and paper. Benefits include greater productivity, improved presentation quality, accuracy and speed of response to property owners.
Facilities Managers now use tablet computers to generate property survey reports onsite, even when offline, submitting them wirelessly to Microsoft SharePoint for analysis, client reporting and archival.


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The Barbie Dreamtopia Rainbow Lights Mermaid Doll is great fun during bath time or at the pool! Dip the Barbie Rainbow Lights Mermaid doll into water and watch her beautiful tail light up in pretty colours! You can even bring the magic ashore by pushing the button in the doll's necklace to enjoy the light show without water!


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Aloha Petroleum Exec to Head Western Petroleum Marketers Association
Robert Fung is the first from Hawaii to lead the 60-year-old trade group.
HONOLULU -- Robert Fung, secretary and general counsel at Aloha Petroleum Ltd., was appointed president of the Western Petroleum Marketers Association (WPMA). His term begins July 1.
"It's quite an honor to be selected to lead WPMA and I'm humbled by the privilege to do so," said Fung, who is the first Hawaiian to lead the trade organization. "It will certainly help to boost Hawaii's profile in the region and reaffirm our contributions to the petroleum industry."
Salt Lake City-based WPMA, founded in 1953, is comprised of seven state associations representing Hawaii, Idaho, Montana, Nevada, New Mexico, Utah and Washington. Hawaii is the youngest member of WPMA and the smallest of its member states.
Fung has served on the WPMA executive committee for three years, most recently as first vice president. He also served as president of the Hawaii Petroleum Marketers Association for five years.
"During my tenure, I hope to grow and expand the national convention; strengthen benefits, services and educational programs for members; and help make the scholarship foundation self-sustaining," said Fung.
Honolulu-based Aloha Petroleum Ltd. operates more than 100 Shell-, Aloha- and Mahalo-branded convenience stores and gas stations in the Aloha State.


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text: Andrew Bernstein was first assistant director and director on The West Wing. He has gone on to direct episodes of John Wells' ER, Aaron Sorkin's Studio 60 on the Sunset Strip, and Psych (starring Dulé Hill, Corbin Bernsen and Kirsten Nelson), among other programs. Most recently he was a co-executive producer of Pan-Am.


text: Posted August 24, 2007 Do you think it was right for the DNR to do this? My aunt and uncle were out in there boat on July 4th they live right on Games Lake. Anyway they decided to go out in their boat so they could watch all the fireworks shoot off. So they go out there. They see one other boat come out stop over by the channel and shut its lights off. Keep in mind it is dark out. About tem minutes later another boat goes right to where the first boat was and shuts there lights off. So my uncle decide to shut his lights of to keep the bugs away. A little while later they see a big wake coming at them. It was a boat coming right at them. He said that the boat was about 20 yards away and they both switched their lights on at the same time. It turns out it is the DNR officer. he said you should of had their lights on and gave them a lecture and a ticket. Before the DNR left he asked my uncle do you have and questions for me. My uncle then asked him, Do you ever drive with your lights off? The DNR said no and drove off. SO the C.O. drove a few hundred yards without his lights. I don't know if my uncle went to court to fight it but I saw in the paper he got fined. He didn't mind paying the fine because he knew he was in the wrong already. But I don't see how the DNR can travel without their lights on. I herd other stories of this C.O. and it sounds like he is a real ...... Share this post Link to post Share on other sites


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SUPERINTENDENT ANNOUNCEMENT: The Hickman Mills C-1 School District Board of Education has selected HMC-1's own Dr. Yolanda Cargile as who they would like to be the next superintendent. Cargile currently serves as associate superintendent of student services for the district. The decision was unanimous with a 6-0 vote and contract negotiations will now take place.
DON'T MISS OUT: Beginning this spring, parents will be able to register online for the 2017-2018 school year! A new online fee/payment system will also become available. Parents must have an online Parent Portal account created to access both of these new additions. Click here to create your account, or visit your school's library media center for help so you can be ready when these systems go live!
Looking for something to do during Spring Break? On March 14 at 10:00 a.m., the Blue Ridge Mid-Continent Public Library will host the KC Zoomobile: Amazing Amphibians. Explore the amazing world of amphibians with a story that reveals facts about amphibian habitats and adaptations. Then meet two or three of the Kansas City Zoo's amphibian animal ambassadors. Ages 5 and up. Learn more at the library, (816) 761-3382.
Parents & Guardians: We need your help in completing the Title I Parent Evaluation Survey. This information is vital as we Title I funds ensure all of our children have access to a high-quality education. We thank you in advance for your feedback.
HOT OFF THE PRESS: Read about the Freshman Center's Blue Ribbon week, Ruskin's Fandomania, Ingels' spelling bee winner, and masterpieces being created at Warford in January's e-newsletter.
PARENTS: No parent can be completely prepared for every trial and tribulation of raising a child - especially in our fast-paced world. HMC-1 wants to know what you as a parent would like more information and advice on. Please take our short survey to help decide what topics will be discussed at our upcoming Parent University, April 4th.


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- Cold Sores Slideshow
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- Patient Comments: Herpes Simplex Infections (Cold Sores) - Describe Your Experience
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What tests do health-care professionals use to diagnose oral herpes?
The diagnosis of herpes (cold sores) is easily made based on the visual appearance of the lesions, and the best approach is to see a doctor at the first sign of a blister. If there is concern that the rash may not be herpes, a swab of blister fluid may be collected for viral culture or polymerase chain reaction (PCR) test. This is most useful in the first 48 hours before the blister has crusted over. If lesions resolve, then cultures are of no help, because there's nothing left to culture. Culture results take a minimum of three to five days.
PCR testing detects herpes DNA, but it is not as readily available as culture and is a very expensive test to do for simple cold sores.
Blood tests for herpes antibodies are not usually needed, since finding antibodies to herpes just means that the body has been exposed to this virus at some point in the past. It does not determine if the current lesion is due to herpes. They can be done, though, if the diagnosis is unclear or there is a specific reason to know for certain.
How long do cold sores last?
In primary herpes, the healing process usually takes two to three weeks, but skin pain can last for one to six weeks.


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Language Extender (LEng) is designed for Arabic localization (language support) of new Windows Mobile 6 Classic and Professional devices.
With Windows Mobile Pocket PC Arabic Language Support you can input information in Arabic language in any application on your Windows Mobile Pocket PC, edit it, save, transfer to other Pocket PC's or desktop computers and print documents, Internet pages including texts in Arabic language.
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A. Lange & Sohne > Langematik > Perpetual - 37mm > Langematik Perpetual Mens Automatic in Yellow Gold 310.221 < Previous - Next >
A. Lange & Sohne 310.221
Langematik Perpetual Mens Automatic in Yellow Gold
On Bracelet with Silver Dial
- Item ID - 14334
- Model # - 310.221
- Case - 18KT Yellow Gold
- Case Size - 38.5mm
- Movement - Automatic
- Dial - Silver
- Bracelet - 18KT Yellow Gold Bracelet
- Last Known Retail Price - 109,000
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Light Champagne colored solid silver dial with Applied Roman Numeral Hour Markers. Patented large double window date display located at the top of the dial. Small Seconds sub-dial with inset Moonphase window located at the bottom of the dial.