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Christina Stead referred in many different ways to the fact of her intensely mobile life: her peripatetic life is figured in her letters, interviews and novels as the 'snake's life', the picaresque life, the life lived by the seawoman or the gypsy girl.1 More than eighty years after the publication of her first two books in 1934 it is possible to see Stead's mobility as the centrally energising and centrally constraining fact of her literary production and reception. Her relentless mobility has had ambivalent effects, both constitutive of and yet in some ways strongly detrimental to her career. Mobility has made certain kinds of very interesting trouble for her literary reputation, perhaps most keenly seen in the trope of delay or deferral that characterises her reception in general. The tension between enablement and impossibility wrought by gendered transnational mobility is a feature of Stead's literary afterlives, but, as this essay will suggest, the rhetorical moves that sealed this double helix of possible and impossible were in play during her lifetime. This essay will address the terms, and long-term effects, of these critical moves, as well as the proposition that her lifetime itself contained at least one (but possibly several) internal 'literary afterlives'. I will explore Stead's 'literary afterlife' in terms of rhetorical figures of deferral, related questions of literary politics and literary value and the fundamental impact of her persistent transnational movement. In using the phrase 'literary afterlife', I am following Benjamin's seminal essay, 'The Task of the Translator' (1923), which showcases his rich understanding of literature, temporality and modernity. Caroline Disler suggests that although Benjamin's word for 'afterlife' – fortleben – does connote 'survival', 'a life after' and 'renewal', there are better words in German for these precise meanings. She argues that Benjamin uses fortleben because this word is suggestive of progress, separation, complementarity, supplementation, futurity and transformation ('Benjamin's Afterlife' 10). These terms offer richly nuanced possibilities for the literary afterlife, but they need to be considered in the less utopian and much more resistant context of reading the work of a highly mobile Australian woman writer whose work presents such strikingly ambitious, experimental and political engagements with gender, genre and place.
The contemporary interest in questions of the transnational, in world literary writing and in globalised production and reception of literary texts would seem to promise a new round of genuinely interesting theoretical coordinates for Stead – well-fitted to advancing the cause of more precise and persuasive readings of her considerable oeuvre that spanned such significant time and dispersed space. In some senses this turns out to be true – the well-worn circuit of reading Stead anew for different times and different theoretical commitments continues to push our understanding of her work forward; the question of the transnational is no exception.2 In contemplating the 'fit' between theories of transnational literary production and reception and the question of Stead's oeuvre, what emerges is something more than a routine sense that we are always reading authors in new ways for new theoretical intensities, commitments and emergences. The transnational moment and its potential for a retrospective critical purchase on the mid-twentieth century means certain questions have become clearer and may now invite more precise and persuasive answers. It is certainly a moment in which the linked questions of gendered authorship and the material cultures of print production may be posed with renewed vigour. Nevertheless, one of the cognate questions raised by this examination of Stead's literary value, literary reputation and ongoing structures of deferral relates to the way in which the category of the nation might well operate as the primary or constitutive ground of literary recognition. This account of Stead's reception suggests that without the ground of the nation as guarantor of literary identity, transnational literary recognition may well remain untethered and unstable.
In Stead's case, the question of 'reputation' is cyclically posed yet cyclically unsecured. Since the early reviews of her earliest work, and then the first rounds of scholarly criticism from America, England and Australia, a perverse repetition and amnesia has marked the question of her reputation. The degree of insecurity with its perpetuated impetus for rediscovery is now particular and particularly notable. It seems that we are always 'rediscovering' Christina Stead in a structure of repetition that seems unimaginable if the author were Faulkner, White, Dreiser, Melville or even Lawrence, and the repeated need has come to connote literary neurosis rather than reasoned if always heavily freighted emphasis. Her claim to significant literary reputation seems very great, but at the same time doomed to a messianic temporality of the reputation 'to come' – the reputation that will emerge but just not yet. This conceptual futurity reminds us of Derrida's characterisation of justice – elusive, mutable, undecidable propositions that are always speaking to the future, notions therefore saturated with ambiguous investments and utopian longings.
This essay will focus on the key rhetorical regime under which Stead's re-discovery has been attempted on two significant occasions in the mid-century, which have, I would argue, dominated the terms of Stead's literary reception and reputation ever since. 'Recovery' reviews of Stead's oeuvre by the mid-century American critics Elizabeth Hardwick (1955) and Randall Jarrell (1965) solidly deploy the topos of unjust neglect in order to secure Stead during her lifetime (and her 1940 novel, The Man Who Loved Children, as her symptomatic masterpiece) in the list of twentieth century literary greats. I am interested in why this cultural and critical literary work ultimately failed, after substantial early success; Stead is still neither particularly read (though less unread at universities than is generally suspected), nor is she a well-worn feature of the map of world literature. She is, however, the redoubtable object of essays about being unread by anybody but a shadow set of 'true readers' and their de facto underground canon of great books (see also Jonathan Franzen in 2010).
Indeed, after repeated recuperations on the grounds of being unjustly unread, Stead's literary fame in an abstracted sense now seems to be founded on (or at least inflected by) the ways in which she is well known for not being quite well-known enough. She is unread because, through insistent repetition, she is topologically unreadable. The cyclical recovery of Stead stages what Vilashini Cooppan suggests is an 'otherness that repeated return injects into the place of the familiar' (10). This uncanny mechanism of 'repeated return' has made Stead, or at least her putatively great work, haunted, uncanny and possibly illegible. Elizabeth Hardwick was to say of Melville in her later and very successful project to revive his work: 'This obscurity, or neglect, was to become part of the dramaturgy of Melville's image, even for those who hadn't read him in the past, as well as for those, more than a few, who haven't read him in the present' ('Melville in Love' my emphasis). Hardwick's reading, with its focus on temporality, aligns in interesting ways with Cooppan's extended work on the uncanny in its temporal mode, which she identifies (following Derrida) in the form of the undecidability of those concepts which suggest a doubled frame of now and the future (what she terms the 'now-future'). These concepts, of which justice and democracy are Derrida's strongest examples, are noncoincident with themselves because they are always 'to come' and as a result they are spectral and elusive in the present. Cooppan argues that this uncanny undecidability of time suggests a renvoi – a deferral or referral.
This mechanism of the undecidable temporality of that which is present and also to come is played out in Andrew Bennett's work on the Romantic poets and the thematics of posterity. Bennett argues that the attestation of genius (as the apotheosis of literary fame) is always already about deferral and delay. Greatness rests quite squarely on delayed discovery:
The institution of the aesthetic in late eighteenth century Europe may be said to be bound up with a new sense of the necessity of deferral as an element of critical reception. Once the genius has been defined in terms of originality, in terms of an inaugural break with tradition or convention, then a delay between the production of work and its reception becomes inevitable. (131)
The key role of originality in judgments of greatness means that truly great works of art can never really be appreciated in their own time, especially not by the ever-expanding popular audience. Bennett suggests that the Romantics held on to the idea that if the author's work was recognised and appreciated in his or her own time, then the author had failed the 'genius' test of the new. Posterity would therefore deliver the true test of the greatness and authenticity of original work. This Romantic sense of delayed or deferred recognition is a return to a classical sense of the lasting renown granted by posterity rather than judgments in the present (perhaps the real conclusion after all of the poet-speaker in Chaucer's House of Fame). This Romantic sense of the importance of posterity in literary judgment continued into the twentieth century, with greater technological acceleration of print media and an even bigger and scarier middle class and it is here that 're-discovery' after a period of delay became even more important.
The resolution of deferred recognition through re-discovery foregrounds the importance of literary criticism and its agents. The remediation of neglect (actually the necessary delay, if we follow Bennett) was often powered by the rhetorical engine of arguments about unjust neglect – a favoured argument in the resuscitation of works of importance and/or genius. After the Romantic period and through the long nineteenth century one key job of the passionate literary critic was to be the hand of posterity. The literary critic was in a position to undertake the recuperation of neglected texts and thus bring the work of the original mind to the attention of the literary sphere. Theirs was the remediation and just redemption of neglect. The topos or argumentative 'place' 'of 'unjust neglect' is purpose-built from Book 1 of Aristotle's De Rhetoricae, which proposed both common and specific topics that might aid the orator's invention of compelling arguments. These topoi were delineated positions from which arguments might unfold. The question of the good and the virtuous are two common topoi, as was the question of the just. Justice was a workable and well-understood rhetorical end, and in its forensic or judicial robes, the question of justice was always a question of past events. In literary critical contexts, however, the question of justice or its lack is also a platform for praise or the establishment of renown – a way of assessing the present state of things by assessing literary merit or value. Bennett sees deferral as being a key element of the assessment of greatness and justice and we can pick up the threads of Cooppan's argument about uncanny time (based on Derrida) and reiterate that justice is also a question of that which is present and also 'to come'. In the case of Christina Stead, the literary critical rhetoric that emerged as part of an effort to revive interest in her mid-career work, The Man Who Loved Children (1940), was obviously based on the topos of unjust neglect. This revivalist criticism emerged in the mid-1950s from both Randall Jarrell and Elizabeth Hardwick, only fifteen years after the publication of this book. The terms of this attempted revival were dominated by American literary politics in certain interesting ways, but also clearly participated in the kinds of argumentative structures outlined by Andrew Bennett. I will now turn to the rhetorical force of the literary critical effort to negotiate Stead's standing as a genius and her work's status as a masterpiece. It is the nature of this rhetoric and its lack of long-term efficacy that forms the subject of the rest of this essay, and I will go on to argue that it is not only temporality which is of interest in the question of Stead, literary reputation and literary value, but also the textured and difficult matter of gender and transnational space.
Judgments about greatness and the neglected geniuses of American literature who needed to be recovered constituted a very serious industry in the immediate post-war and Cold War American literary world. No group was more assiduous in this work than the New York intellectuals, among whom Elizabeth Hardwick was numbered, though mid twentieth-century American literary critics of all stripes were determined to find some neglected geniuses. Recovery work undertaken by a band of literary scholars and critics in the postwar period tells us a great deal about the way in which we still read the American literary history of the 1930s through the lens of the 1950s. I would suggest that this lens on the '30s from the '50s is a key fact in the reception of Stead and one that has dominated the work on her since Hardwick and Jarrell defined the terms in which she might or should be read. Their decision to recuperate Stead was connected to the cultural mechanism of literary recovery, but the work undertaken around them was avowedly connected to American identity.
The Man Who Loved Children was recuperated in America in the mid-1950s and early 1960s by positing Stead as a 'neglected genius' and the novel as a 'world classic'. One of the many interesting aspects of Stead's ongoing recuperation is that it has been attempted while she was well and truly alive. A similar timing has marked the recovery work on Dreiser, who has fared much better in general, it must be said. The foreshortened time of deferral between publication and true reception is important in the case of The Man Who Loved Children, emphasising the key dividing line of World War Two, but also indicating that Stead, as a left-wing woman writer surviving in the hostile Cold War years after a politically torqued 1930s, was equivalent to 'missing, presumed dead'. This fact of political affiliation as the equivalent of literary death is part, I would argue, of the sense that one of Stead's literary afterlives occurred in the mid-1950s and mid-1960s, while she was alive but negotiating the hard facts of existence as a left-aligned political writer attempting to survive in the Cold War in Europe and England.
In 1955, Hardwick published an essay in The New Republic called 'The Neglected Novels of Christina Stead' in which she registers this serious case of the missing author. She starts by suggesting that 'there are many roads to neglect', but that the 'road' in Stead's case involved being actively sidelined: 'set aside, misplaced, quietly and firmly left out, utterly forgotten, as the bleak phrase has it'. The 'utterly forgotten' – the 'bleak phrase' to which Hardwick refers – appears most notably in St Augustine's Confession (Book 10): 'For we have not as yet utterly forgotten that which we remember ourselves to have forgotten. What then we have utterly forgotten, though lost, we cannot even seek after' (The Confessions of Saint Augustine 181). The bleakness of the 'utterly' references Augustine's assessment that 'lost' is one thing but absolutely fallen out of memory is another kind of negation. Fifteen years after publication, The Man Who Loved Children in particular was beautifully reviewed, recovered and revived by Hardwick under the sign of neglect, and the terms of this neglect were serious – neglect amounted to not only being unread, but actively and effortfully forgotten.
Hardwick continued to flesh out the terms of Stead's literary disappearance by figuring it as an inability to be visualized. Here she produces an elegant litany of negatives – a performance of negation that reinforces the sense of Stead being so forgotten that she cannot even be sought:
At the present time none of Christina Stead's work is in print. Her name never appears on a critic's or journalist's list of novelists, she is not a 'well-known woman writer'; she has written about finance, about Salzburg, Washington, Australia and yet neither place nor subject seem to call her image to the critical eye … She is, as they say, not in the picture, not right now at least, and therefore one cannot learn much about her past or her present. (17, my emphasis).
The visual tropes are intriguing here as formulations of negation: Stead cannot be seen because she cannot be visualized – she is a blind spot. 'Out of the picture' – the more common usage – can be glossed as dead, departed, irrelevant. 'Not in the picture' also denotes being uninvited and unwanted, but specifically connotes being blackballed – left out in the political cold – a phrase indicating Stead's lack of political favour. The resonance of this phrase would have hardly been lost on Cold War readers – it had been in common lexicon in Hollywood and other areas of the Arts in the US from 1947 as a way of identifying the active conspiracy against suspected Communist and fellow travellers to ruin reputations to the point of unemployment and non-association. Stead's lack of visibility – her inability to be called to the critical eye even in the context of reading her work (neither place nor subject seem to call her image to the critical eye) indicates the lack of mooring or security, a kind of disremembering that has overtaken her literary work and presence. One implication here is that the active forgetting marking Stead's career has a political dimension. Another is that she is so unusual, so wide-ranging and international in topic that she cannot be tethered to her own work. The corollary here is that she cannot be placed in time (one cannot learn much about her past or her present) and she cannot be 'seen'. This is indeed a testament during Stead's lifetime (she was in her early 50s) to the nature and material effects of her unorthodox transnational movement and the ambitious and unusual nature of her work.
Hardwick, who would go on to write a monograph on the unjustly neglected Herman Melville (also neglected in his lifetime, also a pioneering and experimental realist), argues that the image of lost art treasure – 'a Vermeer in the hayloft' – 'has always stirred men's hearts' but that the reality for Stead is that 'the dust, grimly, meanly collecting, has fallen upon work of sheer astonishment and success' (19). This parallel with Vermeer builds on Hardwick's argument that Stead cannot be called to the critical eye – which extrapolates her sense of Stead as a kind of blind spot – she is 'not in the picture'. Stead's work is equated to the fate of a Vermeer, which here offers the formulation of a picture that is not in the picture, as it were – a doubly negative mise en abyme of an image that perhaps should be in a gallery but can't be seen. Citing the Dutch master is a canny move, and, importantly, a European one. Vermeer was a provincial genre painter neglected in his own lifetime. After being re-discovered in the mid-nineteenth century (by the French art critic Etienne Thoré, who began buying Vermeer as early as 1860), Vermeer became posthumously renowned for his domestic interior scenes of middle-class life and his treatment of women in this space. The time of neglectful delay in the case of Thore's recognition of Vermeer was 200 years. Hardwick's sense of the dust collecting on Stead's work goes to a deferred scene of recognition of fifteen years, for a work that she identifies as 'neither old nor new' – a complex mid-century Cold War scene of reading where the book seems to exist in a kind of categorical confusion that surrounds the untimely or non-continuous that Vilashini Cooppan declares is the sign of uncanny temporality.
The lost masterpiece is part of the fantasy (the picture in the attic) of literary capital as treasure and almost pure profit: all that is required is for expert eyes to uncover riches left through the ignorance of others. Yet, expertise is critical: if the recognition of work or works of consummate literary skill is hard enough to achieve in the general way, then deciphering the singular example of quality or type is even more so, since originality and singularity are sui generis by definition; they exceed or confound common criteria and comparison. Hardwick's essay on Stead in the mid-1950s showcases the unjustly neglected masterpiece line of argument that positions Stead as a neglected classic of European provenance, since no other position or place will do – there is not another place to put Stead. Hardwick's own registration of the fact that she is not held in the critical eye – and even then there is no functioning place to put Stead, much less even quite see her in the first place – is a fascinating thorn in the side of the project of revival. However, Stead's universal greatness (her Vermeer status) should, and indeed must, carry the day, which is so striking and yet perhaps inevitable in this period for a writer so specific and politically marked in her work.
It was a further ten years before another serious and even more sustained call to revive Stead's literary reputation would emerge, and this time the call to universal literary merit would be sounded and would stick for a considerable time. This call came in the form of a 1965 introduction to a re-issue of The Man Who Loved Children, which obscured, for a while, the 'blind spot' around Stead and her work articulated by Hardwick. The prestigious American poet and critic Randall Jarrell read The Man Who Loved Children as a European (really quite Russian) book that had been tragically neglected. His introductory essay, 'An Unread Book', is a passionate thirty-page argument for justice for the neglected masterpiece and one that has qualified general readings of the work ever since. Randall Jarrell's powerful performance of a reading of the unread book proved so persuasive that Holt sold over twenty thousand copies in a year (1965-1966) – at least four times the novel's original print run – and Stead's reputation as one of the great writers of the twentieth century seemed as though it had been made overnight, though twenty-five years later and while she was still living, now in her early sixties. Only one edition of The Man Who Loved Children published since 1965 has omitted the Jarrell introduction – the Everyman's Classics edition, which includes a wonderful introduction by Doris Lessing, who does not speculate at all on why Stead isn't read. The Miegunyah Press edition includes an introduction by Jonathan Franzen (first published as an article in the New York Times in 2010), but includes the Jarrell essay as an afterword, as corroboration of Franzen's overt geneaological positioning of himself in the Jarrell line of 'recovery reading' of the unread book by the true readers and astute fans of Christina Stead.
Building on Hardwick's Europeanised 'Vermeer' citation, Randall Jarrell identified Stead directly in international canons of writing and the category of world literature familiar from American studies of comparative literature (Dostoyevsky and Tolstoy feature strongly in this rhetorical strategy), thus sidestepping thorny questions of nationality and gender. Jarrell and Hardwick's work to insert Stead into a world literary canon of neglected geniuses worked extremely well where really nothing else would serve because they either elided or neutralised those aspects of the American literary critical field that had made the Christina Stead 'blind spot' virtually inevitable: the political criticisms of the New York intellectuals, the problematic insertion of Stead into any canon of modernism, the vexed issue of what to do with satirical and political women writers. They both did this through an identification of universal appeal wrought through particularity: Jarrell finally and resoundingly sees Stead as being as 'plainly good' as Tolstoy, Dostoyevsky and Proust for her extraordinarily original representation of the universal experiences grounded in the portrait of a particular family (37). This universal/particular axis of appeal was nothing unusual for literary criticism of the time, of course, but it must be remembered that both Hardwick and Jarrell would have known and understood – in general terms – Stead's political and literary milieus of radical New York in the 1930s, so the recuperation worked through a rather tacit and important set of elisions – another registration of the 'blind spot' created by Stead's various challenges to categorisation.
I have written at length about the Jarrell introduction elsewhere, but in this context it is worth pointing out that Jarrell's consciousness of literary posterity and its exigencies was exercised in the context of American novels rather than European. The dialogue with Hardwick's account of what it is to discover a book neither old nor new, and the melodrama of discovery, abandonment and rediscovery is quite clear here:
When we think of the masterpieces that nobody praised and nobody read, back there in the past, we feel an impatient superiority to the readers of the past. If we had been there, we can't help feeling, we'd have known that Moby Dick was a good book – why, how could anyone help knowing?
But suppose someone says to us, 'Well, you're here now: what's your own Moby Dick? What's the book that, a hundred years from now, everybody will look down on us for not having liked?' What will we say to them?3
Despite the dramatised self-mockery and implied ironies surrounding literary taste and critical judgment suggested by Jarrell's hypophora, the ratiocinative urgency with which he addresses the injustice of Stead's past, present and potentially future neglect (the urgent concern with posterity) drives his introductory essay and has made it powerful, influential reading for over fifty years. Moby Dick and An American Tragedy were the American comparisons to Stead summoned by Hardwick and Jarrell in the mid-1950s and mid-1960s. When we compare the fate of The Man Who Loved Children to these works of the American literary canon, we must say that Stead has fared less well in terms of 'stick'. By continuing to be famous for universal greatness and unjust neglect, Stead's The Man Who Loved Children and her body of work continues to suffer a kind of strange and strangely persistent erasure. In Stead's case, it seems that the claim of unjust neglect comes to stand in for (and be read instead of) the book itself, and the rhetorical effect here is to outline a space of repeated and ambiguous negation and absence. Through repetition, the assertion of non-reading becomes marked and stabilised as negation and as stasis, too.
Despite the setting, characters and plot of The Man Who Loved Children, the American critics did not recuperate Stead's masterpiece for the project of American national identity. The implication from both Hardwick and Jarrell is that the American material, though compelling and virtuosic, was simply not authentic, though admirably particular. It was a hybrid and maybe even failed copy of America – a counterfeit that declared its strange hybridity and transnational instability by falling considerably short of a convincing performance of the place and time it sought to depict. Stead, by the American account in general, inhabited an international kind of space (probably a bit British) since Australian identity was not being performed by either book or author, and could not be properly or fully conceived by American critics. A more diffuse milieu of the tradition of Great Books (a location which emerged from older traditions of American comparative literature courses) was put into play for the Australian Stead's masterpiece of American life. It was a placement which did not prove to be a stable location. The neutralisation of dissident and radical textual work that complicated the boundaries of nation, gender and genre – a neutralization in which Hardwick and Jarrell participated as admiring and astute fans of Stead's work – failed to work as well.
As effective as the topos of unjust neglect of a world masterpiece appeared to be in 1965 (and again in 2010), it must be said that it is a topos that, of course, obscures the complex material conditions of production and reception and papers over, as it was absolutely meant to do, Stead's pressing and brilliant engagement with genre, gender and ideology, which are really the grounds for her obscurity. Why is it that the placing powers of arguments about justice and world renown – the reference to universal literary merit – did not create a 'place' in the literary canonical gallery for Christina Stead? Reference to the worldly text and its universal appeal was meant to vanquish the problems with reputation, political affiliation, classification and the writerly and material effects of substantial transnational restlessness. The very thing that made the unjust neglect arguments for Melville, Twain and Dreiser stick in place was the category of nation. The sense in which Tolstoy and Dostoyevsky were greats of the world literary canon is grounded in the security of their undoubted Russian-ness. The primary ground of national identity and the performance of nation in their work is the original and necessary step before comparative world literary recognition. Stead was and still is, to a certain extent, left with two things instead – no places and many places.
The fact that we seem always to be rediscovering Christina Stead is, therefore, imbricated in this point about no place and many places, which arises from (among other things) the citation of the world literary scale without legible national grounds securely established. The ultimate failure of the rhetorical powers to 'place' promised by the topos of the unjust neglect of the world masterpiece is related to the proliferation of classification and category summoned by this 'no place/many places' conundrum. I have no desire to 'solve' this by successfully domesticating Christina Stead; I don't want to argue for a stronger sense of national categorisation and I don't think that the transnational turn is going to produce necessarily any startling capacity to embrace, name, or marshal Stead's work. Instead, I want to dwell on classification itself – especially the issue of the unclassifiable that this desire for secure greatness reveals. I will now lay out the ways in which the difficulty around classification may lie at the heart of often articulated difficulties with Stead's writing. This is because the unclassifiable is the place of the atopic – from the Greek 'not a place' – and that which resists the force of the placing arguments of justice and neglect, and joins runaway forces with the semiosis of originality and of the sui generis.
In spite of the fact that the citation of The Man Who Loved Children as a universal worldly text should be the most convincing it has ever been in the context of the transnational turn in literary studies, I would argue that Stead remains resolutely difficult to classify. The unclassifiable – that which cannot be included within a class or category – comes from the Greek word atopos. In a mid-century French–Greek dictionary, Bailly glosses atopos as referring to that which is not fixed in any place, as well as that which characterises what is strange, extraordinary and inopportune (Bailly 303). Twenty years later, in A Lover's Discourse: Fragments (34), Roland Barthes uses the word atopos/atopie to designate 'the unclassifiable, of a ceaselessly unforeseen originality' – the unusual, the unclassifiable, that which resists stereotype. For this purpose, he exposes the double sense of the word 'topos', which in Greek means both place and discourse. By the force of the negative prefix, a, atopos would therefore mean not only what cannot be coined in a single place, but also what resists description and definition (A Lover's Discourse 34-35). It is from his theorisation of the unclassifiable and ceaselessly original in writing that Barthes formulates his concept of écriture and his account of jouissance – that which makes the reader uncomfortable and shakes her foundations.
The unclassifiable can also be associated with the idea of heterotopia, since we can also use the work that is unclassifiable to designate what may be included (if only provisionally) in several places at once, given the often contradictory diversity of its parts. In this case, all the categories in which it might be included are insufficient to accommodate it. In each category the heterotopic maintains its troublesome difference and explicit alterity – since it moves among various topoi, it does not allow itself to be enclosed in a single one. If the atopic speaks to Stead's originality, following Barthes, then the heterotopic (what I think of as cognate with the encyclopaedic) speaks also to her internal movement and her literary ambition. That is one reason why her work remains 'difficult'. Christina Stead: colonial, Australian, avant-garde woman writer, and left-wing political satirist on the move in between the global north and south in the early, middle and later parts of the twentieth century – of course Hardwick and Jarrell opted for the universal and the worldly. The complication of categories and the very ambition and international range of Stead's fiction means that the badge of 'encyclopaedic' works well, despite its dissonance with the received categorical features of 'woman writer'. 'Encyclopaedic' would never make for a good campaign slogan to secure literary reputation for women in any literary tradition, but it is in fact the international list of the literary encyclopaedists who offer some of the most interesting parallels and comparisons with Stead: Diderot, Balzac and Rabelais, Joyce, Melville and Pynchon. Again, the inherent categorical challenge posed by 'encyclopaedic' is part of the architecture of Stead's literary reputation in the twentieth century.
If there is a cause of action or a case to answer on the question of the justice of Stead's reputation and the vagaries of her literary afterlife, then a mechanism for 'doing justice' might be found in the ethical and rhetorical orientation of J. Hillis Miller, who has taken up Derrida's work on justice in the context of literary close reading. As Derrida suggests in his essay on Hillis Miller, 'Justices' (which speaks to the dialogue between the two men across many years), the unceasing close attention to the strangeness of literary language and particularly to patient rhetorical readings of figure is where 'justicing' can be found. Hillis Miller's deconstructive rhetorical reading doesn't collapse Derrida's sense that justice/democracy is always 'to come', but, I would suggest, instead performs a wonderfully critical and readerly capacity to acknowledge, again and again, the ceaseless originality and the true avant-garde spirit of certain literary work. As my reading of figure in Hardwick's essay suggests, the ongoing process of 'doing justice' relies on our openness to specificities of gender, genre, political vision and literary language. Hardwick and Jarrell's heartfelt and invested claims for Stead's work and reputation invite us to continue to rediscover her endlessly as we read our way through and out from under wonderful and wonderfully sympathetic claims about her universal or world literary greatness. We might participate in the continuing deferral of justice, and even the recognition of genius, but we are arriving over and over at the moment of reading the magnificently strange and productively unplaceable work of Christina Stead.
I thank Gail Jones for her question to me about the idea of the literary afterlife when I first presented this work as a paper. I also thank Brigid Rooney and the anonymous peer reviewers for invaluable suggestions about this material.↩
There have been several key moments of taking stock of Stead's reputation and of the state of the field. Above and beyond the kind of scholarly due diligence in most monographs and introductions to edited collections on Stead, Louise Yelin has concentrated on Stead's critical fortunes in 'Christina Stead in 1991', World Literature Written in English 32.1 (1992): 52-54) and 'Fifty Years of Reading: A Reception Study of The Man Who Loved Children' in Contemporary Literature 32.4 (1990): 472-498. A decade or so later, Margaret Harris continued some stocktaking work with 'Christina Stead and her Critics', the introduction to an edited collection of essays, The Magic Phrase (2000), and then 'Christina Stead at 100' for JASAL 2 (2003).↩
Randall Jarrell, 'An Unread Book', Introduction to Christina Stead's The Man Who Loved Children (Penguin: London, 1970) 36. Subsequent page references are given in-text.↩


text:
The Jolly Roger is a inn in Port of Crabs. It is a large, old stone building, standing close to the quayside. Over the sturdy oak door is a faded sign declaring that this is the Jolly Roger. The spacious bar inside is packed with scurvy-looking sailors and other low-lifes. The landlord (at the time of the events described in Bloodbones) is as big as an ox and has a large anchor tattooed on one arm.[1]
One of the patrons of the inn was an old drunk called Dregg.[2]
See AlsoEdit
- ↑ Bloodbones - p.18
- ↑ Bloodbones - 150

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The Museum's Education Team presents a wide range of hands-on LEOTC education programmes.
Education programmes are available from 8.30am to 5pm every weekday during school terms. We are happy to tailor our offerings to suit your learning outcomes and class needs.
Discovery World Tropical Forest (recommencing 2018), the Perpetual Guardian Planetarium and Science Discovery programmes incur a small fee. All others are free.
Download the 2017 programme catalogue or contact our Education team for more information.


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Looking For The Hat Box Tutorial Posted On This Site
Decorating By boxermomma Updated 1 Sep 2011 , 3:19pm by Ansher
Hello all....I know a while ago a lady posted how to make hat boxes
with flowers coming out of it.....they are absolutely beautiful and I would appreciate it if someone can let me know where it is....I have been searching but cannot fine . Thanks so much!
5 replies
Thats it!!! Thank you soooo much
You're welcome
Here is another hatbox cake : http://cakecentral.com/gallery/2071774
Look at this also: http://cakecentral.com/gallery/2109359


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There are reputed to be 30m stamp collectors, or philatelists, worldwide. Numismatists, or coin collections are fewer in number, but growing. So with a collector base like this, there is depth and liquidity to the market and, for these reasons, many now see it as an interesting investment alternative.
As with other forms of tangible asset investment, though, there are traps that they unwary could fall into. The stamp market in particular, dominated by Stanley Gibbons, is known for big spreads between bid (selling) and offer (buying) prices. If the spread is, say, 10 per cent, your investment would therefore have to increase by this amount before you made a profit.
Consequently, other dealers grumble about the stranglehold Gibbons has on the market. Arguably, this militates against short-term gain. However, as with coins, over a longer time span – and discounting bubble conditions that have appeared from items to time – returns can be in low-double-figure percentages.
Like other collectibles, specialising in an area you know about, and buying a relatively small number of items in tip-top condition, is the best route. While no guarantees are offered, in cost cases, if you buy an investment-grade item from a dealer and then change your mind, it be generally be sold back at cost.
With stamps, the areas to avoid are those issuing has been profligate level. For example, while they are interesting to some, modern first-day coves have little value to investors. Stamps from the Edwardian and Victorian era are generally the only game in town.
As with coins, the rarest items are often errors and proofs. Genuine rarities, where there are few known examples in existence, can fetch prices in five or even six figures. Philatelists go into a state of rapture over 'multiples' and examples of stamps from the edge or corner of a sheet.
So, unless you are a real expert, navigating markets like this can be something of a problem. That's why Stanley Gibbons and some other dealers are happy to put together portfolios for would-be investors – and this can be a good first step.
As you become more interested in the subject, you may then strike out on your own. But be careful. Some dealers regard buying stamps for investment as vulgar.
An interesting twist on the investment theme is the guaranteed minimum-return contracts offered by Stanley Gibbons. These specify a level of investment and give a fixed minimum return, calculated on the basis of simple, rather than compound, interest. The contracts are backed by a dedicated portfolio of stamps.
Invest £10,000 for 10 years and you guaranteed to receive £16,000 at the end of the term.
If the stamps are worth more than this, you can either keep them, or sell them commission-free through a Gibbons auction, or sell them back at 75 per cent of catalogue value. Contracts for shorter periods offer lower returns. A five-year contract will return 125 per cent of the amount invested at the end of the period, for example. The stamps are stored by Gibbons free of charge.
For more on investing in stamps, see
There are no products like this currently on offer in the coin market but, if you're unsure which coins to buy and how much to pay, getting the experts to work for you is a viable option. Established dealers such as AH Baldwin and Spink can put together investment-grade portfolios for clients wishing to invest in the coin market.
If you plan to strike out on your own, the same rules apply: buy the best you can afford, in the best conditions. Buy in an ears you know, or that you have a specific interest in. Specialise and focus.
But if you think the coins themselves are a bore, and you simply want some diversification, an interesting option for non-numismatists is to buy shares in Avarae Global Coins (AVR). This is an Aim-traded investment fund invested in a wide-ranging portfolio of coins, including the recently acquitted 'Leopard', an early English coin that, at £400,000, is the most expensive ever sold in Britain. Isle of Man-domiciled, Avarae is advised and managed by Noble Investment (UK), AH Baldwin's parent company. Its share price is expected, over time, to track the underlying value of the portfolio.
Unlike the coins themselves, Avarae's shares can be put in a Sipp.


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Carnival Magic is magical: Carnival Magic Cruise Review by deserttreehouse
Overall Member Rating
Carnival Magic is magical
Destination: Bahamas
Embarkation: Galveston
We spent a ton of time in the casino and when we got enough points on our cards, we got free drinks! We ran the staff in the casino ragged fetching drinks. We loved the energy in the casino. We did a slot tournament. We also attended tea time once, with tons of sweet desserts to boot. We attended the piano bar with Imani and had lots of fun sitting, drinking, watching and listening. The staff More in the Northern Lights restaurant is so funny with their dignified antics. We loved the 24/7 pizza, so good and the 24/7 ice cream, yummy. We did the slide and loved it. We loved the Serenity deck for it's huge round chairs for two or more, for the huge hammocks, and for the hot tub. We attended an art auction and ended up buying two pieces of art. We loved the fried grouper in the Red Frog Pub and the Kalik Beer is the best. We loved the scrambled eggs in the Lido Buffet in the morning. The Tandoor Kitchen is to die for, when it's open, outside by the pool, don't miss it. We loved the saltwater pool, very nice. We loved the breakfast on Deck 5, too, very convenient. We loved the show we saw with the illusionist from Las Vegas. We dined in the Italian restaurant one night and loved the singing wine hostess and the antipasti and the spaghetti carbonara.
It would be very difficult to do everything on the ship in the seven days we had. We tried! Loved getting to spend an extra day in Galveston before and after the cruise. This was our 18th wedding anniversary trip. Less
Published 05/26/12
Cabin review: 4H1282 Interior
We loved our inside stateroom on Deck 1, can you believe it? The shower was great, plenty of room, nice almost hot water, great pressure, lots of shelves to put stuff. Lots of closets and drawers for everything, plenty of room for two large suitcases and numerous small bags. The best part was the bed, the pillows, and the comforters. Sleeping in this room was like sleeping in a little cradle and being rocked gently to sleep each night with some nice white noise from somewhere in the engines that puts your brain straight into dreamland. Loved going to sleep in this stateroom. We were a little worried about not having a balcony, but we never missed it :) If you stay in one if these staterooms, rest assured that these are well kept secrets.Read All Interior (4H) Reviews >>
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Read Cruise Critic's Carnival Magic Review >>
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Under Armour Judgement U Lacrosse Head
- Under Armour Judgement U Lacrosse head.
- Glide Scoop technology reduces resistance when scooping on multi-turf.
- Stiff head to compete with the elite series of top offerings from other manufacturers.
- Sidewall design creates rigidity for super-stiff performance
- Textured back of Scoop to slide better on grass and turf.
- Available: Universal
- Limited 6-month warranty direct from Under Armour Lacrosse.
30 days from purchase, beyond 30 days see Under Armour manufacturer warranty terms
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Returns & Exchanges
This item available for worry-free returns and exchanges with no restocking fees for 60 days from date of purchase unused and in original manufacturer packaging.


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MMA H.E.A.T. is proud to present the first technique in our new instructional series with Strong Sports Gymnasium in Los Angeles, California. In this video, Strong Sports' instructor and MMA veteran, Vladimir "The Janitor" Matyushenko, teaches you how to do a double leg takedown with UFC Hall of Famer Frank Trigg.
For more information on Strong Sports Gymnasium, including their class schedule, please visit: http://www.StrongSportsGym.com. Their gym focuses on the basic building blocks of strength and conditioning, and mastery of essential and proven skills. With western martial arts at its base, classes stress awareness, preparedness, and health to ready students for competition, self-defense, and general well-being.
Please remember, you can also find our content using these domains:
* http://www.MMA.media: HD video coverage
* http://www.MMA.audio: iTunes
* http://www.MMA.help: pro-MMA techniques and instruction
* http://www.MMA.diet: essential nutrition and discounts


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We design and develop mobility solutions that help consumers to move safely and professionals to work efficiently. Our focus is on how we can improve environmental impact, improve safety by creating great ergonomic solutions for the driver and reduce operating costs.
From e-bikes to heavy commercial equipmentWe design both external body parts and interiors for trucks, construction equipment, agricultural machines, trains, trams or other means of transport. But also mobility solutions like e-bikes.
Concentration of drivers, whether we talk about a tram-driver or a wheel loader operator, is key in safety. More and more indicators, vehicle status modes, fuel consumption data, entertainment systems, camera views, safety sensor sounds are applied in commercial vehicles. And they all ask for attention from drivers.
The style of operation of a vehicle counts up to 30% of fuel use. Not only the style of driving, but also the style of using for instance hydraulic systems in heavy equipment. Mostly hybrid or electic solutions could help to make the vehicles greener, also in heavy equipment.
Next Generation Volvo L350I HybridIn cooperation with Volvo Construction Equipment we designed the L350I Hybrid, a concept study for a future successor of the present L350F.
The Volvo L350I Hybrid is a 52-tons wheel loader, designed to withstand the toughest operating conditions such as face loading freshly blasted rock.
Fuel consumption accounts for up to 30% of the total owning and operating cost of a wheel loader in this size class. The L350I is equipped with an efficient Volvo diesel engine in combination with plug-in hybrid technology, offering at least 15% - 25% lower fuel consumption than its size class competitors.
When designing new vehicles, mostly based on technical proven platforms from our clients, we focus on creating the best working environment for the driver. We challenge manufacturers to use new technological and ergonomic solutions and offer high end styling for vehicles that helps to convey the brand values and communicates the core-meaning of the vehicle.
Hybrid TechnologyThe L350I Hybrid is equipped with an efficient Volvo diesel engine in combination with a plug-in hybrid drive train, offering lower fuel consumption. During test drives and driver observations we found that operaters do not understand the energy consumption of the hydraulic system and in multiple cases keep lifting and lowering the load while driving, thinking that this does not consume energy.
The hybrid system includes powerful electric linear actuators, to replace hydraulic cylinders and the hydraulic pump. While lowering the load, electric energy can be regenerated by the same linear actuators. Braking will result as well in energy regeneration, while accelerating is assisted by the electro motors. Short term jobs can be done completely electrically, after which the batteries can be charged again with a fast charger.
Volvo exterior designIn the new styling we added typical Volvo design elements to the body, created dynamic air inlets and a strongly articulated cabin design: leaning slightly forward, communicating focus and visibility. The cabin has been detached from the frame and air suspended for less vibrations in the interior.
Access to the engine compartment has been made easier, the mudguards do no longer need to be removed. The sloped mudguards themselves have been designed more robust, offering better shielding. The radiator has gotten better standard protection against objects penetrating the rear radiator while driving backwards.
Another improvement has been made on the staircase, which became more integrated in the vehicle, easier accessible, keeping clean from mud while climbing into the cabin with dirty boots.
The cabin comes with a glass roof, with sun protection shielding, for an open driving experience. The easy access doors are equipped with double hand-grips for easy entry into the cabin, both from the stairs as from the mudguards. On the front and back side an improved light design accounts for better sight at night.
Volvo interior redesignWhen it comes to the interior, we have listened to the machine operators very well. During test-drives that we performed on several machines, we listened to and observed drivers in their daily work. We found multiple opportunities to improve the interior design.
Everything in the interior redesign has been focused on creating a peaceful, quite and comfortable space for the driver, with intuitive ergonomics and high quality materials, that help focus on driving responsibly fast, safely and sustainable.
Focus and concentration for the operator are translated in a high quality leather chair with most controls for driving and operating the machine integrated in the arm-rests. The steering wheel has been removed, in that place a high resolution display combined with analog clocks has been placed for optimal feedback on driving and vehicle information. All other places where in the older models controls were located, like on the dashboard, the A-style and ceiling, have been cleaned up.
For the drivers we created more storage places for gloves, boots and clothes and a passenger seat comes standard again.
We have integrated the displays of the rear driving camera's into the the mirrors, so that the driver sees all the available information from camera and mirrors combined in just a glance.


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CLIMATE SECURITY ACT OF 2008--MOTION TO PROCEED -- (Senate - June 02, 2008)
Mr. KYL. This is one of the most dramatic--or would be, if passed--one of the most dramatic changes in law, as one publication pointed out, since the 1930s in terms of increasing the scope of Government. Surely we can spend 30 hours debating this important legislation. It is massive in its intent, in its goals, in its scope, and in its effect on the American people. According to the Congressional Budget Office, it would result in a tax increase on the American people of over $900 billion and a gas tax increase of 53 cents per gallon. Surely, the Senate, the greatest deliberative body in the world, can take 30 hours to debate something of this magnitude before we begin the amending process. I thank my colleagues for appreciating that point.
The PRESIDING OFFICER. The Senator from Massachusetts is recognized.
Mr. KERRY. Mr. President, I would politely point out to the Senator from Arizona--and I think he knows this full well--that the first amendment that comes up is subject to endless debate. There is no limit. The notion that we have to have 30 hours before we can get to a debate on an amendment--each amendment is subject to endless debate; the bill itself is subject to endless debate. So the concept of coming out here and saying: Oh, we have to have 30 hours--this bill will be debated, every amendment will be debated. But it would serve the Senate's purpose to actually get to an amendment now and then we could spend 30, 40, 48 hours, a week--we all know this is going to take a while--legislating an important bill does take a while here. But this notion that we have to spend 30 hours without any amendment just to talk about the bill when the bill will be exhaustively talked about in the context of any amendment is, frankly, specious.
Source: http://thomas.loc.gov


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Two bedroom, two bath, pool, fireplace, hallway, open concept, jucuzi, pond, cherry tree, banana tree, palm tree, citrus tree, maple tree, resin bar, just to name a few. This house has good quality and is easy to work with.
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Three companies chosen to play key roles in Louisiana's new health-care delivery system for the poor have gone to court to block release of proprietary information in their winning proposals.
Lawsuits were filed in 19th Judicial District Court by Louisiana Healthcare Connection Inc., AmeriGroup Louisiana Inc. and United Healthcare of Louisiana Inc.
The private insurance companies oppose the state Department of Health and Hospitals' plan to release the full, unredacted proposals they submitted as they competed for some $2.2 billion in state Medicaid program business.
"Our argument is we are transparent and we want the public to know what we have," said Steve Russo, general counsel for state Department of Health and Hospitals.
Attorneys for the insurance companies argue in papers filed Monday that some of the information should be off-limits to the public and competitors.
"The law protects our proprietary and trade secret information," said attorney Brent Hicks, who represents United Healthcare.
Hicks said the firm's request came after an unsuccessful competitor filed a public records request seeking its complete filing.
Medicaid is the government's health insurance program for the poor. The new program would serve about 875,000 of the state's 1.2 million in Medicaid recipients — most of them children.
Twelve entities vied for the business. The three firms filing suit are among the five awarded the contracts.
The firms would run coordinated-care networks, which emphasize preventive and primary care.
The firms must form networks of providers that include physicians, hospitals and other health-care resources. The idea is to cut cost and improve Medicaid recipients health through better coordination of care and use of medical best practices.
DHH's request for proposal made it clear that the agency wanted to release all information submitted by potential contractors, DHH chief of staff J.T. Lane said.
Lane quoted from the document, which states: "Proposers should be prepared to defend the reasons why the material should be held confidential."
The document further states: "If the owner of the asserted data does not want the information disclosed, it must take legal action as necessary to restrain DHH from releasing information DHH believes to be public record."
Russo said DHH has received public records requests "from all the losers."
He said the agency has notified the winning proposers that "by 'X' date they needed to have a court order to stop us from releasing this."
Judge Todd Hernandez, of the 19th Judicial District court in Baton Rouge, granted injunctions in two of the cases. Judge Michael Caldwell, of the 19th Judicial District court in Baton Rouge, granted an injunction in the other case.
Hearings on the issue of a preliminary and potentially permanent injunction barring the information's release are scheduled for next week, Russo said.


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Tag Archives: Rest in Peace
Renowned Novelist Bharati Mukherjee Dies at 76
February 1, 2017
Bharati Mukherjee, author of prominent novels such as Jasmine and The Tiger's Daughter, died on January 28, 2017. She was 76.
Mukherjee was born in Kolkata, India and graduated from the University of Calcutta in 1959 and a Master's from the University of Baroda. Mukherjee pursued additional graduate degrees in the United States, receiving a Master's of Fine Arts from the University of Iowa's Iowa Writers' Workshop and a doctorate in Comparative Literature from the same school.
Mukherjee is perhaps best known for her novel, Jasmine, which was published in 1989 and which explores the shifting identities of a young Indian woman as she seeks to find her place while growing up in America. Jasmine received widespread acclaim for its exploration of Asian American female identity — and specifically, Indian American female identity — when the genre of Asian American fiction was still in its infancy. The book also holds personal resonance for its formative role in my own growth as a student of Asian American literature and history, and for its unapologetic centering of a South Asian American female protagonist during a time in American literature when such writing was virtually unheard of.
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Rest in Peace to Minority Militant, Asian American Blogger
May 12, 2016
I was deeply saddened to learn last night from Phil of YOMYOMF (via Byron Wong of bigWOWO) that the Asian American blogosphere has lost one of its oldest members. Last week, Keon Enoy Muneduoang — who wrote under the moniker the Minority Militant — died at the age of 35.
Deeply protective of his anonymity and known to his online readers as the Militant or "TMM", TMM occupied a corner of the Asian American blogosphere that had little overlap with my own. Nonetheless, the Asian American blogosphere is very small and close-knit. Regardless of our political disagreements, we typically pull together, support one another, and defend each other in our work and our advocacy. Even if we may not know one another offline, we remain consistently unwavering colleagues and allies. This is, above all, a community, and — because it is a very small one — Asian American writers and bloggers always have one another's backs.
Today, the entire community mourns the passing of one of our own.
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Rest in Power, Yuri Kochiyama: A Civil Rights Hero Who Inspired a Generation
June 1, 2014
I'm hearing reports through my networks that Yuri Kochiyama, the incredible civil rights hero whose life of dedicated work to social justice inspired a generation of young activists including myself, passed away last night at the age of 93. The reports are still unconfirmed nationally, although sources close to Kochiyama's family are confirming her passing.
Yuri Kochiyama was a hero and an icon to me.
Yuri Kochiyama was a survivor of a Japanese American internment camp in rural Arkansas, where she encountered the heinous racism of the Jim Crow South. In an interview with Kochiyama published in Fred Ho's Legacy to Liberation, Revolutionary Worker writes that it was the parallels between her own experiences as a Japanese American with the mistreatment of Black People under Jim Crow that first propelled Kochiyama towards social justice work. Throughout her life, Yuri Kochiyama worked as a member of both the Civil Rights Movement and the Black Liberation Movement, but she also devoted her energies to causes like freeing political prisoners domestically and around the world. She is often cited for her work with the Black liberation movement, through which she had a brief friendship with Malcolm X. She was at Malcolm X's side when he died of a gunshot wound on February 21, 1965.
But, for me, what makes Yuri Kochiyama a legend and an inspiration was the philosophy that fueled her life of dedication to social justice efforts.
Did you like this content? Please consider becoming a patron of Reappropriate and get exclusive access to the brand new Reappropriate vlog!
Since 2001, Reappropriate has been the web's foremost Asian American activism, identity, feminism, and pop culture blog!
Follow @reappropriate


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Posted by Nellie Bokuchava
I contacted Boris after a colleague of mine recommended his services.
He took the time to go over every detail and guided me through the entire process in filing for bankruptcy. He prepared me for every possible scenario to expect and for that I highly recommend his services to anyone looking for a bankruptcy lawyer that isn't working with the client for personal gain, a very rare quality.
Posted by anonymous
I hired this attorney 5 years ago to settle credit cards debts. He did help me in the beginning, but did not do anything on the last stage, even when the MCU bank called him he said that he is not representing me anymore., Eventually I had to pay huge amounts of money to IRS ( he "forgot" to inform me that the the debt which was written off in settlement is considered as an income and had to be reported to IRS.) It is very upsetting that it looks like he was interested only to get paid and did not care much about the end result.
Posted by Lioudmila
Boris Krivonos has helped us over the years with immigration issues. As others have commented he is honest, trustworthy and very helpful. Highly recommended.
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I was lucky to have found Boris Krivonos, he has helped my family on many issues. He is knowledgeable, detailed and honest, has been very helpful throughout the years. On the visit I needed help with my business litigation issue. I received very well thought through advice that brought to a successful resolution of the case. Very strongly recommend.
Posted by Ilya
We called him and he answered all our quastions properly
Posted by Boris
I am publisher and editor-in-chief of a weekly. I unsuccessfully tried for several years to obtain a federal trademark for my newspaper. Then, I asked Boris to help us. Now, we have a registered trademark. It was done fast and easy.
Posted by fel551
Boris Krivinos was very helpful when it come to resolve my problem regarding bankruptcy .
Posted by Irene
Modified my home mortgage without any problems.


text: I got rooted and had the mod running fine. I install the "Google Addon" without any issues. When I power my phone it brings me to a welcome screen for an Android tutorial, where to begin it wants you to "touch the android" - only when I do this I can't get anything to work. I am touching the shit out of the Android guy and it does nothing. Powering off/on does not fix it. Can't get past the screen at all so I'm stuck on it.


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This non-perforated base sheet creates an effective barrier against water intrusion and is self-sealing around all penetrating fasteners. Additionally, it will lay flat and will not wrinkle or buckle during installation, providing exceptional nail pull-through resistance.
Product Advantages
- Applicator friendly
- Styrene-Butadiene-Rubber (SBR)
- Fiberglass reinforced
- Self-adhering technology
- Slopes above 3:12
Technical Data
|HPR® Aqua Shield
|3 ft. (0.91 m)
|65.5 ft. (19.96 m)
|78 lbs. (35.38 kg)
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|60 mils (1,524 microns)
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|200 sq. ft. (18.5 m2)
20 rolls/pallet
Approvals that apply to this product
Currently no approvals.


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Dead Orbit desires new territories to expand their reach beyond the City.[1]
Control is a Crucible gametype in which two teams of up to six Guardians must take control of and hold three control points scattered around a map.[2][3] Players earn 100 points for an enemy kill, 25 points for neutralizing an enemy control point, and 75 points for capturing a control point. After killing an enemy, a player earns an additional 50 points for each control point his team holds. First team to 20,000 total points wins.
- ↑ (2014) bungie.net: Official Gameplay Experience Trailer 7:01. Retrieved 11 June 2014.
- ↑ Miller, Matt. (June 10, 2014) "Survive The Crucible – Destiny's Competitive Multiplayer". GameInformer.com. Retrieved June 19, 2014.
- ↑ MoreConsole (June 10, 2014) YouTube: New Destiny Gameplay - Competitive Multiplayer, Pike Rampage! Retrieved June 23, 2014.


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Mr. Black
The crushing decimation of thunder leveling everything, leaving a wake of silence so loud, it can't be ignored. A crisp flash of pure electric energy jets down from above delivering a flash so bright the pupil shrinks to a needle's point.
And you haven't even played a power chord into it.
Welcome ThunderClaw. Welcome.
- (2014-11-17) Mr Black Pedals Thunderclaw Distortion by thegearshark
- (2015-03-18) Mr. Black Pedals THUNDERCLAW demo by Lance Seymour by GearTalkChannel
- (2015-05-12) MR. Black Thunderclaw Distortion Pedal by www.seattleguitarstore.com by seattleguitarstore
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You can post questions, reviews, etc. in the main forum or data and pictures in the data dump forum.
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BEBAS Language and Culture Center is a small, innovative language school that adopts outside-the-box and practice-oriented approaches in teaching new languages. Our young yet experienced course instructors have an academic background, are native speakers and specialise in language teaching.
At BEBAS, we strive to provide a pleasant and creative atmosphere that will support communication and collective learning. We offer a wide range of solutions carefully designed to meet your needs and help achieve your goals, in addition to tailor-made learning plans at your request.
No events are currently scheduled.
Kursleiterin Spanisch
Instructor for Spanish courses
Karin was born in Lima, Peru, and has been living in Germany for many years
Romance and Germanic languages with specialisation in applied linguistics
Trained language teacher
Interests: travel, culture and music
Kursleiterin Deutsch
Instructor for German courses
Elli was born in Lutherstadt Wittenberg, Germany
M.A. in German and English with specialisation in German as a Foreign Language
Trained Drama teacher
Interests: travel, cycling and reading
Kursleiterin Englisch
Instructor for English courses
Charlotte was born in Madrid, Spain, and raised in England
Modern languages and cultures
Specialisation in applied linguistics and second language acquisition
Interests: travel, culture, cooking and singing
Opening hours:
Monday to Friday: 1pm – 7pm
Saturday and Sunday by arrangement
+49 351 275 753 91
+49 152 054 013 60


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We have stayed in this hotel on five different family vacations and we really do love it. It has everything we need to truly make us feel at home - large suites with kitchens, swimming pool and hot tub, sport court, good laundry facilities, a workout room, great food and friendly staff. When I say food, I mean a full hot breakfast seven days a week and a terrific managers reception each weekday evening. We call the reception dinner - because it is! Salad bar and a different "theme" each night (Mexican, Italian, barbecue, etc) plus a dessert. Not only that, but how about complimentary beer and wine at the managers reception as well! There are six people in our family, so not having to go out for breakfast any morning and having weeknight dinners at the hotel certainly helps our dollars go farther. The hotel staff have always gone above and beyond to make our stay enjoyable. We find the location central to many activities. We wouldn't think of staying anywhere else when we're visiting San Diego.
- Official Description (provided by the hotel):
- The Residence Inn by Marriott® San Diego Mission Valley is in the center of it all! We are an upscale all suite extended stay hotel in San Diego California located only five miles from the San Diego International Airport (SAN) and just down the street from Sea World Adventure Park®. From the beaches of Torrey Pines to Belmont and Balboa Parks to the night life of the Downtown Gaslamp Quarter, The Residence Inn by Marriott® San Diego MissionValley is in the heart of all San Diego! ... more less
- Reservation Options:
- TripAdvisor is proud to partner with Travelocity, Orbitz, Booking.com, Expedia, Hotels.com, Priceline, Cancelon, TripOnline SA, Hotwire and getaroom.com so you can book your Residence Inn San Diego Mission Valley reservations with confidence. We help millions of travelers each month to find the perfect hotel for both vacation and business trips, always with the best discounts and special offers.
- Also Known As:
- Residence Inn San Diego Mission Valley Hotel San Diego
- San Diego Residence Inn


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PhotoInstrument 7.6 Build 902 + Portable
PhotoInstrument 7.6 Build 902 + Portable | 5.46 MB | 11.31 MB
PhotoInstrument is an easy to learn tool for editing and retouching photos. The software is a powerful and easy-to-learn raster graphics editor used to process digital photographs. With only a few clicks, anyone can solve most digital photo problems: Photo Editing; Photo Retouch; Draw MakeUp; Make your photo look like it's taken by a professional photographer. If you ever wonder to touch up your photo, so you look more beautiful on your facebook or friendster or even on myspace, well this software is the answer to your question. Photoinstrument comes with a video tutorial that will teach you how to use this program in just a few minutes. The video tutorial shows you how to apply various effects to images. So, PhotoInstrument can be also used by novices.
With the help of PhotoInstrument, you can create glamor skin, remove unwanted objects from a picture, create multiple clones of yourself, clean skin impurities, and many more. With the help of PhotoInstrument, you can use various tools to fix problems that are commonly found in images (e.g. asymmetry, skin defects).
Photoinstrument Important features:
• Add text to an image.new
• Overlay two and more images.
• Drag and drop to open photos in this photo editor.
• Copy/Paste image from Clipboard.
• Batch Resizing (resize multiple images)
• PSD file (PhotoShop Format) support in Editing.
• Multi Language support.
• Save to computer as .jpg, .png, .bmp and other file formats.
• And many more features...
Photoinstrument includes these instruments:
• Liquify
• Clone
• Smudge
• Skin Cleaner
• Glamour Skin
• Dodge / Burn
• Brush
• Blur
• Sharpen
• Colorize
• Scale
• Rotate
• Red Eye Removal
• Brightness-Contrast
• Adjust Color Levels
• Glow
• Healing Brush
• Denoise
• Object Removal
• Crop
• Layers
• Text
Whats New :
Updates: official site does not provide any info about changes in this version
Download link:
http://uploadgig.com/file/download/fC2106d8829a87B0/h5nny..laPhotoInstrument.7.6.902.Port.tut2u.rar http://uploadgig.com/file/download/4B7Ebe515fd1Fe28/h5nny..laPhotoInstrument.7.6.902.tut2u.rar
http://rapidgator.net/file/2e2f2384c0d666699ee40508f0577662/h5nny..laPhotoInstrument.7.6.902.Port.tut2u.rar.html http://rapidgator.net/file/e21ce640cc1d583d95ad2819a1f86ad1/h5nny..laPhotoInstrument.7.6.902.tut2u.rar.html
http://nitroflare.com/view/4644231A0FFB5C4/h5nny..laPhotoInstrument.7.6.902.Port.tut2u.rar http://nitroflare.com/view/8626133CAFFB430/h5nny..laPhotoInstrument.7.6.902.tut2u.rar
Links are Interchangeable - Single Extraction - Premium is support resumable


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Campus Front of India (Cfi) holds a nationwide campaign called -Godse to Godhra.. from Jan'30 to Feb'28 2016. As a part of this campaign Campus Front Nandyal division organized a CANDLE PROTEST in Gandhi Chowk,Nandyal. Around 120 students were participated in the protest.
Home / News / Andhra Pradesh / "Students against Fasicism" Campus front protest in Nandyal
Tags Against Campus front Fasicism nandyal Protest students


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Retail Leadership Institute
Executive Director – Retail Leadership Institute
A home improvement industry veteran, Scott has spent the past 20 years developing programs and services to serve NRHA's mission of helping retailers become better and more profitable merchants. During his tenure, Scott has spearheaded the development of NRHA's industry-leading training programs. He was also instrumental in developing content for NRHA's PlanItDIY Consumer Awareness Initiative. Scott has a B.A. in Journalism from Indiana University's School of Journalism and was formerly editor and associate publisher of Hardware Retailing magazine. Before that, he served as editorial director of custom publications for the association, where he was in charge of launching national B2B and B2C publications for companies such as Ace Hardware, Distribution America and United Hardware.
Director of Retail Outreach
Since 1996, Tom has consulted with executives and principals at small and mid-sized companies to assist them with workforce issues related to management training, succession planning and staffing. He has assisted clients in 41 states. Outside of the office, he has been routinely involved in DIY projects as an active owner and property manager of 22 residential rental units.
Member Services
Training Manager
Jesse develops and maintains educational resources for NRHA members, including the Basic Training in Hardware Retailing courses now used by thousands of retailers. In addition to his role in the training department, Jesse has written for Hardware Retailing magazine and many of NRHA's contract publishing titles, for which he has visited independent home improvement retailers across the country. He is a graduate of Taylor University.
Member Services and Communications Coordinator
As the member services and communications coordinator, Hilary contributes to all member-focused communications efforts. She assists with communication aspects of member recruitment and retention and contributes to the marketing of member programs and benefits. Additionally, Hilary is the voice behind NRHA's social media accounts. Hilary holds a B.A. in Strategic Communication from Butler University and resides in downtown Indianapolis. She enjoys snow skiing, boating and exploring new places.
Member Services and Meetings Coordinator
Kamille is the Member Services and Meetings Coordinator for NRHA, where she contributes to serving members' needs along with the coordination of NRHA meetings and conferences. She assists with member recruitment and retention while also planning membership and outside events. Kamille holds a B.S. in Sociology and Organizational Leadership and Supervision from Purdue University. In her free time, Kamille enjoys trying new food establishments, traveling and jogging with her Weimaraner.
Event Manager and Retail Support
Katie McHone-Jones
Katie is the Event Manager and Retail Support for NRHA. She is responsible for the planning and coordination of all NRHA events and provides support to our members. Katie graduated from Ball State University with a degree in Hospitality and Food Management and has been in the special events industry since 2009. She enjoys home improvement projects, trying new restaurants in Indianapolis, gardening and spending time with her family.


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What is JotForm?
JotForm is a free online form builder which helps you create online forms without writing a single line of code. No sign-up required.
At JotForm, we want to make sure that you're getting the online form builder help that you need. Our friendly customer support team is available 24/7.
We believe that if one user has a question, there could be more users who may have the same question. This is why many of our support forum threads are public and available to be searched and viewed. If you'd like help immediately, feel free to search for a similar question, or submit your question or concern.
Problem w' "Take Photo" widgitAsked by BAstrove on December 14, 2016 at 02:46 PM
Getting an error on the ipad, "Upload Error" file could not be uploaded for some reason. Please go back and fix the problem(s).
Our user of this tool has no idea what this means, nor do I? we can't fix it, don't know what it is?
We are hitting the choose file button, it prompts our user to go use his camera to take a photo, but then we get this error when he hits submit
JotForm Support
We had a problem recently with file uploads, this may be related to the same issue since I have tested your form using an iPad emulator running iOS 10 and I can see the image was uploaded properly.
Here's a screenshot of the submission:
Could you please try again on your end?
If the problem still persists, please provide us the details about the OS version the device you're using has, we will be glad to perform some tests on our end.
Looking forward to your reply.
Great & Thank you!
All is good.
Bob Astrove


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Regular price
A Lifelong Job WPA poster.
A lifelong job. The constant protection of their health. The Cook County Public Health Unit. Illustrated by E.S. Reid, circa 1941. WPA Federal Art Project poster from Chicago, Illinois.
Mould-made 100% cotton rag, acid-free archival papers and heavyweight Exhibition Gallery Canvas. Sizes are in inches.
All prints come with a margin:
If an image's dimensions don't match the paper's dimensions there is a wider margin on the narrowest side. The long edge on prints 47x34 and larger will vary depending on the dimensions of the photo and may be longer than the size listed.
Custom FramesWe work with Simply Framed to offer high-quality custom frames made in the USA. Allow an additional 2-3 weeks for delivery. Frames come in black or brown wooden finish and include UV-shielding plexiglass, acid-free 4-ply light cream colored mats with beveled edges, archival acid-free foam core backing, protective paperback finish, wall bumpers, hanging hardware + nails, hanging and care instructions. Frames arrive gift-wrapped in kraft paper.All framed sales are final.


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Brief Biography
Joseph Wilson is a Senior Strategist in the Education Technology Cluster at the MaRS Discovery District, a group of more than 200 education entrepreneurs in Toronto, Ontario. He developed the Entrepreneur's Toolkit Workshop Series, and consults on a wide range of educational programming. He writes on topics of science, culture and city issues for NOW Magazine, the Globe and Mail, Spacing and Yonge Street. An award-winning teacher, he has also edited two books and written many academic papers covering astronomy, education, entrepreneurship and innovation strategies.
Articles Written by Joseph Wilson


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Turkey-Mushroom Bread Pudding
Be the first to review
READY IN: 1hr 40mins
Recipe by Manami
This savory bread pudding is the answer to holiday dinner leftovers, making use of extra turkey and bread. I found this on the cookinglight.com web site. Wonder how it would taste with gravy and cranberry sauce? Just kidding!!!
See Discussion:
Ingredients Nutrition
- 2 teaspoons olive oil
- 4 cups sliced cremini mushrooms
- 2 cups chopped celery
- 1 cup chopped onion
- 1⁄2 teaspoon chopped fresh thyme
- 3 garlic cloves, minced
- 2 cups shredded cooked turkey breast
- 3⁄4 teaspoon salt
- 1⁄2 teaspoon fresh ground black pepper
- 2 cups 1% low-fat milk
- 1 teaspoon dry mustard
- 1⁄4 teaspoon ground red pepper
- 5 large eggs
- 6 cups French bread or 6 cups Italian bread, cut into 1-inch cubes
- cooking spray
- 1⁄2 cup freshly grated parmesan cheese
Directions See How It's Made
- Preheat oven to 350°F.
- Heat oil in a large nonstick skillet over medium heat.
- Add mushrooms, celery, onion, thyme, and garlic, cook 10 minutes or until tender, stirrirng occasionally.
- Stir in turkey, salt and black pepper.
- Remove from heat, and cool slightly.
- Combine milk, mustard, red pepper, and eggs in a large bowl, stirring with a whisk.
- Stir in mushroom mixture and bread, toss well.
- Spoon into an 11x7" baking dish coated with cooking spray.
- Sprinkle with cheese.
- Bake for 1 hour or until golden brown.
- Let stand 10 minutes before serving.


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I'm back!! Sorry to have been away so long...and my other blog is almost ready to launch...but that's not why I have been away. Life just gets hectic sometimes. I know EVERYONE can identify with that!!
Saw these pictures on Veranda this week and was carried away. Click the link and check them out. Love, love, LOVE the trellis as a design feature!
More soon...


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Designed to protect walls from splashes and stains, this granite sidesplash will also give your vanity top that stylish finishing touch. It installs easily using caulking or construction adhesive. Made of all natural stone, it is the perfect accessory to your granite vanity top.
- 100 percent granite
- Can be used on either the left or right side of the vanity top
- Pre-sealed and polished for added protection
- Matching vanity top sold separately
- Lifetime residential limited warranty
- Granite is a natural material and slight variations in color may occur and are natural


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Welcome to PreGel America! Our primary goal is to be a one-stop-shop for all your business needs, and provide exceptional customer service, education, and specialty dessert ingredient solutions that produce The Classic Taste of Italy. PreGel develops, manufactures and distributes authentic ingredients, toppings and fillings of the highest quality from Italy, including flavors, powders and pastes used in gelato, soft serve, frozen yogurt, beverages, pastry, and other specialty desserts. With facilities in Charlotte, NC, Los Angeles, CA, and Ft. Lauderdale, FL, PreGel sells directly to restaurants, gelato cafes, coffee shops, frozen yogurt shops, bakeries, patisseries, pizzerias, hotels, resorts, casinos, grocery stores and noncommercial foodservice, as well as select distributors in the United States. PreGel believes in blending Your Passion with Our Ingredients, and we look forward to forging a successful partnership with you.
Italian Quality: Dessert Ingredient Solutions
PreGel's specialty dessert ingredient solutions – the result of intense research, cutting-edge innovation, and old fashioned hard work – begins with fresh, authentic ingredients. With products obtained from reliable and sustainable sources around the world, PreGel commits to uncompromised standards of quality and safety. Limited only by the heights of one's imagination, PreGel's ingredients are intended to inspire ongoing culinary creativity.
Italian Expertise: International Training Centers
The PreGel America International Training Centers in Charlotte, NC; Los Angeles, CA and Ft. Lauderdale, FL are where passion for culinary excellence is blended with our in-depth instruction and expertise. Dedicated to teaching The Classic Tastes of Italy to America, our state-of-the-art International Training Centers offer beginner and advanced gelato classes, soft serve classes, frozen novelty classes, and various pastry classes. Programs including our 5-Star Pastry Series® – established for advanced culinary professionals to sharpen and increase their skills in the arts of pastry, chocolate, showpieces, and plated desserts – are specifically designed to provide both classroom learning and hands-on instruction.
Key Accounts
Key Accounts is a specialized division of PreGel America, dedicated to serving the specific and evolving needs of a distinct client base, including: quick service restaurants, supermarkets, cruise lines, high-yield bakeries and food manufacturers. From the very early stages of planning to the development of new product lines and launches, PreGel America's Key Accounts team is dedicated to assisting its partners with the quality products PreGel is known for providing.
With a focus on collaboration and customization, the list of services we provide continues to evolve and includes custom product solutions, private labeling, global distribution, quality assurance testing, recipe creation and more.
Recipe Development
We understand how vital recipe development is to keep menus fresh and on trend. For this very reason, PreGel created a user-friendly recipe database, www.pregelrecipes.com, that hosts hundreds of recipes created by the skilled chefs of PreGel's International Training Centers, and boasts a vast range of dessert categories for every level from beginner to advanced. The site is easy to navigate with options to search via geographic region, ingredient, chef, or recipe category, which includes:
- Featured recipes
- Top flavors
- Gelato, sorbetto & ice cream
- Frozen yogurt & soft serve
- Pastry & confections
- Beverages
- Savory
- Seasonal
- Holidays


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Not Accepting Guests
- Last login about 3 years ago
Join Couchsurfing to see Sandra's full profile. It's free!
About Me
Enjoy life!
I am adventures, lots of fun, love meeting new people and exploring new places. To be continued ...
Traveling!!!! Film and Production, Dancing and Sports! Especially diving, cycling and every kind of team sports.
- dancing
- team sports
- traveling
- cycling
- scuba diving
- sports
Music, Movies, and Books
Paulo Coelho!
One Amazing Thing I've Done
too many things for now......coming soon
Countries I've Visited
Australia, Austria, Belize, Cambodia, Canada, Chile, China, Czech Republic, Egypt, France, Guatemala, Honduras, Ireland, Kenya, Malta, Netherlands, Peru, Poland, Spain, Thailand, United Arab Emirates, United Kingdom
Countries I've Lived In
Germany, United States


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|Page (1) of 1 - 05/10/12
|email article
|print page
Abortion rights leader steps down from NARALAbortion rights leader steps down from NARAL as movement engages young people
Page: 1
Related Keywords:Abortion Rights Leader, Human rights and civil liberties, Social issues, Social affairs
Source:Copyright 2012 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.. All Rights Reserved


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- This event has passed.
Adult Women's Support Group
Aug 17, 2016 @ 4:30 pm - 5:30 pm
|Recurring Event (See all)
Weekly on the same day
Event Navigation
ONGOING, WEEKLY GROUP. This group provides ongoing education and support while exploring the mystery of self-esteem. Each meeting centers on a topic important to women and provides an opportunity for each participant to apply that theme to their own life. The group meets weekly, is ongoing, and participants are expected to enroll for at least 8 sessions.


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0 U.S. Route One, Falmouth, ME 04105Request info Add to list
To view building contacts please sign in with your Pro account or create a pro account.
Frank O.
Company: requires Pro account
Email: requires Pro account
Phone: requires Pro account
- Available Spaces
|Space Type
|For sale: Contact for Pricing
|2,265,120 sqft
|View Details
Building Details:
0 U.S. Route One is aland property for lease in Falmouth, ME. The property currently has 1 land for lease and is marketed by NAI The Dunham Group.
Large development parcel on the corner of U.S. Route 1 and Johnson Road in Falmouth. The 52#acre parcel is located in the professional and business development zone. 3# acre development site also available for sale. The site is less than one mile to both The Maine Turnpike and Interstate 295 access. The ideal site for a large, beautifully wooded business campus in Greater Portland''s premier Falmouth Foreside community. Available for sale. PRICE RECENTLY REDUCED!
Request Property Information
Please describe your commercial real estate requirements. We'll introduce you to local properties that match your criteria.


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At the Chicago Mercantile Exchange (CME), EURUSD future for December 2011 contract traded at US$1.3509 per euro (USD appreciated by 0.01 per cent against EUR) and GBPUSD future for December 2011 contract traded at US$1.5753 per pound (USD appreciated by 0.10 per cent against GBP) at 12.19 PM today.
S&P CNX NIFTY, at NSE, traded at 5,009.30, down by 0.42 per cent, after opening at 5,027.10 against the previous closing of 5,030.45. It touched the intra-day low of 4,992.20 till the trading. (At 12.07 AM today).
At NSE, EURINR for November 2011 contract traded at Rs. 68.6675 per euro, rupee depreciated 0.11 paise against euro, after opening at Rs. 68.6300 against the previous closing price of Rs. 68.5550. Rupee fell to Rs. 68.4525 with a business volume of 12580 lots till the trading (At 12.14 PM today).


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$38.36 $47.95
Vectomega is a revolutionary form of Omega-3 fatty acids from salmon. It is not a fish oil! Instead, the natural Omega-3s are bound to phospholipids that are more effectively delivered to the cells than fish oils. This means you only need to take one tablet a day to support heart and brain health!*
Plus, Vectomega® is safer than fish oil and krill oil that use potentially toxic solvents – it simply uses water and enzymes for a natural extraction of Omega-3s.
You need Omega-3's - but you can skip the fish and the krill oil!
You need Omega-3 fatty acids for many reasons: they have been clinically studied for healthy heart, brain, eyes, skin, immune, and nervous system support.*
But you don't need triglycerides or cholesterol. And you shouldn't have to worry about PCB's, heavy metals, hexane, and other chemicals – all of which can be concerns with fish and krill oil products.
With Vectomega®, you get the best of sustainably raised and harvested salmon, with none of the worries!
4Sight provides excellent support for those who want to maintain eye health, and also for...
: Supports heart and brain health Essential for proper function of the immune and nervous systems...
: Supports heart and brain health Essential for proper function of the immune and nervous...
: Original research shows that Arctic Omega⢠supports cardiovascular health by maintaining healthy cholesterol levels One...


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- Pacific Region- Alaska, California, Oregon, Washington, Hawaii42%(11)35%(18)Vote28%(7)
- Southwestern Region- Arizona, New Mexico, Oklahoma, Texas4%(1)10%(5)Vote16%(4)
- Mountain Region- Colorado, Idaho, Montana, Nevada, Wyoming, Utah4%(1)4%(2)Vote4%(1)
- Midwestern Region-Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota, Wisconsin15%(4)16%(8)Vote16%(4)
- Southern Region- Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, North Carolina, Misssissippi, Tennessee, South Carolina15%(4)20%(10)Vote24%(6)
- Mid-Atlantic Region- Delaware, District of Columbia, Maryland, New Jersey, New York, Pennsylvania, Virginia, West Virginia12%(3)6%(3)Vote0%(0)
- New England- Connecticut, Maine, Massachussets, New Hampshire, Rhode Island, Vermont,8%(2)9%(5)Vote12%(3)
Most Helpful Girl
Tie between Pacific and Mountain. I love a lot of places on the lists, but the absolute beauty of those two regions has no equal.10|10|0
Most Helpful Guy
Mmmh that's a tough one. They are all beautiful in their own way. I think I especially love the Pacific region and the Southwest. However, for living I would choose New England. Not only is it a pretty liberal area but its natural environment is very similar to my home country (minus the mountains). The only real difference is that in New England, everything's bigger and less populated, which is exactly my cup of tea :-).10|10|0
I'm a huge fan of the Pacific Coast and culturally my favorite region is the American Southwest. Can't go wrong with Boston and Cape Cod though. What's your home country?
Switzerland. I've lived in the US for about 2 years and most of it in Pennsylvania. I liked Pennsylvania too but I like New England better. The huge forests, small towns, mild climate and relatively calm, peaceful lifestyle (and the tolerance among people) sounds really great to me. I've never been to Maine but I would love to go there some time because I like Stephen King's books and the general atmosphere in them a lot :-).


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|Title of Notes
|CUSIP Numbers
|Principal Amount Outstanding
|Amount of Notes Tendered and Consented
|Approximate Percentage of Notes Tendered and Consented
|12¼% Senior Secured
|Notes due 2015
Edgen Group Inc. ("Edgen") (NYSE: EDG) announced today the early tender results of Edgen Murray Corporation's previously announced cash tender offer and consent solicitation (the "Offer") for any and all of its $465,000,000 aggregate principal amount outstanding of 12¼% Senior Secured Notes due 2015 (the "Notes"). Edgen Murray Corporation is an indirect subsidiary of Edgen. The Offer is described in the Offer to Purchase and Consent Solicitation Statement dated October 1, 2012 (the "Offer to Purchase"). The table below sets forth the results of the Offer as of 5:00 p.m., New York City time, on October 15, 2012 (the "Consent Deadline").
Based on the Notes tendered and consents delivered as of the Consent Deadline, both the proposed amendments to the indenture governing the Notes and the proposed amendments releasing collateral securing the Notes have been approved, as the consent of the holders of at least the requisite 66 2/3% in aggregate principal amount of the Notes has been received. Notes tendered and consents delivered prior to the Consent Deadline may not be withdrawn. The Company intends to execute a second supplemental indenture, which will amend the indenture governing the Notes. The proposed amendments to the indenture governing the Notes will become effective only when the second supplemental indenture is executed and the Company accepts for purchase and pays for all the Notes tendered prior to the Consent Deadline.


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What is JotForm?
JotForm is a free online form builder which helps you create online forms without writing a single line of code. No sign-up required.
At JotForm, we want to make sure that you're getting the online form builder help that you need. Our friendly customer support team is available 24/7.
We believe that if one user has a question, there could be more users who may have the same question. This is why many of our support forum threads are public and available to be searched and viewed. If you'd like help immediately, feel free to search for a similar question, or submit your question or concern.
Sending the form to limited usersAsked by charlottefotoohi on April 23, 2015 at 07:21 AM
JotForm Support
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