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Published: 2016-12-13
Publisher: Vintage$16.00
Now Juan Thompson tells the story of his father and of their getting to know each other during their forty-one fraught years together. He writes of the many dark times, of how far they ricocheted away from each other, and of how they found their way back before it was too late.
He writes of growing up in an old farmhouse in a narrow mountain valley outside of Aspen Woody Creek, Colorado, a ranching community with Hereford cattle and clover fields . . . of the presence of guns in the house, the boxes of ammo on the kitchen shelves behind the glass doors of the country cabinets, where others might have placed china and knickknacks . . . of climbing on the back of Hunter s Bultaco Matador trail motorcycle as a young boy, and father and son roaring up the dirt road, trailing a cloud of dust . . . of being taken to bars in town as a small boy, Hunter holding court while Juan crawled around under the bar stools, picking up change and taking his found loot to Carl s Pharmacy to buy Archie comic books . . . of going with his parents as a baby to a Ken Kesey/Hells Angels party with dozens of people wandering around the forest in various stages of undress, stoned on pot, tripping on LSD . . .
He writes of his growing fear of his father; of the arguments between his parents reaching frightening levels; and of his finally fighting back, trying to protect his mother as the state troopers are called in to separate father and son. And of the inevitable of mother and son driving west in their Datsun to make a new home, a new life, away from Hunter; of Juan s first taste of what normal could feel like . . .
We see Juan going to Concord Academy, a stranger in a strange land, coming from a school that was a log cabin in the middle of hay fields, Juan without manners or socialization . . . going on to college at Tufts; spending a crucial week with his father; Hunter asking for Juan s opinion of his writing; and he writes of their dirt biking on a hilltop overlooking Woody Creek Valley, acting as if all the horrible things that had happened between them had never taken place, and of being there, together, side by side . . .
And finally, movingly, he writes of their long, slow pull toward reconciliation . . . of Juan s marriage and the birth of his own son; of watching Hunter love his grandson and Juan s coming to understand how Hunter loved "him;" of Hunter s growing illness, and Juan s becoming both son and father to his father . . ."
- Publisher: Knopf Publishing Group
- Publish Date: January 2016
- Page Count: 288
- Dimensions: 8.4 x 5.9 x 1.1 inches
- Shipping Weight: 1 pounds
Related Categories
Books > Biography & Autobiography > Literary
Books > Biography & Autobiography > Editors, Journalists, Publishers
Books > Biography & Autobiography > Personal Memoirs
Child of Gonzo
No relationship is more fraught than the one between father and son; the son is always trying to please his father, and the father is feeling guilty about whether he loves his son enough. Now imagine that your dad is a gonzo journalist who has famously hung out with Hell's Angels and loved his booze, drugs and guns. In Stories I Tell Myself: Growing Up with Hunter S. Thompson, Juan F. Thompson lucidly and longingly tells us just what it was like being the only child of the notorious writer.
Born in California, Juan moved to D.C. with his parents when his father was writing a book about the 1972 presidential campaign. The family eventually moved back to Aspen, where Juan grew up and watched his parents' marriage fall down around him. Hunter Thompson was never a loving man, and Juan admits that as a child he feared his father and had very little respect for him.
Eventually, father and son developed rituals, such as cleaning Hunter's many guns, that cemented their tentative bond. Even so, Juan declares that in spite of his father's talents as a writer, "in his daily life he was simply crazy . . . unpredictable, unreliable, unreasonable, given to sudden fits of rage."
After Hunter's death, Juan still wonders what his father wanted from him, and he still tries not to let him down. It's a heavy burden to carry, even as the young Thompson ponders the ageless questions: "What do fathers want most from their sons? Do we only want them to be happy? Do we want them to be like us? Do we want forgiveness? Do we want to be loved by our sons?"
Juan never finds the answers to these questions, but his stories of searching for them are powerfully affecting.
This article was originally published in the January 2015 issue of BookPage. Download the entire issue for the Kindle or Nook.


text:
Conflict in the Middle East often brings unprecedented condemnation of Israel in the UK and European media.
The subsequent public outpourings of hate on the streets of Manchester, London Paris and Berlin has brought Anti-Semitism out in public.
Sadly many politicians have also been quick to be opportunistic and jump on the bandwagon.
In the summer of 2014 a meeting was called in Manchester for the Jewish Community in the North West of England, to address the issues of what we can do individually and together to answer the accusations… whether they be made on Facebook, Twitter, newspapers, radio, TV or in Parliament.
The meeting was addressed by a leading figure in the community, a journalist, and prolific Social Media commentator.
The meeting highlighted the problems we face when:-
– our "friends" on Facebook accuse Israel of being 'apartheid', or of committing genocide. Or they just keep sharing and posting articles and stories that are full of hate.
– radio or TV commentators say something we disagree with
– inaccurate articles appear in the press
Here is how the meeting addressed these concerns:
DON'T wring your hands, wail and cry "lies lies lies"
DON'T reply with venomous hate language
DON'T repeat, share or quote stories/articles that you haven't verified thoroughly
DON'T go back in history quoting the Balfour Declaration
(its too long you'll bore the pants off them, and people only want to hear about the here & now)
DON'T tell them it's always been our land anyway
DON'T brand a whole race, or nation, as terrorists
DO keep a respectful, calm and tempered tone in what you say
DO make sure any stories/quotes are Powerful, True and Credible
DO be compassionate
DO take time to consider your answers, do not rush your thoughts
All incidents of Hate Crime should be reported to:-
The Police
The CST
The Social Media or News channel where it has occurred.
Shimon Peres (before he became President of Israel) once addressed a meeting in England where he was heckled.Peres spoke with authority. He said to them "You have one big weapon on your side. The biggest weapon you have is ignorance." They shut up.
There are many things you see on Facebook that are demonstrably untrue, or at best inaccurate in a way that makes them untrue.
Naturally we are tempted to counter them.
The better option is simply to report it, using the reporting system of that particular Social media channel.
To wade into a debate on Facebook or Twitter you will have to be both brave and very prepared… its not for the feint of heart.
If you do wish to counter or attempt to correct what a 'friend' has said on social media –
– Make it connected to you
– Don't waffle
– Tell them your personal story
– Tell them how it affects YOU
– If you quote facts, make sure those facts stand up to scrutiny
One person in the audience gave this example:-
He was in Israel on the beach at the outbreak of the conflict. An air raid siren went off and they had find a bomb shelter. He sent a text to Radio 5 Live, saying he was in a shelter in Israel during an attack and was willing to speak on radio.
They phoned him straight back and interviewed him, live on air, for 2 minutes. The interview was repeated during the day.
A similar thing happened a few days later, and this chap was on the radio again.
BBC Radio 5 Live has a rolling live news agenda. If something is happening at that moment they will break into whatever else is on air at that time and go straight to a news report.
Just send a Text to 85085 with a brief message.
See also – http://www.bbc.co.uk/5live/shows/606/get-in-touch/
Don't say to a journalist "it would be great if you did a story on XYZ, I know people would lap it up".
You really need to go to them with the whole story. Explain its significance. Tell them your involvement.
Don't expect a Jewish journalist to be able to carry your story in the national press.
Jewish journalists will probably be marked out as biased, so will be bottom of the heap for getting Israeli or Jewish stories into the publication.
Complaints count!
Don't think its a waste of time
The BBC regularly receives over 40,000 messages in support of each Palestinian issue – compared to just 2,000 from the Jewish community.
That's why they changed their minds and agreed to screen the Gaza Appeal recently.
More recently there has been a letter writing campaign, from the Jewish community, to point out that casualty figures given by Hamas were being quoted by the BBC and others without any hint that they had not been verified.
As a result of that pressure, the BBC are now back tracking and saying these figures may be incorrect.
REGISTERING A COMPLAINT with the BBC is easy and painless.
Just phone them up
You will be asked why you are complaining, and the person will make a note of everything you say (so be to the point).
They will not question you, or enter into a debate.
Once you have given your details they will say thank you and hang up.
That's it.
ALL complaints are logged and the totals are reported to BBC management.
LETTERS OF COMPLAINT to press journalists are important too.
It gives them feedback. It may make them uncomfortable
They may wish to ignore your voice, or dismiss it. But it may just make them reconsider, or vary their view just enough to have been worthwhile.
• Make it your story.
• Make sure your facts are robust.
• Say why its important to you.
Those who support Israel's case need to know their efforts are appreciated.
So write and thanks those MPs and journalists, and others who are prepared to stand up and take the flak.
We want everyone to write letters. And it's important. Not just now in the current conflict, but also as a regular thing the Jewish community does.
It's important to remind MPs and the media that anti semitism is close to the surface and will change this country, and the rest of Europe, if it's allowed to take hold. Not just changing the world for Jews, but destroying the tolerant fabric of society that Europe has embraced and fought for since the Second World War.
See – https://www.facebook.com/11000Letters
Don't worry if you're not the sort to write long considered letters, or just don't have the time.
All letters count.
But if there are no letters, we have no voice at all and the other side has won.
Well meaning articles are appearing in the national press. However despite this it seems that what Israel is fighting is a telegenic war ie one where images score time and again over common sense. So if you have stuff which is pictorially powerful, true, credible and says far more than any words of protest can then send to news desks/television stations etc and alert them to your story.
CONTACTING MPs MEPs Local Councillors
General advice about letter writing to your representatives.
The website below provides an easy way to contact all your representatives.
Another all-in-one web site directing you to your MPs
Parliament Directory
The Independent email@example.com or email@example.com
The Daily Telegraph firstname.lastname@example.com
The Sunday Telegraph firstname.lastname@example.com
The Times firstname.lastname@example.com
The Guardian email@example.com
The Financial Times email@example.com
Daily Mirror email@example.com
The Sun firstname.lastname@example.com
Daily Mail email@example.com
Daily Express firstname.lastname@example.com
Manchester Evening News firstname.lastname@example.com
The Observer email@example.com
Sunday Times email@example.com
Belfast Telegraph firstname.lastname@example.com
Birmingham Post email@example.com
Evening Standard firstname.lastname@example.com
Edinburgh News firstname.lastname@example.com
The Economist firstname.lastname@example.com
New Statesman firstname.lastname@example.com
The Spectator firstname.lastname@example.com
BBC BREAKFAST NEWS firstname.lastname@example.com
BBC – DIRECTOR GENERAL firstname.lastname@example.com
BBC – HARDTALK firstname.lastname@example.com
BBC – NEWSNIGHT firstname.lastname@example.com
BBC – NEWSROOM firstname.lastname@example.com
BBC – PANORAMA email@example.com
BBC – PM firstname.lastname@example.com
BBC – RADIO 1 firstname.lastname@example.com
BBC – RADIO 4 – YOU & YOURS firstname.lastname@example.com
BBC Radio 5 LIVE http://www.bbc.co.uk/5live/shows/606/get-in-touch/
BBC – TODAY email@example.com
BBC – TODAY COMPLAINTS firstname.lastname@example.com
BBC – WORLD SERVICE email@example.com / firstname.lastname@example.com
BBC GENERAL email@example.com
BBC COMPLAINTS WEBSITE www.bbc.co.uk/complaints
CHANNEL 4 email@example.com / email@example.com / firstname.lastname@example.com
CHANNEL 4 WEBSITE www.channel4.com/4viewers/contact-us
CHANNEL 5 firstname.lastname@example.com / firstname.lastname@example.com
SKY NEWS firstname.lastname@example.com / firstname.lastname@example.com (Viewers Editor – Adam Harding)
CNN firstname.lastname@example.com
ITN – GENERAL firstname.lastname@example.com
ITV firstname.lastname@example.com / firstname.lastname@example.com
ITV WEBSITE www.itv.com/viewerservices

subset: commoncrawl


text:
Jennifer Aniston and Tom Ford
It has long been considered one of the young geniuses of the creative landscape of women's fashion in order to then get rid of the label, here and here, to deserve the title of an eclectic artist and all-round. Let's talk about Tom Ford, who by the splendor of the catwalk turned with equal success and creative look to the cinema and photography, art and cosmetics, returning full circle with the return to fashion. Likes to dress women, always, and women reciprocate love unconditionally. The designers and creative verve of that bit of exaggeration from the dangerous sensuality have always been an idol.
It's his shoes that Jennifer Aniston ina choose to wear one of the last occasions that the public are valuable and portrayed in a suit and sandals worked in satin designer Tom Ford. Ivory at first sight, that turn out to powder pink, clear. But they have been made in other colors, including black and red. Very special opening, the unexpected with ribbons lacing around the ankle. Perfect, is not trivial. Perfect as a non-trivial. Tom Ford in short, neither more nor less.


text:
We chose Il Moran to kick off our two-week honeymoon (which later took us to northern Serengeti and then Zanzibar for some R&R) and it was an incredible 3 days. We didn't expect to be so close to the action! We could see hippos and...More
Getting you more information on this room
Getting you more information on this room
"All tents are along the banks of the river...we had tents 3 and 4"
"All great. We were in tent one which we loved, furthest from the centre but a bit scary at night with hippos..."


text:
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157 terms
SFHS AP English Language
story or poem in which characters, settings, and events stand for other people or events or for abstract ideas or qualities. (Ex.: Animal Farm; Dante's Inferno; Lord of the Flies)
repetition of the same or similar consonant sounds in words that are close together. (Ex.: "When the two youths turned with the flag they saw that much of the regiment had crumbled away, and the dejected remnant was coming slowly back."-Stephen Crane (Note how regiment and remnant are being used; the regiment is gone, a remnant remains...)
reference to someone or something that is known from history, literature, religion, politics, sports, science, or another branch or culture. An indirect reference to something (usually from literature, etc.)
deliberately suggesting two or more different, and sometimes conflicting, meanings in a work. An event or situation that may be interpreted in more than one way - this is done on purpose by the author, when it is not done on purpose, it is vagueness, and detracts from the work.
comparison made between two things to show how they are alike.
repetition of a word, phrase, or clause at the beginning of two or more sentences in a row. This is a deliberate form of repetition and helps make the writer's point more coherent.
inversion of the usual, normal, or logical order of the parts of a sentence. Purpose is rhythm or emphasis or euphony. It is a fancy word for inversion.
brief story, told to illustrate a point or serve as an example of something, often shows character of an individual.
opponent who struggles against or blocks the hero, or protagonist, in a story.
repetition of words in successive clauses in reverse grammatical order. (Ex.: Moliere: "One should eat to live, not live to eat." In poetry, this is called chiasmus.)
balancing words, phrases, or ideas that are strongly contrasted, often by means of grammatical structure.
central character who lacks all the qualities traditionally associated with heroes. May lack courage, grace, intelligence, or moral scruples.
attributing human characteristics to an animal or inanimate object (personification).
brief, cleverly worded statement that makes a wise observation about life, or of a principle or accepted general truth. Also called maxim, epigram.
calling out to an imaginary, dead, or absent person, or to a place or thing, or a personified abstract idea. If the character is asking a god or goddess for inspiration it is called an invocation. (Ex.: Josiah Holland-"Loacoon! Thou great embodiment/Of human life and human history!")
placing in immediately succeeding order of two or more coordinate elements, the latter of which is an explanation, qualification, or modification of the first (often set off by a colon). (Ex.: Paine: "These are the times that try men's souls: The summer soldier and the sunshine patriot will in this crisis, shrink from the service of his country; be he that stands it now, deserves the love and thanks of man and woman."
the repetition of similar vowel sounds followed by different consonant sounds especially in words that are together.
commas used without conjunction to separate a series of words, thus emphasizing the parts equally: instead of X, Y, and Z... the writer uses X,Y,Z... see polysyndeton.
constructing a sentence so that both halves are about the same length and importance. Sentences can be unbalanced to serve a special effect as well.
the process by which the writer reveals the personality of a character.
indirect characterization
the author reveals to the reader what the character is like by describing how the character looks and dresses, by letting the reader hear what the character says, by revealing the character's private thoughts and feelings, by revealing the characters effect on other people (showing how other characters feel or behave toward the character), or by showing the character in action. Common in modern literature.
direct characterization
the author tells us directly what the character is like: sneaky, generous, mean to pets and so on. Romantic style literature relied more heavily on this form.
static character
one who does not change much in the course of a story.
dynamic character
one who changes in some important way as a result of the story's action.
flat character
has only one or two personality traits. They are one dimensional, like a piece of cardboard. They can be summed up in one phrase.
round character
has more dimension to their personalities-they are complex, just as real people are.
in poetry, a type of rhetorical balance in which the second part is syntactically balanced against the first, but with the parts reversed. (Ex.: Coleridge: "Flowers are lovely, love is flowerlike." In prose this is called antimetabole.
a word or phrase, often a figure of speech, that has become lifeless because of overuse. Avoid cliches like the plague. (That cliche is intended.)
a word or phrase in everyday use in conversation and informal writing but is inappropriate for formal situations. (Ex.: "He's out of his head if he thinks I'm gonna go for such a stupid idea.")
in general, a story that ends with a happy resolution of the conflicts faced by the main character or characters.
an elaborate metaphor that compares two things that are startlingly different. Often an extended metaphor.
confessional poetry
a twentieth century term used to describe poetry that uses intimate material from the poet's life.
the struggle between opposing forces or characters in a story.
external conflict
conflicts can exist between two people, between a person and nature or a machine or between a person and whole society.
internal conflict
a conflict can be internal, involving opposing forces within a person's mind.
the associations and emotional overtones that have become attached to a word or phrase, in addition to its strict dictionary definition.
two consecutive rhyming lines of poetry.
a way of speaking that is characteristic of a certain social group or of the inhabitants of a certain geographical area.
a speaker or writer's choice of words.
form of fiction or nonfiction that teaches a specific lesson or moral or provides a model of correct behavior or thinking.
a poem of mourning, usually about someone who has died. A Eulogy is great praise or commendation, a laudatory speech, often about someone who has died.
device of repetition in which the same expression (single word or phrase) is repeated both at the beginning and at the end of the line, clause, or sentence. (Ex.: Voltaire: "Common sense is not so common.")
a long narrative poem, written in heightened language, which recounts the deeds of a heroic character who embodies the values of a particular society.
a quotation or aphorism at the beginning of a literary work suggestive of the theme.
device of repetition in which the same expression (single word or phrase) is repeated at the end of two or more lines, clauses, or sentences (it is the opposite of anaphora).
an adjective or adjective phrase applied to a person or thing that is frequently used to emphasize a characteristic quality. (Ex.: "Father of our country" and "the great Emancipator.") A Homeric epithet is a compound adjective used with a person or thing. (Ex.: "swift-footed Achilles"; "rosy-fingered dawn.")
a short piece of nonfiction prose in which the writer discusses some aspect of a subject.
one of the four forms of discourse which uses logic, ethics, and emotional appeals (logos, ethos, pathos) to develop an effective means to convince the reader to think or act in a certain way.
relies more on emotional appeals than on facts.
form of persuasion that appeals to reason instead of emotion to convince an audience to think or act in a certain way.
causal relationship
form or argumentation in which the writer claims that one thing results from another, often used as part of a logical argument.
a form of discourse that uses language to create a mood or emotion.
one of the four major forms of disclosure, in which something is explained or "set forth."
the form of discourse that tells about a series of events.
act of interpreting or discovering the meaning of a text, usually involves close reading and special attention to figurative language.
a very short story told in prose or poetry that teaches a practical lesson about how to succeed in life; often involves animals as characters
a type of comedy in which ridiculous and often stereotyped characters are involved in silly, far-fetched situations.
figurative language
words which are inaccurate if interpreted literally, but are used to describe. Similes and metaphors are common forms.
a scene that interrupts the normal chronological sequence of events in a story to depict something that happened at an earlier time.
a character who acts as contrast to another character. Often a funny sidekick to the dashing hero, or a villain contrasting the hero.
the use of hints and clues to suggest what will happen later in a plot.
free verse
poetry that does not conform to a regular meter or rhyme scheme.
a figure of speech that uses an incredible exaggeration or overstatement, for effect. (Ex.: "If I told you once, I've told you a million times...")
sentence marked by the use of connecting words between clauses or sentences, explicitly showing the logical or other relationships between them. (Use of such syntactic subordination of just one clause to another is known as hypotaxis). (Ex.: I am tired because it is hot.)
the use of language to evoke a picture or a concrete sensation of a person, a thing, a place, or an experience.
the reversal of the normal word order in a sentence or phrase.
a discrepancy between appearances and reality.
verbal irony
occurs when someone says one thing but really means something else.
situational irony
takes place when there is a discrepancy between what is expected to happen, or what would be appropriate to happen, and what really does happen.
dramatic irony
is so called because it is often used on stage. A character in the play or story thinks one thing is true, but the audience or reader knows better.
poetic and rhetorical device in which normally unassociated ideas, words or phrases are placed next to one another, creating an effect of surprise and wit. (Ex.: Ezra Pound: "The apparition of these faces in the crowd;/Petals on a wet, black bough.") Juxtaposition is also a form of contrast by which writers call attention to dissimilar ideas or images or metaphors. (Ex.: Martin Luther King: "Injustice anywhere is a threat to justice everywhere.")
is a form of understatement in which the positive form is emphasized through the negation of a negative form. (Ex.: Hawthorne-"...the wearers of petticoat and farthingale...stepping forth into the public ways, and wedging their not unsubstantial persons, if occasion were, into the throng...")
local color
a term applied to fiction or poetry which tends to place special emphasis on a particular setting, including its customs, clothing, dialect and landscape.
loose sentence
one in which the main clause comes first, followed by further dependent grammatical units. See periodic sentence. (Ex.: Hawthorne: "Hester gazed after him a little while, looking with a half-fantastic curiosity to see whether the tender grass of early spring would not be blighted beneath him, and show the wavering track of this footsteps, sere and brown, across its cheerful verdure.")
lyric poem
a poem that does not tell a story but expresses the personal feelings or thoughts of the speaker. A ballad tells a story.
a figure of speech that makes a comparison between two unlike things without the use of such specific words of comparison as like, as, than, or resembles.
implied metaphor
does not state explicitly the two terms of the comparison. "I like to see it lap the miles" is an implied metaphor in which the verb lap implies a comparison between "it" and some animal that "laps" up water.
extended metaphor
a metaphor that is extended or developed as far as the writer want to take it. (conceit if it is quite elaborate.)
dead metaphor
a metaphor that has been used so often that the comparison is no longer vivid: "The head of the house", "the seat of the government"; "a knotty problem" are all dead metaphors.
mixed metaphor
a metaphor that has gotten out of control and mixes its terms so that they are visually or imaginatively incompatible. (Ex.: "The President is a lame duck who is running out of gas.")
a figure of speech in which a person, place, or thing, is referred to by something closely associated with it. (Ex.: "We requested from the crown support for our petition." The crown is used to represent the monarch.)
an atmosphere created by a writer's diction and the details selected.
a recurring image, word, phrase, action, idea, object, or situation used throughout a work (or in several works by one author), unifying the work by tying the current situation to previous ones, or new ideas to the theme. (Ex.: Kurt Vonnegut uses "So it goes" throughout Slaughterhouse-Five to remind the reader of the senselessness of death.)
the reasons for a character's behavior.
the use of words whose sounds echo their sense. (Ex.: "Pop." "Zap.")
a figure of speech that combines opposite or contradictory terms in a brief phrase. (Ex.: "Jumbo shrimp." "Pretty ugly." "Bitter-sweet.")
a relatively short story that teaches a moral, or lesson about how to lead a good life.
a statement that appears self-contradictory, but that reveals a kind of truth.
is a paradox used in Zen Buddhism to gain intuitive knowledge. (Ex.: "What is the sound of one hand clapping?")
parallel structure (parallelism)
the repetition of words or phrases that have similar grammatical structures.
paratactic sentence
simply juxtaposes clauses or sentences. (Ex.: "I am tired: it is hot.")
a work that makes fun of another work by imitating some aspect of the writer's style.
sentence that places the main idea or central complete thought at the end of the sentence, after all introductory elements.
a figure of speech in which an object or animal is given human feelings, thoughts, or attitudes.
the series of related events in a story or play, sometimes called the storyline.
introduces characters, situation, and setting.
rising action
complications in conflict and situations (may introduce new ones as well).
that point in a plot that creates the greatest intensity, suspense, or interest. Also called "turning point."
the conclusion of a story, when all or most of the conflicts have been settled; often called the denouement.
point of view
the vantage point from which the writer tells the story.
first person point of view
one of the characters tells the story.
third person point of view
an unknown narrator, tells the story, but this narrator zooms in to focus on the thoughts and feelings of only one character.
omniscient point of view
an omniscient or all knowing narrator tells the story, also using the third person pronouns. This narrator, instead of focusing on one character only, often tells us everything about many characters.
objective point of view
a narrator who is totally impersonal and objective tells the story, with no comment on any characters or events.
sentence which uses a conjunction with NO commas to separate the items in a series. Instead of X, Y, and Z... Polysyndeton results in X and Y and Z... Kurt Vonnegut uses this device.
the central character in a story, the one who initiates or drives the action. Usually the hero or anti-hero; in a tragic hero, like John Proctor of The Crucible, there is always a hamartia, or tragic flaw in his character which will lead to his downfall.
a "play on words" based on the multiple meanings of a single word or on words that sound alike but mean different things.
a poem consisting of four lines, or four lines of a poem that can be considered as a unit.
a word, phrase, line, or group of lines that is repeated, for effect, several times in a poem.
a rise and fall of the voice produced by the alternation of stressed and unstressed syllables in language.
art of effective communication, especially persuasive discourse.
rhetorical question
a question asked for effect, and not actually requiring an answer.
in general, a story in which an idealized hero or heroine undertakes a quest and is successful.
a type of writing that ridicules the shortcomings of people or institutions in an attempt to bring about a change.
a figure of speech that makes an explicitly comparison between two unlike things, using words such as like, as, than, or resembles.
a long speech made by a character in a play while no other characters are on stage.
a fixed idea or conception of a character or an idea which does not allow for any individuality, often based on religious, social, or racial prejudices.
stream of consciousness
a style of writing that portrays the inner (often chaotic) workings of a character's mind.
the distinctive way in which a writer uses language: a writer's distinctive use of diction, tone, and syntax.
a feeling of uncertainty and curiosity about what will happen next in a story.
a person, place, thing, or event that has meaning in itself and that also stands for something more than itself.
a figure of speech in which a part represents the whole. "If you don't drive properly, you will lose your wheels." The wheels represent the entire car.
syntactic fluency
ability to create a variety of sentence structures, appropriately complex and/or simple and varied in length.
syntactic permutation
sentence structures that are extraordinarily complex and involved. Often difficult for a reader to follow.
tall tale
an outrageously exaggerated, humorous story that is obviously unbelievable.
telegraphic sentence
a sentence shorter than five words in length.
the insight about human life that is revealed in a literary work.
the attitude a writer takes toward the subject of a work, the characters in it, or the audience, revealed through diction, figurative language, and organization.
in general, a story in which a heroic character either dies or comes to some other unhappy end.
sentence of three parts of equal importance and length, usually three independent clauses.
a statement that says less than what is meant. (Ex.: During the second war with Iraq, American troops complained of a fierce sand storm that made even the night-vision equipment useless. A British commando commented about the storm: "It's a bit breezy.")
unified parts of the writing are related to one central idea or organizing principle. Unity is dependent upon coherence.
the language spoken by the people who live in a particular locality.
a nineteenth-century movement in literature and art which advocated a recording of the artist's personal impressions of the world, rather than a strict representation of reality.
a term for the bold new experimental styles and forms that swept the arts during the first third of the twentieth century.
a nineteenth century literary movement that was an extension of realism and that claimed to portray life exactly as it was.
plain style
writing style that stresses simplicity and clarity of expression (but will still utilize allusions and metaphors), and was the main form of the Puritan writers.
writing style of America's early English-speaking colonists. Emphasizes obedience to God and consists mainly of journals, sermons, and poems. (1620-1770s)
a movement that began in Europe in the seventeenth century, which held that we can arrive at truth by using our reason rather than relying on the authority of the past, on the authority of the Church, or an institution. Also called neoclassicism and age of reason. (1770s-early 1800s)
a style of writing, developed in the nineteenth century, that attempts to depict life accurately without idealizing or romanticizing it. (1850s-early 1900s)
literature that emphasizes a specific geographic setting and that reproduces the speech, behavior, and attitudes of the people who live in that region. (1844-early 1900s)
a revolt against rationalism that affected literature and the other arts, beginning in the late eighteenth century and remaining strong throughout most of the nineteenth century. (early 1800s-1870s)
in movement in art and literature that started in Europe during the 1920s. Surrealists wanted to replace conventional realism with the full expression of the unconscious mind, which they considered to be more real than the "real" world of appearances.
a literary movement that originated in late nineteenth century France, in which writers rearranged the world of appearances in order to reveal a more truthful version of reality.
a nineteenth century movement in the Romantic tradition, which held that every individual can reach ultimate truths through spiritual intuition, which transcends reasons and sensory experience.
expressing quantity of something while limiting the variables.
a more agreeable or less offensive substitute for a harsh idea. (Ex.: passed away.)
the use of parenthesis within a sentence to highlight an important remark. (Ex.: Honor your father and mother (which is the first commandment with a promise) that it may be well with you and that you may live long on the earth. --Ephesians 6:2-3)
scesis onomaton
repetition in which a set of two or more different words have the same meaning; successive series whose meaning is generally equivalent. (Ex.: ...We have sinned, committed iniquity, acted wickedly, and rebelled, even turning aside from Thy commandments and ordinances. --Daniel 9:5)
raising questions and answering them.
mention of something in disclaiming intention of mentioning it or pretending to deny what is affirmed.
use of words to modify or govern two or more words although its use may be grammatically or logically correct with only one.
figure of repetition that combines anaphora and epistrophe in which the first and last word in a phrase are repeated; repetition of the first and last words in a clause over successive clauses.
noun or noun phrase that renames another noun beside it.
making separate mention or recounting detailed account in which each thing is especially noticed.
repetition of the last word of one line to begin the next (leads to climax).
figure of argument which is wise, witty, pithy, like a maxim or aphorism, used to sum up preceding material.
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The Reserve at Triadelphia Crossing by Toll Brothers
Located in beautiful western Howard County, The Reserve at Triadelphia Crossing is just minutes from Ellicott City, Clarksville, and Columbia and is located between the major commuting destinations of Washington, DC and Baltimore. This private enclave of luxurious estate line and signature homes offers beautiful one-acre home sites amidst gentle rolling hills and picturesque scenery.
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From I-495: Take Exit 27 onto I-95 North to Exit 38 (Rt. 32 West). Continue 9-6/10 miles to left onto West Linden Church Road. Turn right onto Ten Oaks Road. Continue straight for 3-9/10 miles and turn left onto Triadelphia Road. After 1/10 miles, bear right onto Roxbury Road and continue for 4/10 miles to right onto Edgewoods Way to Model Home at the corner of Cory's Court.
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Carol Elliott, B.S., OTR/L is an internationally recognized and energetic speaker. She is a master clinician at Children's Feeding Program at the Children's Hospital of Richmond, Virginia at VCU. Carol has worked in the area of pediatric Occupational Therapy since 1987 after receiving her degree at Elizabethtown College, Elizabethtown, PA.
Prior to specializing in feeding problems, Carol's clinical areas of expertise were pediatric brain injury, splinting/casting, burns and sensory integration. Since, 1998, Carol devoted her practice to developing and implementing treatment techniques for children with complex feeding disorders, oral motor deficits, and oral dysphasia and feeding tube dependency using the TR-eatTM model. She provides treatment for infants through teenagers both in an outpatient clinic setting and as part of the Intensive Day Feeding Program.
Along with her full time clinical practice, she has published multiple articles, conducted numerous presentations and has provided consultative services to other professionals and treatment centers in the area of pediatric feeding evaluation/treatment.


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- 4 Tbsp. Roland® Seven Spice Soy Glaze
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BDS Is Professional Solidarity
[This article first appeared on the author's blog. The Modern Language Association (MLA) will be voting on a resolution calling for a boycott of Israeli academic institutions at its upcoming convention, to be held 5-8 January 2017 in Philadelphia.]
I endorse BDS as a strategy because it is one of the very few ways to use our position as educators to act in solidarity with Palestinian colleagues who have lived under military occupation for fifty years.
Fifty years. That's how long it's been since Israel conquered those territories of mandate Palestine it had failed to seize in 1948. Ever since, Palestinians in the West Bank and Gaza have lived under the grueling everyday circumstances of military occupation. We call it 'occupation,' but it is better called a siege.
The dynamics of this siege have changed over the decades. Sometimes it has been characterized by direct policing and unambiguous forms of domination. Sometimes by subtle forms of divide and rule or distanced, mediated regimes of command. But as any visitor to Hebron or Nablus can tell you: the system of control today is as tight and deadly as it has ever been.
During these five decades, Palestinian communities have been uprooted and subjected to a uniquely unaccountable form of violence. For fifty years, Palestinian leaders have been imprisoned, tortured and assassinated on the grounds that they were "terrorists." For fifty years, Palestinians have watched as their lands were seized by an ethno-supremacist settler movement with deep roots and powerful patrons in the USA. For fifty years, Palestinians fought against their oppression even though this has meant confronting one of the most powerful militaries of the world.
The contrast with Israeli society could not be greater. Even though unabashed regimes of oppression always engender some forms of violence, Israeli citizens pay almost no price for the occupation. Israelis enjoy complete freedom of movement and robust civil and political rights within Israel and beyond. Indeed, for many Israelis, the fifty-year military occupation has been a source of opportunity and advancement. This is certainly true for the science and technology sectors, especially those that work closely with the intelligence and security agencies.
It is a source of personal shame for me to have watched as my elected officials—Democrat and Republican administrations and Congresses—trip over themselves to bankroll and celebrate the siege on Palestine. I have always been amazed by the generosity of Palestinians toward me despite this history, as well as their insistence on distinguishing between ordinary Americans and the governments we continually elect. The fact is that we do not deserve such generosity. Certainly we cannot expect it to last another fifty years, unless we—as private citizens—take tangible, real-world steps to show our dissent.
A vote for BDS is a real-world step that will mark our opposition to fifty years of US foreign policy on the occupation and the violence it has done to Palestinians. If for years we have failed to act or speak up, this will be a step towards ending our complicity and negligence. More importantly, it will allow us to act professionally toward colleagues who have long called for us to take a stand with them as they fight for their right to higher education.
Of all the wrongs in this history, it may seem odd to focus on the way the Israeli siege of Palestinian society tramples on the right to higher education. But since it is higher education that brings us together as professionals, it is fitting that we should single this out in our academic associations.
It is also fitting for another reason: the Israeli siege of Palestinian society has long included a draconian policy toward education. Checkpoints, closures, expulsions and the everyday violence of military occupation means it is very difficult to be a Palestinian student at any level. And it makes it very difficult to be a teacher, professor, researcher, scholar, dean or anyone else dedicated to the principle that Palestinians deserve education just like any other people.
For me, this is the heart of Boycott, Sanctions and Divestment: it is a call from colleagues living under duress and threat for help to break this fifty-year siege. The solidarity they ask for does not come from the fact that we share the same conditions of life, but because we share the same values, starting with the right to an education.
Admittedly, there is a paradox in the BDS position, since most scholars are by our nature prone to abhor policies that would place limits on intellectual movement, contact, and exchange. Indeed, it is precisely because such limits have been placed on Palestinian scholars, teachers and students that we need to bring them into question and make them a central issue of our professional solidarity.
And what, after all, is the fifty-year-old Israeli siege on Palestinian higher education? It is nothing but an unacknowledged and immoral form of boycott, divestment and sanction imposed by the powerful on the weak through military conquest. In contrast to this siege, our BDS campaign is based on transparency, non-violence, consensus and equality.
There is also a vexing question here: How does an endorsement of BDS help break the siege on Palestinian higher education? But the logic is not as convoluted as sophists would have it. It is simply to make Israeli institutions begin to pay a cost for the violent occupation they maintain, and to bring our weight as an association to bear on the subject. By introducing a set of conditions on the associations we are willing to make with our Israeli colleagues, we are asking them to end their quiescence and complacency and to clarify their position with regard to the siege on Palestinian higher education.
If it is difficult to imagine the endurance and patience of Palestinian academics struggling against military occupation, then consider instead the career of the Israeli humanist, Menahem Milson. Milson was a Harvard-trained literature professor at Hebrew University when he was tapped in the late 1960s to serve in the military government of the West Bank. Later, during the 1970s, Milson oversaw Israeli policy concerning Palestinian higher education. It was Milson's office that issued "Military Order 845," which effectively put Israeli military personnel in charge of admissions and hiring decisions at all Palestinian universities, and became the basis for the closures that lasted months and years. The result was devastating—an entire generation was denied access to the university.
When Milson finished, he simply went back to teaching literature as he'd done before. Over the years, he enjoyed the experience of being hosted as a visiting scholar at American and European universities, and had a distinguished career as Department Chair, Dean of the Faculty of the Humanities and eventually Provost.
Here is the point: it was our eminent humanist colleague, Milson, who launched the first assaults on Palestinian higher education, and his policies formed the artillery and battering rams of the fifty-year siege. While he toggled back and forth between his life as a civilian scholar and an officer of the occupation, the Palestinian students, teachers and scholars whose lives he governed never had it so good. Today, Milson is an emeritus humanities professor with time to oversee the odious "MEMRI translation project," while his Palestinian victims still—decades later—struggle to overturn his destructive legacies.
If Milson's example is too extreme, picture instead the quiescent and morally ambiguous position of the Israeli academy as a collective. At present there is not a single Israeli university that is not deeply imbricated in the occupation. Some even profit handsomely from it. This happens at the institutional level, and also at the level of individuals, providing crucial expert support for the occupation army, military intelligence and weapons design.
Given this history, the collective silence of our colleagues in Israel is now deafening. It has gone on for half a century now. Which Israeli academic associations have extended gestures of decency and support, let alone professional solidarity, toward their peers living under occupation over the past fifty years? The list is not long.
True, there is an important history of dissidence within the Israeli academy, and it is not difficult to think of individual Israeli scholars who—by their research, teaching and professionalism—have worked against the grain of the occupation and have stood in solidarity with their colleagues living under occupation. But now, the few critics who remain in the Israeli academy are harassed and threatened routinely, quite often by administrators and colleagues at their own institutions. It is significant that most of these same dissidents have endorsed the call for BDS. So, in effect, the call for BDS is not just asking us to stand with our Palestinian colleagues as they face the siege. It is also to stand with those Israeli dissidents who have most resisted the occupation.
There are colleagues who accuse BDS advocates of hypocrisy, with an insincere rhetoric of "whataboutery." They shout, "What about...?!" and ask why we are so silent about Saudi Arabia, China or Russia. When they do that we should remind them: we are not silent about other places, and we already do stand in solidarity with beleaguered colleagues wherever our principles and struggles converge .
There are also colleagues who will suggest, as if they'd made a clever discovery, that the US academy might itself be targeted by BDS campaigns because of our collective complicity in American Empire. We should say to them: we would welcome sincere campaigns as signs of friendship and goodwill—because they would be nothing less than invitations for us to resolve the contradictions between the principles and values we claim to embrace as Americans and the way we work and live our lives in this country.
In the meantime, I join my colleagues at the MLA who have decided to stand with the Palestinian right to education. Anything less is to be party to the siege against our colleagues in Palestine.
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Season 2, Episode 25 The Great Chess Gambit
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Everything that we do nowadays is toxic, from the aliments that we consume to the air that we breathe in and the cosmetic products that we use. Simply, our lives have been grasped of chemicals so that we, humans, would not be able to live a healthy life anymore.
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This property has been removed by the agent. It may be let or temporarily removed from the market
3 bedroom semi-detached house to rentRise Avenue, Rednal, Birmingham, B45
Let Agreed £725 pcm| £167 pw fees apply
Property Description
Letting information:
|Added on Rightmove:
|18 October 2016 (338 days ago)
Key features
- Off Road Parking
- Three Bedroom Semi Detatched House
- EPC Rating E
- Downstairs Bathroom
- Rear Garden
Full description
Available December 2016. Situated in a popular location of Rednal. This semi detached home offers ample accommodation for any family. Having been refurbished in February this year by the landlords to a high standard. This is a property that you do not want to miss out on. The property benefits from three bedroom, lounge, fitted kitchen and downstairs bathroom. The property also comes with off road parking. Deposit £1,050 EPC rating E
The property is conveniently located for Rubery Village which has a good range of shops and amenities where there is a Morrison's supermarket, Great Park which offers multi-screen cinema, ten-pin bowling, bars and restaurants. There is also bus and rail links into Birmingham city centre and towards to surrounding towns and you are also in the vicinity for the motorway links of the M42 and M5 motorway
Our View
A fantastic semi detached house which is undergoing a full refurbishment. Three generous sized bedrooms, lounge, new kitchen and new bathroom. Externally there is a driveway to the front and a garden to the rear.
More information from this agent
To view this media, please visit the on-line version of this page at www.rightmove.co.uk/property-to-rent/property-44949813.html
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Think about what career is best suited for you, and where you want to study. Request more information now.
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Pack of North Lauderdale Women Fails to Rob Pizza Boy With Paintball Gun
For once, the pizza boy taking forever to deliver a pizza was a good thing.
Four North Lauderdale women waited in the driveway of a vacant home for so long to rob the pizza boy that two neighbors called 911 and Broward Sheriff's deputies showed up before any sign of the pizza, cops say.
Police say the deputies drove up to the driveway and found Tashay Bryant, 21, Shakera Collins, 20, Victoria Grajales, 18, and Rashelle Moore, 18, in a black Honda Civic wearing masks and hooded sweatshirts, planning to rob a Pizza Hut delivery driver when he showed up.
Two neighbors called the cops around 10 p.m. Tuesday because they saw four people in a car wearing masks, and the car's license plate was covered.
According to the BSO, the driver of the car was starting to drive away when they showed up, but deputies pulled the car over because of broken taillights and because the driver wasn't wearing a seat belt.
Left to right: Shakera Collins, Rashelle Moore, Victoria Grajales
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After changing their story up a bit, the four women admitted they had ordered a delivery from Pizza Hut to a vacant house and planned on robbing the driver with a paintball gun when he showed up, the cops say.
Police say the women planned on stealing the pizza too.
The women were arrested and face charges of committing a felony with a weapon, wearing a mask while committing a felony, robbery with a weapon, and loitering or prowling, according to the sheriff's office.
Cops say they're looking into the women for four other recent North Lauderdale-area robberies including delivery drivers, although the suspects in those cases were all reported to have been men.
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Wayne Bennett's return to Broncos confirmed
Wayne Bennett will return home to Brisbane next season after the NRL club decided to jettison current coach Anthony Griffin with a year left on his contract.
Griffin will remain in charge for the remainder of 2014 before Bennett steps in from 2015 on a three-season deal.
The Broncos confirmed at a media conference this afternoon that Griffin had been asked to stand down at the end of his third season in charge.
Chief executive Paul White said the decision made at the weekend was based on the club's results over the past couple of years.
''As tough as this decision's been, I accept that decision - as does Anthony,'' White told reporters.
''And I want to make it clear that my support for 'Hook', the club, and all the people within is absolute, our new incoming coach of 2015 will have that same level of support.''
It's understood players were told of the news at a crisis meeting at the club's Red Hill headquarters late this morning.
Brisbane sit sixth on the NRL ladder following their stirring 28-22 win over the Warriors at Suncorp Stadium on Saturday night.
Griffin has received overwhelming support from his senior players and White, but senior board members have worked behind the scenes to lure home their foundation coach.
Bennett won six titles in 21 years at Brisbane before leaving at the end of 2008 to link with St George Illawarra.
The 64-year-old had also been in talks with the Broncos to return at the end of 2011 but ultimately turned them down to take up a bigger $1.4 million per season deal at Newcastle.
A Fairfax Media report said Bennett had convinced News Corporation boss Lachlan Murdoch he could return the former glamour club to their previous heights and rebuild team culture. News owns 67 per cent of club shares.
Griffin said he was disappointed but remained philosophical about the situation.
''It's a big bad world out there; it's business,'' he said.
''Life's full of challenges and this is one of them. I've done everything in my power to get the club to this point. It's in a position where it's going to succeed.
''For me personally, I'm looking forward to the next 10 weeks.''
While Griffin admitted he could simply walk out of the club now, he had no intention of doing so.
''I've spent a lot of time here, I enjoy my role and we've got the team into a very good position this year,'' he added.
''We've got a fantastic opportunity over the next 10 to 12 weeks.''
Meanwhile, Stephen Kearney's coaching future in the NRL is again uncertain following today's developments.
Kearney, who joined the Broncos as Griffin's assistant after he resigned from the head coaching role at Parramatta in July 2012, is off contract at the end of the season and despite a successful history with Bennett he could still be a casualty of the revamp.
The duo coached the Kiwis to World Cup glory in 2008 - with the Australian in the unfamiliar role as assistant - but Bennett seems likely to appoint Kevin Walters as his back-up.
Walters, a premiership-winning captain under Bennett at the Broncos, joined Newcastle as the halves coach this season and is seen as a potential successor to Bennett when he eventually retires.
Kearney, who enjoyed just 10 wins in his 42-game first grade coaching stint at the Eels, preferred not to comment on his future or Griffin's demise when contacted by Fairfax Media.
"With respect to Anthony I'd prefer not to say anything. It's a tough time for all concerned," he said.


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It's the start of 2014 which means it's time for Goals and Predictions for the year.
Every December my family puts together a list of goals and predictions for the following year. We write them down, seal them in an envelope, and pack them away with the Christmas decorations only to be opened on December 24th during family dinner. This year I am anticipating not being home at Christmas (sorry mom), so I thought I'd share my goals and predictions for the year and then reveal how that goes next December. Without further ado, here is my list:
2014 Goals
- Pilates – Continue to attend pilates classes, or find some in Australia and attend regularly, at home videos count too! Pilates is an exercise class I fell in love with in 2013, the easiest way for me to describe it is a more intense yoga class. I've had one instructor in the past who has had us in plank position for 15 minutes (not continuous – thank goodness!) during a class… I said it was intense right? Pilates utilizes uses your core muscles to build flexibility and strength. It's intense but at the end I always feel more relaxed and fit.
- Weight – Last year I set a goal weight of… well I won't share that, but let's just say it was 19lbs less than my heaviest weight in 2012. I surpassed that goal weight relatively soon in 2013 and accomplished a weight loss of 27lbs by May 2013. I did gain some weight back, but by the end of 2013 still had lost a total of 24lbs from my heaviest point. I am setting a goal weight for this year which means losing 11lbs. I think I can accomplish this goal by keeping up with pilates, exercising in the morning after Ben has gone to work, going for walks with him in the evening, and living in a new country with smaller portions. 11lbs is do-able.
- By now I'm sure you know I'll be moving to Newcastle, Australia in February, but where exactly is Newcastle? Newcastle is two hours north of Sydney, it's a small city of 300,000 people. One of those being Ben, and two others, his roommates (who are awesome – btw!) As much as I have loved visiting Newcastle, for a girl with no transportation of her own, and who loves a big city, Newcastle isn't quite big enough for me. Lucky for me, I have a boyfriend who agrees.
The goal: Move to Melbourne.
Melbourne is a large city in the south of Australia; urban and located on the coast, it's comparable to Boston, and has a climate to rival San Francisco. Melbourne is full of cafes, entertainment, sports, and public transportation and was ranked #2 in the list of the World's Most Livable Cities in 2013. Seems like the perfect location for Ben and I to start our lives together.
The Blog:
- Posts – It's my hope (and goal) to post once a week. I use this blog as a way to keep up with my friends and family back home and share my recipes and experiences Down Under. If I can't post once a week about some kind of adventure, be it in the kitchen or exploring the country, then I really need to reevaluate how I am spending my time. That said, if I really am having too many adventures and can't post, I'll take that as a good reason not to accomplish this goal.
- Number of posts – Related to the previous post, this goal is to have at least 75 QUALITY posts this year. I don't ever want to post a recipe just to get something up on the site, talk about something that has no significance, or write something that my readers don't care about; if I wrote just for those reasons then I am really not doing my job as a blogger. I think in the grand scheme 75 posts seems reasonable and sounds like fun too.
- Lady Bloggers – attend events in Orlando, and find a group in Australia, or create my own. There is a great group of women bloggers in Orlando that I found out about while attending the Florida Blogging and Social Media Conference last September. At that point in time I did not have a blog and was told I could come out to events just to meet the other ladies and network. I have been putting that off as I really wanted a blog I could be proud of before connecting with a group that was doing exactly what I want to be doing. I am hoping there are a few events in Orlando that I can attend before I move. Once I move to Australia I am hoping to find a group of women blogger in Melbourne (no offense guys – a girl needs some lady friends.) If there isn't one that already exists I have no problem starting the group on my own to connect with other bloggers in the area, and make some friends in the process.
- Baby – I have never been good at predictions for the upcoming year but this year I have one. My best friend Derina is getting married in a few weeks and will turn 27 in August. I have a feeling that sometime this year I'll be getting an "I'm Pregnant" phone call from her.
There you have it, Andrea's Goals and Predictions for 2014. Now is the time to make them happen!
Do you have any goals and predictions for the new year? I'd love to hear them in the comments section below.


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Envisioning a gleeful retirement is easy if you're a planner. Or if you at least work with a planner. Anyway, so try to think of the worst retirement possible. Okay, go ahead. Think of it. You got it? That's it? That's the worst??
Here's what I picture: A dusty, sagging, spotted old man. His wife, gone. His kids, who knows. His home, bank-owned. His memories, fading. He sits buffooned in a splintery, peeling rocking chair in the corner of his shared room at the forgotten assisted living facility upstate. He closes his eyes with a heavy exhale, recalling faint images of family, as his dementia-suffering roommate commences his daily euphoric stammerings of sundowning and medication reuptake. The once family-man rocks back and forth, wondering about a million things. Wondering about his breakfast. Wondering about his grandchildren. Wondering about the foggy details of his lost retirement, and the sad but common circumstances that have led to his forgotten inhabitance.
How'd we do? Retirement planning begins long, long, long before we turn 65, or 66, or 67, or whatever absurd age the government squeezes us into when it comes our time. A heavy percentage of retirees rely purely on monthly Social Security, with little in the way of preplanned retirement savings. Isn't Social Security running out? Franklin?
Which bring us to "compound interest". Compound Interest is interest "calculated on the initial principal and also on the accumulated interest of previous periods of a deposit or loan" (investopedia). To the layman, it basically means interest on interest. So that sounds nice.
You could say that compound interest is basically reinvesting the interest. You're earning on the initial sum's interest, plus the interest already earned. Interesting interested interest.
Professional mathematicians tell us that $1 million isn't enough to retire on anymore. If you do the math (or just look at their math), a cool mill will fetch you about $40,000 per year until you're a centenarian. Centenarian, not centurion.


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It appears someone at the iRacing headquarters in Bedford, Massachusetts misses pop legend David Bowie just a little too much. A quick scan of recent YouTube search results for the partial phrase "iRacing Physics" warrants a vast array of clips all exhibiting the same problem – vehicle-on-vehicle contact launches at least one user involved to the stratosphere. It's seriously impressive, for all the wrong reasons.
I'm not particularly fond of hardcore Flight Simulators – they're a bit too dull for my tastes – but it seems iRacing are getting their feet wet in the genre after dominating the sim racing landscape for a number of years via spontaneous space flights with unwilling participants. It's definitely an approach that may generate a bit of controversy, given that iRacing is intended to be a hardcore racing simulator first and foremost where this kind of thing shouldn't happen, but this is the same developer who inserted touch screen driving because Intel asked for it, and sent the IndyCar oval series to Talladega while simultaneously advertising themselves as the most realistic racing game on the market.
On a more serious note, it's definitely questionable how this stuff rears its ugly head in the first place. Based partially on the source code for Grand Prix Legends and NASCAR Racing 2003 Season, it was extremely rare in those games to see online crashes of such a profound magnitude, with NASCAR Racing 2003 Season actually praised for such realistic crash physics. After years of revisions to the underlying code, and a substantial budget increase thanks to jacking up the subscription and content costs, it has instead regressed to the point of hilarity.
iRacers love to claim that these issues are one-off instances which do not occur during regular gameplay, but given the abundance of videos depicting similar incidents uploaded over the past year, it's hard to ignore what may actually be a growing problem behind the scenes: if people aren't being suspended from the service for merely driving on a portion of the road course at Homestead-Miami Speedway, the underlying simulation engine is literally shitting itself.


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Looking for GED testing in Longbranch WA? The GED test is only given in person and not online. Typically to be able to sit for the GED examination the student must be older than 17 years old. The General Education Development examination fee in the state of Washington ranges from $40-$90.
The General Education Development (GED) exam consists of five tests: reading, writing, math, science and social studies. Each section awards a score between 200-800. Many states require students to receive a score of 410 on each of the five tests and an average of 450 for the GED test to pass.
Usually GED testing in Longbranch WA is offered at:
- Longbranch Community Colleges
- Longbranch ISD
- Longbranch Literacy Centers
- Longbranch High Schools


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