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General Hospital Recaps
GH Week of December 17, 2007
In the park, Georgie seemed relieved when she knew the someone who had
approached her. She then hung up on the call she was making to 9-1-1.
At Metro Court, Kate tripped on her way to Sonny and Trevor's table. As
Sonny went to grab her, a shot rang out. Kate was horrified when she
realized someone was gunning for Sonny. Then, Mac, Ric and the cops arrived.
Sonny and Trevor pointed fingers at each other. Kate told the cops that she
did not know either man was there. Diane arrived on the scene and claimed
Sonny is the intended victim here. Kate asked to be excused and left quickly
without saying good-bye to Sonny. Mac got called away to check out another
crime scene. Ric pointed out to Sonny that the bullet could have easily
struck Kate. After Diane and Sonny left, Ric told his father that he's angry
with Sonny for trying to bump off his old man.
At the docks, Johnny pulled Lulu out of the line of fire just in time. After
they escaped the gunman, Johnny told Lulu that he believes that Sonny was
behind the ambush.
At Coop's room, Jason grabbed the intruder and put a gun on him. It was
Spinelli. After searching the room, Jason found black leather gloves and
sent Spinelli home, advising him to avoid Coop.
At Sam's penthouse, Maxie and Lucky shocked each other with their presence.
Maxie explained that Sam went to a meeting in New York. Lucky said he didn't
remember that the appointment was tonight. They compared notes about their
new love lives and Maxie apologized for her past antics. He also said he was
sorry for his mistakes with her, too. Lucky left. Later, Coop arrived late — and gloveless.
In the park, Georgie lay lifeless on the steps, under the falling snow.
Spinelli stumbled upon her body and broke down into tears. When he saw she
wasn't breathing, he called 9-1-1 and said, "Someone beautiful has died."
Harper was the first cop on the scene and he asked Spinelli to step aside.
Shortly afterward, Mac arrived and was horrified to see Georgie had been
murdered. Lucky arrived but couldn't console Mac. Lucky volunteered to break
the news to Maxie. Mac saw Spinelli and attacked him. Spinelli told Mac that
Georgie was his friend but the commish was convinced that Spinelli knew
Back at the penthouse, Maxie and Coop basked in he silence of the falling
snow. Coop admitted that even though she's never seen it, he has a bad
temper. She didn't believe him. Maxie invited Coop to spend Christmas with
her family. As they kissed on the couch, Lucky came knocking on the door. He
asked her to get dressed and come with him. Maxie knew something was
terribly wrong. He admitted that Georgie had been murdered. Maxie collapsed
into Lucky's arms. Maxie then raced to the park, where she pushed her way
past the cops to get to her sister. Mac grabbed her in his arms and they
A stunned Kate arrived home, terribly shaken up. She was so overtaken with
anxiety that she fell to her knees. Diane arrived to calm a disturbed Kate.
They had a glass of wine but Kate was unable to gab about fashion. Diane
told her to get used to being shot at if she wants to be involved with
Sonny. "The only way out is not to love him," Diane warned.
Jason met up with Sonny and Corinthos ordered Morgan to take out Johnny.
Jason advised his boss that Trevor should be their focus, not Johnny.
Meanwhile, Johnny and Lulu showed up at Sonny's door and heard Corinthos
bark that he wants Johnny dead.
Carly and Jax brought the boys into Kelly's upon their return from Hawaii
and Morgan gave Grandpa Mike a present, a plastic hula dancer. Mike filled
Carly in on Maxie's attack. Carly looked strangely at a new busboy named
Daniel and wondered if she'd seen him before. Carly told Michael about
getting a new nanny. Michael said he was too old for a nanny and said he
feels like he's in jail. Afterward, Mike told Jax that his new busboy used
to work for a high-end caterer but hated all the pressure.
As Johnny and Lulu overheard Sonny say, "Johnny dies tonight," Lulu wanted
to know what he did to get Corinthos that angry. Johnny declared he hasn't
instigated anything. He pulled out a gun but Lulu begged him not to do
anything. They took off.
In the park, Maxie was hysterical when she learned Georgie was dead. Maxie
asked to see Georgie but Mac refused. Harper showed Lucky Georgie's cell
phone, which had a text regarding Maxie. When Harper wondered why Georgie
would come to the park alone, Lucky wondered if Georgie knew who she would
be meeting. Lucky interrogated Spinelli and accused him of being
responsible. Harper dismissed Spinelli and told Lucky to calm down. Sam
showed up, back from her meeting, and was shocked to find out about Georgie.
At Kate's house, Diane told Kate that if she wants to stay alive, she should
never see Sonny again. Diane wasn't able to calm her. Sonny arrived and
Diane left. Kate told Sonny she doesn't want to lose him but she doesn't
know if she can be with him due to the danger.
At the hospital, Robin and Elizabeth were talking about the fact that
Nikolas was seeing a specialist (it was an appointment Emily had set up
before her death) when Mac brought in a hysterical Maxie. Robin knew
something was terribly wrong. Mac broke the news and Robin hugged her uncle.
Lainey gave Maxie a sedative as Coop watched from the hall. Maxie cried that
it should be her who's dead, not her sweet sis. Alone with Patrick, Robin
questioned why everyone she loves ends up dead. Later, Robin and Mac joined
Maxie for a family cry.
Spinelli broke the news of Georgie's death to Jason and vowed to take
revenge on Coop for killing his friend. Spinelli blamed himself and took a
shot of alcohol. Spinelli then went to the park and lit a candle for Georgie
and apologized to her.
Johnny took Lulu to safety at Kelly's and split. Lulu ran into Carly and
asked to talk. Carly had Jax take the boys home. Lulu asked her cuz to talk
Sonny out of killing Johnny. Carly reluctantly agreed.
Mac returned to the park as Georgie was being placed in a body bag. He
apologized to her and said he loves her. Mac then rhetorically asked Lucky
how he'll break the news to Felicia. After Mac walked away, Lucky told
Harper he's bringing Johnny in for questioning.
Sam showed up at Kelly's and broke the news to Mike. The creepy busboy asked
her for an autograph but she said that now wasn't really a good time. He was
not pleased. Later, Mike sent Daniel home for the night and as he left,
there was a string around the plastic hula dancer's neck.
Carly went to Sonny's where she found Jason. He told her about Georgie. When
she asked about Johnny, Jason said he can't talk business with her. Carly
realized that Sonny must be with Kate and she headed next door. Carly burst
into Kate's house and accused Sonny of wanting to start a mob war because
his girlfriend, Kate, can't take the heat.
Elizabeth took a room at the Metro Court and called Jason over. She said
that in light of Georgie's death, she doesn't want to waste any more time
and planted a big kiss on Jason.... Sam returned home and got a text that
said, "UR next." Lucky showed up in search of his keys and she showed him
the text.... Johnny and Lulu met up in the park. She said Carly would fix
everything but he didn't want Lulu involved for her own safety. Johnny then
pulled Lulu into a kiss.
Carly read Kate the riot act and blamed her for Sonny's desire to start a
mob war with the Zacchara family. Carly then informed Sonny about Lulu's
request and mentioned the ambush against Johnny and Lulu at the pier. Carly
warned Sonny about about making business too personal. "Think before you
act," she advised. Carly left in huff. Kate said she actually agreed with
Carly. Kate then told Sonny she does love him and agreed to his protection.
After getting the threatening text, Lucky called in Detective Harper, who
asked Sam if anyone has been following her. Sam was suspicious that the
killer would strike only hours after killing Georgie. Sam then mentioned
that being away from Jason, she thought her days of living in fear were
At G.H., Tracy was angry to catch Luke on the phone placing bets at the
track. She then informed Luke that since Monica wasn't able to finish the
operation, he still needs bypass surgery. He shared with her his vision of
hell, then stated that he refused to go back in the O.R. Later, orderly
Cassius offered Luke some sage advice about living and dying.
Johnny told Lulu that she's much safer being away from him and left. Johnny
met with Trevor, who filled him in on the shooting at Metro Court. Johnny
believed that Sonny had set a trap for both of them. Trevor mentioned his
plan of taking over Skye's piers to cut into Sonny's business. Johnny liked
the idea but reminded Trevor that he, not his attorney, was boss.
Logan ran into an upset Lulu at the park and assumed she was crying over
Georgie. Lulu was shocked when Logan told her what happened.
Back at G.H., Coop came into Maxie's room, where he comforted the upset
girl. Maxie couldn't fathom why anyone would kill her sister. As Coop gave
her a hug, he eyed the nearby telephone cord. Lulu and Logan stopped in,
where Lulu gave her rival her condolences and praised Georgie's character. A
tearful Maxie said that nothing matters anymore. In the hall, Logan
mentioned that he caught Lulu in a lie about babysitting at Elizabeth's,
just as Carly approached and said she needed to talk to her cousin alone.
Carly warned Lulu that she's getting in over her head and warned her to stay
away from Johnny.
Jason and Elizabeth made love in their room at Metro Court. Liz ached for
them to be together but they knew that they couldn't because of Jason's
dangerous life. Liz suggested they continue to meet in secret. Jason agreed
and they professed their love for each other. As they left separately, each
carried a secret smile.
In the park, Logan ran into Johnny and warned him to stay away from Lulu,
while the pier assassin showed up at Crimson Pointe and Trevor shared his
plan of playing Sonny and Johnny against each other.
Sonny and Kate canoodled. After Sonny marveled at how she brought out the
best in him, Kate quipped that her house was getting bulletproofed later
that day. Over breakfast, Sonny asked her to spend Christmas with him but
before she could answer, Diane arrived and warned Kate to get out of
town, saying she is filing for a petition to get Ms. Howard's charges dropped.
Jax railed at Carly for meddling in Sonny's business and putting their
family in danger. She explained the situation with Johnny and that Lulu had
asked for her help; Jax wasn't pleased and suggested they leave town.
Meanwhile, Michael overheard the bickering from the hall.
At Kelly's, Lulu volunteered to pick up Georgie's shifts, as a way to get
her mind off of things. When a very chipper Dylan arrived, wondering if
Georgie was around (he had big plans to go to Canada with her), Lulu and
Mike had to tell him that she was dead. Upset, Dylan used a movie analogy to
deal with his grief, then ran into Spinelli outside and the duo shared an
awkward mourning moment.
Armed with a fire poker, a fearful Maxie hid behind the front door when she
heard someone approaching. She was stunned to discover it was her mom. "One of us had to die to get your attention.
That's great," Maxie scoffed at Felicia, who explained that she'd been MIA
because she was working with Frisco and the government. She tried to make
amends, but Maxie remained bitter. Felicia was regretful about not seeing
her girls grow up. When Robin arrived, she had a happy reunion with Felicia.
At G.H., both Skye and Lulu encouraged Luke to have the bypass surgery.
Lucky later arrived and called Luke out on being afraid.... A torn Kate was
distracted during community service. Diane arrived to say that a judge
signed the petition so Kate was free to leave Port Charles, which pleased
both women.
Carly interviewed Mercedes, Leticia's cousin, for the nanny job and then got
a call from Michael's school saying he was missing. Meanwhile, Michael went
to visit Sonny, related what he overheard Jax and Carly discussing earlier
and gave his pop advice. Carly showed up and the duo lectured Michael, who
told them he wasn't a little boy anymore and knew what Sonny did for a
living. Later, Carly was disheartened when Michael informed Jax that he was
going to run his dad's business one day.
Felicia met Spinelli and then consoled Dylan, who returned to Kelly's and
played sad songs on the jukebox.... Sonny read a note from Kate, saying she
loves him, but is going back home to Manhattan.
Carly was looking at a pregnancy-test package when Jax arrived home. She hid the box and claimed that she had a big surprise. Later on, new nanny Mercedes and the boys came in with "the last sprig of mistletoe" in Port Charles. The family playfully trimmed the tree, but a nervous Carly kept one eye on the stashed test.
Maxie was decidedly frosty to Felicia as they got ready for Georgie's funeral. Maxie refused to take the car with her mother and waited for Coop. In the meantime, a crushed Robin entered the church with a large photo of Georgie, which she displayed on an easel. Mac, who was already there, said that Georgie's dead because he failed her; He blamed himself for not apprehending the text-message killer. Robin assured her uncle that he's not at fault and praised his skill as a father-figure. "You are the best parent any of us could have asked for," she said as tears streamed down Mac's face.
At the hospital, Tracy's visit to Luke was interrupted by Dillon, followed by Lulu. Tracy didn't think she belonged at the funeral and argued that she wanted to wait for the doctor's report on Luke. Dillon, however, argued that since she was horrible to Georgie, she ought to go, reasoning it's the least she can do. Luke promised that he'd wait until Tracy returned before speaking to the doc. Afterward, Alexis dropped by Luke's room and noted that she understands what it's like to face one's mortality.
The church filled up for the funeral. Mike comforted Felicia and Mac with a story about how popular Georgie was with his customers.... Patrick tried to support Robin, who tersely thanked him for coming and turned away..... Felicia sobbed to Mac about Maxie's attitude toward her... When the service began, Maxie delivered a eulogy, acknowledging that Georgie was the good sister, while she's the black sheep. She tearfully commended Mac on being a great dad and gave shout-outs to Dillon (admitting that she was never nice to him) and Bobbie and Robin and Spinelli (admitting that she was never nice to him either). Finally, she said she had to single out one more person "our mother." Felicia cringed and the mourners squirmed as Maxie called her out on deserting her "inconvenient children." Mac tried to get her to pipe down. Not only did Maxie keep going, but she essentially ordered her mom to leave and a weeping Felicia did the walk of shame right out of the sanctuary. Dillon rushed after her and tried to make Felicia feel better.
A drained Tracy returned to Luke's room and told her about "the eulogy from hell." He expressed surprise that Felicia was there, which sort of hilariously backs up Maxie. She admitted that she could see Dillon or Ned doing the same to her "and why wouldn't they, I deserve it," she sighed. Luke held her hand. A short time later, Leo came by to announce that Luke's surgery will take place on Christmas Eve, which made Tracy worry that the docs would be preoccupied with the holiday.
Just when Carly had gotten rid of Jax and the boys, Lulu visited her cousin and gave her the 411 on the awkward send-off for Georgie. Jax came home later and found a sad Carly, who told him that the Christmas surprise wasn't happening.... A distraught Robin showed up at Patrick's door and sobbed in his arms about how horrible the funeral was. She felt sorry for Felicia, but also had sympathy for Maxie.... Maxie tracked down her mother who was crying at Georgie's grave.... Mac cried as a Georgie flashback montage ensued.
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... that .. I fried three eggs on the sidewalk, and utilized the steam to power up a percolator that produced five cups of scalding hot coffee ....
we need some rain, please ..
Cy Kaicener wrote:There is a rescue underway in the Superstitions ..
surgent wrote: ... (we usually visit Baltimore/DC/VA where my in-laws live) ... However, it does curtail my hiking.
Steven Cross wrote:You didn't try baking cookies on your dash?
SeanReedy wrote:Northern California has had unusually mild weather for the past year. What's wrong with you guys to the east?
MarkDidier wrote:
Between the fires in Colorado and now these storms...a little good news would be welcome.
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Ghosh, Amitav
Amitav Ghosh 1956-
Indian novelist, essayist, and nonfiction writer.
The following entry presents an overview of Ghosh's career through 2001. For further information on his life and works, see CLC, Volume 44.
Ghosh is a popular and highly respected Indian author. In his novels and essays, he draws heavily upon the character, traditions, and dichotomies of his native land, yet Ghosh's protagonists and themes often extend beyond India's actual boundaries, most notably toward the Middle East and Great Britain. Through this discourse, Ghosh's works expose the cross-cultural ties between India and its former colonial ruler as well as with its kindred neighbors. Ghosh has been hailed by critics as one of a new generation of cosmopolitan Indian intellectuals writing in English who are forging a contemporary literary metier.
Biographical Information
Ghosh was born on July 11, 1956, in Calcutta, India, to Shailendra Chandra, a diplomat, and Ansali Ghosh, a homemaker. He traveled frequently in his youth, living in East Pakistan (now Bangladesh), Sri Lanka, Iran, and India. Ghosh attended Delhi University and received his B.A. with honors in history in 1976 and his M.A. in sociology in 1978. In 1978, he began studies at Oxford University in social anthropology. While at Oxford, Ghosh studied archives of documents from twelfth-century Egypt and was granted a scholarship that allowed him to travel to a small Egyptian village in 1980 to further his research. The village was located in the delta of the Nile River and Ghosh lived among the fellaheen, or Egyptian peasants. He graduated from Oxford earning a Ph.D. in social anthropology in 1982. From 1983 to 1987, Ghosh worked in the Department of Sociology at Delhi University. In 1986, Ghosh's first English-language novel, The Circle of Reason, was published and was awarded France's Prix Medici Etrangère. In 1988 and 1990, Ghosh returned to the Egyptian village he visited previously to continue his research. His third book, In an Antique Land (1992)—which is both a travel-memoir and a historical study—resulted from Ghosh's continuing interest in twelfth-century Egyptian culture. Ghosh has won numerous awards, including the Annual Prize from the Indian Academy of Letters in 1990. In 2001, Ghosh declined a nomination for a regional Commonwealth Writers Prize. Ghosh has served as a visiting professor at several universities, including the University of Virginia, Columbia University, University of Pennsylvania, and American University in Cairo. Ghosh has also held the title of distinguished professor in the Department of Comparative Literature at Queens College, City University of New York, and has worked as a contributing writer to Indian Express, Granta, and New Republic.
Major Works
The majority of Ghosh's writing focuses on exploring geographical and social boundaries. His first novel, The Circle of Reason, is a complex tale of a young Indian boy, Alu, and his adventures in India and abroad. The novel was inspired by Herman Melville's Moby-Dick. Alu becomes an apprentice weaver and, after a tragic event, flees across the ocean to the Middle East, eventually traveling to North Africa. In his travels, Alu encounters a myriad of eccentric characters of varied nationalities. It is in this atmosphere that Ghosh provides commentary on the nomadic proclivities of southern Asian and Middle Eastern societies. The work is divided into three sections, comprising the three main phases of Alu's life. Each of these phases also parallels a trio of concepts—reason, passion, and death—characteristic of ancient Indian literature and philosophy. In The Shadow Lines (1988), Ghosh juxtaposes the lives of two different yet intertwined families—one Indian and one English—to question the boundaries between their cultural and geographical settings. The title alludes to the blurring of the lines between nations and families, as well as the blurred lines within one's own self-identity. Ghosh depicts the characters of the novel as caught between two worlds, and the struggle to come to terms with both their present lives as well as their past forms the core of the narrative. In an Antique Land is based on the historical and anthropological research that Ghosh conducted in Egypt during the 1980s. In the twelfth century, Jewish settlers in and around Cairo were reluctant to discard written documents for fear that the name of God might be contained within and they would therefore be desecrated if the paper was soiled. The synagogue created a geniza, or cellar, where people could dispose of written material without fear of desecration. For seven centuries, local Jews deposited everything from shopping lists, letters, religious texts, and legal documents into the Cairo Geniza. At the end of the nineteenth century, Western scholars discovered the geniza, appropriated its contents, and its wealth of history was divided among the Western scholarly communities. While studying at Oxford, Ghosh discovered records of these documents and noticed a reference to a slave named Bomma. Ghosh traveled to Egypt in an effort to uncover more information about the slave and the time period in which he lived. In an Antique Land recounts both Ghosh's research and his experiences while living in a small Egyptian village. His descriptions of his adjustment to the rural Egyptian way of life, and the curiosity with which his neighbors viewed him, form a large portion of the work. The Calcutta Chromosome (1996) is a science-fiction thriller set in three different time periods—late nineteenth century, 1995, and the near future—and three different locales—Calcutta, London, and New York. The mystery novel centers around the research for a cure for malaria. The narrative switches back and forth between time periods, revealing more and more clues to the puzzle. In The Glass Palace (2001), Ghosh revisits his recurring themes of displacement and the examination of boundaries. The novel begins with a young Indian boy, Raj, who witnesses the expulsion of the Burmese royal family by the British. The story follows both the forced exile of the royal family in India as seen through the eyes of Dolly, their loyal maid, and Raj's adolescence and success in capital ventures. As a prosperous young businessman, Raj travels to India and asks Dolly to marry him. She accepts and they move to Burma together. The novel recounts the lives of their family as they struggle to define their place in the world. One of their sons, Arjun, enlists in the British Army and transforms his lifestyle with an almost zealous energy—by eating taboo foods, dressing in Western style, and speaking British slang. He believes that, by becoming like the English, he is making himself a more ideal specimen of man. His blind faith in the British Empire quickly dissolves during the Japanese invasion of Malaya. Arjun discovers that, as an Indian, he has become a pawn to be used by the Empire, and he eventually rediscovers the beauty in the Indian ideology and culture.
Critical Reception
The Circle of Reason, The Shadow Lines, The Calcutta Chromosome, and The Glass Palace all received sharply mixed assessments from reviewers. Some critics argued that the narratives—particularly in Ghosh's first two novels—lacked unity and suffered from the presence of too many characters and distracting digressions. Nevertheless, Ghosh has received overwhelmingly positive reviews for his arresting language and original prose style. Several critics have commented on the similarities between Ghosh's narrative style and traditional Indian and Arabic folk tales. Ghosh's work has also been favorably compared to the work of fellow Indian expatriate writer Salman Rushdie. The critical response to his nonfiction work In an Antique Land has been largely positive. Commentators have found his anthropologic comparisons between twelfth- and twentieth-century Egyptians to be interesting, well-researched, and thought provoking. His descriptions of his social interactions with the Egyptian villagers have also been commended for their insight and wit. Critics have noted Ghosh's strong affinity for the people and places he writes about and have argued that his empathy adds a warm, almost protective personality to his work.
Principal Works
The Circle of Reason (novel) 1986
The Shadow Lines (novel) 1988
In an Antique Land: History in the Guise of a Traveler's Tale (nonfiction) 1992
The Calcutta Chromosome: A Novel of Fevers, Delirium, and Discovery (novel) 1996
Dancing in Cambodia, At Large in Burma (essays) 1998
Countdown (nonfiction) 1999
The Glass Palace (novel) 2001
(The entire section is 47 words.)
SOURCE: "Threads and Shards," in Times Literary Supplement, No. 4465, October 28, 1988, p. 1212.
[In the following excerpt, Couto praises Ghosh's characterization and storytelling abilities in The Shadow Lines.]
In his first novel, Circle of Reason, Amitav Ghosh wove a complex pattern of histories connecting lives in rural Bengal and remote Al Ghazira with a linguistic verve and technique clearly influenced by Midnight's Children yet without that book's power and impetus. In Shadow Lines, Ghosh has found his own distinctive voice—polished and profound. A narrative of three generations—the narrator's Bengali family in pre-Partition Dhaka and Calcutta, and their English friends, the Prices, whose histories encompass both world wars, the Left Book Club and shades of contemporary London—The Shadow Lines does not tell yet one more tale of the Raj but sets out to illuminate the absurdities of borders and frontiers, the lines of disillusion and tragedy that intersect with private lives and public events.
As in Circle of Reason, Ghosh's narrator is a spectator. Here, engagingly introspective, he has many different faces: a wide-eyed boy in suburban Calcutta for whom the world is revealed in snatches of overheard conversation; a poor relation who awaits the intermittent visits of sophisticated relatives with their accounts of a charmed life in foreign...
(The entire section is 498 words.)
SOURCE: "Life on the Edge," in New Republic, Vol. 201, No. 6, August 7–14, 1989, pp. 37–39.
[In the following positive review, Klinkenborg expresses admiration for Ghosh's ability to capture the essence of human emotions and relationships in The Shadow Lines.]
Halfway through Amitav Ghosh's new novel, The Shadow Lines, the narrator says, "I no longer existed, but as a chronicle." That is a striking statement, a testament of personal extinction before one's story, the tacit confession of every omniscient narrator. In this novel, it implies the ability to repose on language as if it were a hammock, to trust the way its weave keeps one's haunches off the ground. It implies certitude, competence, judgment, meaning—all the trappings of what the narrator calls his "tidy, late-bourgeois world," whose genteel borders are rigorously defended against India's seething masses. To reduce (or enlarge) oneself to a chronicle demands the balance needed for the kind of storytelling that aspires to the composure of omniscience. The smaller your world and the tighter your borders, the easier omniscience comes.
In The Shadow Lines two families, one Indian, one English, engage each other in friendship, romance, and tragedy over a period that stretches from 1939 to the present in England and India. On the surface, this makes The Shadow Lines sound like a dying Raj epic...
(The entire section is 1975 words.)
SOURCE: A review of The Shadow Lines, in World Literature Today, Vol. 65, No. 2, Spring, 1991, p. 365.
[In the following review, Taneja offers a positive assessment of The Shadow Lines, complimenting Ghosh's ability to create a non-chronological yet cohesive story.]
The new Indian English fiction of the eighties is free from the self-consciousness, shallow idealism, and sentimentalism that characterized the work of the older generation of novelists such as Raja Rao, R. K. Narayan, or Mulk Raj Anand, who started writing in the thirties. The fiction of the eighties takes a maturer view of Indian reality. There is freshness and vitality, and the writers betray remarkable confidence in tackling new themes and experiment with new techniques and approaches to handle those themes. Amitav Ghosh, whose first novel The Circle of Reason appeared in 1986, has strengthened the new English novel in more than one way.
The Shadow Lines takes us into the mnemonic fund of a young narrator who as a wide-eyed adolescent worshiped Tridib, an uncle who fed him on his memories of his one visit to London during the war, and his grandmother, who shared with him her nostalgic memories of East Bengal, where she was born and spent her childhood. Then there is Ila (his cousin, for whom he nurtures a secret passion), who travels all over the world with her globe-trotting diplomat parents...
(The entire section is 744 words.)
SOURCE: "Sea Changes," in New Statesman & Society, Vol. 5, No. 222, October 2, 1992, pp. 48–49.
[In the following review, Howe offers a positive assessment of In an Antique Land.]
For most of recorded history, cultures, civilisations, and economies are better defined by oceans than by land masses. Until very recently the sea connected where mountains and deserts divided.
Historians learned from Fernand Braudel in the 1950s to think of the Mediterranean world as a unity. Soon after wards, the notion of an Atlantic world took hold: first an Atlantic "from above"; but increasingly, in the reconstructions of Marcus Rediker, Peter Linebaugh, Paul Gilroy and others, one criss-crossed by sailors, pirates, migrants, adventurers, religious and political rebels and visionaries, many of them of African descent. Ideas about what is "European," what "American" and what "African" get dramatically shaken up in these perspectives.
Now the world of the Indian Ocean is being brought into focus. Before the coming of European domination, which constructed the ideas of "Europe" and "Asia" themselves, the lands bordering that ocean were bound together by networks of trade, migration and cultural interchange. Its world, magnificently mapped by the Indian historian K. N. Chaudhuri, was a predominantly Islamic one; but religions mingled and interacted across...
(The entire section is 772 words.)
SOURCE: "Intimately Egyptian," in Times Literary Supplement, No. 4685, January 15, 1993, p. 7.
[In the following mixed review, Soueif argues that, although In an Antique Land is an admirable attempt at recreating the past, the book seems incomplete.]
It is a habit of certain traditional Jewish (and indeed Islamic) communities to preserve everything they have ever written. Special chambers are used for this, and the aim is to protect any written form of the name of God from inadvertent mistreatment. Such a chamber (a "Geniza") was attached to the Synagogue of Ben Ezra in old Cairo; members of the city's Jewish community from well before the tenth century until the end of the nineteenth deposited all their writings there. The story of how the Geniza Collection came into the possession of Cambridge University Library is, sadly, the story of so much of the heritage of our so-called Third World: a fragment finds its way into the hands of a western scholar—in this case Solomon Schechter, reader in Talmudics at Cambridge—who then, armed with embossed letters from the "protecting" country, heads East—or South. Schechter arrived in December 1896 in an Egypt presided over by Sir Evelyn Baring, and soon "the Chief Rabbi of Cairo and Joseph M. Cattaoui Pasha [head of a prominent and wealthy family of Egyptian Jews] came to a decision that seems little less than astonishing in retrospect....
(The entire section is 1039 words.)
SOURCE: "Out of the Dustbin of History," in Washington Post Book World, Vol. XXII, No. 13, March 28, 1993, p. 6.
[In the following positive review, Irwin compliments Ghosh's technique of comparing and contrasting present-day and twelfth-century Egypt in In an Antique Land.]
About a quarter of the way in to this curious book [In an Antique Land] (a mixture of history, travelogue, social anthropology and personal memoir), Amitav Ghosh has occasion to remark that "it is not easy, after all, to see oneself sitting down to leaf through a collection of eight-hundred-year-old documents, written in a colloquial dialect of medieval Arabic, transcribed in the Hebrew script, and liberally strewn with Hebrew and Aramaic." But that is what Ghosh did, and his account of the difficulties involved can be appreciated as treasurable understatement.
While still a student, Ghosh, an Indian who studies anthropology in Cambridge, became interested in the Geniza, a body of documents whose existence is hardly known, save to specialists in medieval Middle Eastern studies. The Geniza can be thought of as a kind of sacred wastepaper basket—a very large one. The Geniza that was attached to the Synagogue of the Palestinian Jews in Fustat (the oldest part of Cairo) was two-and-a-half stories high and contained over a quarter-of-a-million leaves of paper. The Jews of the Medieval Fustat had an...
(The entire section is 818 words.)
SOURCE: "The Nile of Time," in Los Angeles Times Book Review, April 11, 1993, pp. 2, 11.
[In the following review, Iyer offers a positive assessment of In an Antique Land, particularly praising Ghosh's descriptions of his experiences in Egypt.]
Modern Egypt is in part a swirl of Mexican restaurants and chador boutiques and guides speaking Japanese. But in its alleyways and souks, and all around the villages in the countryside, Egypt still clops to a surprisingly ancient rhythm: boys wandering through mazes of mud-colored houses, date-palms under washed-out skies as in every other 19th-Century English print, women carrying baskets of vegetables on their heads. In Egypt, as in India, centuries co-exist like artifacts on a museum wall (and sometimes weirdly intermingle too, as in the 3000-year-old treasures kept in 2000-year-old conditions in Cairo's infamous Egyptian Museum).
That sense of agelessness—and the way it translates into placelessness—is the driving engine of Amitav Ghosh's new book, In an Antique Land a book that appealingly excavates a little-known corner of Middle Eastern history (the Jewish traders commuting between the Arab world and India in the 12th Century), and beautifully lights up the laws and losses of a typical Egyptian village today. In 1978, Ghosh, one of the leaders of India's New Wave of younger novelists (his Shadow Lines belongs...
(The entire section is 1146 words.)
SOURCE: "A Passage to India," in New Republic, Vol. 209, Nos. 8–9, August 23–30, 1993, pp. 38–41.
[In the following review of In an Antique Land, Geertz praises Ghosh's ability to capture the social interactions and dynamics of the people, past and present, of the Persian Gulf.]
The world, by now, is fairly well cut up into distinct pieces, stretches of space with borders around them and inhabitants within them. People move about a good deal, and some may change their residence and become inhabitants of some other piece. Nor are the pieces themselves entirely fixed; they can merge, divide, swallow one another up, or, like the Soviet Union, just disappear. But all of this occurs against the background of the peculiar idea that all individuals, however drifting, belong somewhere, to some bounded territory housing some population, even if they may have to be deported or walled in before they will live there.
One part of the globe where this conception of social and geographical interconnection was never very strong, however, is that great strip of mercantile civilization that, from about the tenth century to the sixteenth century, ran from Fez and Seville in the West, through Cairo and Aden around the Red Sea, across the Indian Ocean to Calicut and the Malabar coast. In this mobile, polyglot and virtually borderless region, which no one owned and no one dominated, Arabs,...
(The entire section is 1942 words.)
SOURCE: "Cairene Treasures," in American Scholar, Vol. 63, No. 1, Winter, 1994, pp. 137–40.
[In the following positive review, Elukin argues that aside from Ghosh's occasional political diatribe against Western imperialism, In an Antique Land is an otherwise thought-provoking and well-written undertaking.]
Like the Cairo Geniza, the wellspring of this seductive book, In an Antique Land, Amitav Ghosh's scholarly memoir is a treasure of interconnected historical ironies. The thriving Jewish community of medieval Cairo deposited many of its documents in the Geniza—a kind of cellar in the synagogue—in order to avoid inadvertently desecrating the biblical passages and invocations of God that peppered the writings. Letters, accounts, biblical manuscripts, and printed texts piled up in the Geniza until its discovery at the end of the nineteenth century. One Geniza text happily brought Amitav Ghosh to the Egyptian villages of Nashâwy and Lataîfa.
Ghosh, who comes from a Hindu family, was an anthropology graduate student at Oxford in 1978 when he came upon a collection of Geniza letters translated by the famous scholar S. D. Goitein. In the twelfth century, the Cairene Jewish merchant Khalaf ibn Ishaq wrote a routine letter to his protégé and business partner, Abraham ben Yiju, in Mangalore, on the southwestern coast of India. Amidst business concerns and gossip,...
(The entire section is 1628 words.)
SOURCE: "Looking for Bomma," in London Review of Books, Vol. 6, No. 6, March 24, 1994, pp. 26–27.
[In the following review of In an Antique Land, Clifford explores the differences in religious tolerance, cultural exchange, and political attitudes between the Indian and Arabic societies of the twelfth century and the twentieth century.]
In his novel, The Shadow Lines, Amitav Ghosh writes of an Indian family whose members cross and recross two geopolitical borders. One border joins and divides Calcutta and London, the other Calcutta and Dhaka. Toward the end of the book the narrator's failing grandmother prepares for a return visit to the city she left, years before, when India was partitioned: Dhaka, East Pakistan, now Bangladesh. It is only a short flight from Calcutta. The old woman asks whether she will see the border from the plane. Her son tells her that it won't look like a map, with different colours on either side of a dark line. 'But surely,' the old woman persists, 'there's something—trenches perhaps, or soldiers, or guns pointing at each other, or even just barren strips of land. Don't they call it no man's land?' Her son laughs: 'No you won't be able to see anything except clouds and perhaps, if you're lucky, some green fields.' She remains puzzled:
But if there aren't trenches or anything, how are people to know? I mean,...
(The entire section is 3383 words.)
SOURCE: A review of In an Antique Land, in World Literature Today, Vol. 68, No. 2, Spring, 1994, p. 430.
[In the following positive review, King states that In an Antique Land is a skillful mixture of history, travelogue, fiction, and anthropology.]
Amitav Ghosh's novels The Circle of Reason and The Shadow Lines are somewhat difficult to place on the current literary map; they have an unusual perspective and cover unexpected territory. In an Antique Land fills in some of the picture of how Ghosh sees the world and, besides the interest of the book itself as social anthropology and what it tells us about Ghosh, might be a starting place for future critical discussion of his fiction.
Ghosh is a New Delhi and Oxford-trained social anthropologist, and In an Antique Land is a complex book which uses for its narrative his attempts to trace the lives of a twelfth-century Indian slave and his Jewish master. The story of the preservation and dispersal of the documents is itself a revelation of earlier Jewish customs and of the close former relationships between the Jewish, Indian, and Arab worlds which were disrupted by European imperialism and scholarship. Ghosh's main concern is to restore a cultural, social, and economic map that stretched from Spain through the Middle East to India for many centuries until it was redrawn by European military...
(The entire section is 561 words.)
SOURCE: "'Travelling in the West': The Writing of Amitav Ghosh," in Journal of Commonwealth Literature, Vol. 31, No. 1, Spring, 1996, pp. 3–24.
[In the following essay, Dixon examines The Circle of Reason, The Shadow Lines, and In an Antique Land to demonstrate Ghosh's discontentment with the Western imperialism imposed on Arabic and Indian cultures.]
In the geography of human history no culture is an island. … In effect Tulunad was a region in the sense of the word desa, or the French pays—"country" is too loaded a term to use—an area … not "independent" but distinctive and singular, and precisely because of that, enmeshed with its neighbours in an intricate network of differences.1
Is this, then, another irony of history, doubly confirming the appropriative powers of the dominant discourse: that like the subaltern himself, those who set out to restore his presence end only by borrowing the tools of that discourse, tools which serve only to reduplicate the first subjection which they effect, in the realms of critical theory?2
This paper is in one sense a survey of the increasingly substantial body of writing by the Indian novelist and anthropologist Amitav Ghosh. Born in Calcutta in 1956, Ghosh has a Ph.D. in social anthropology...
(The entire section is 9865 words.)
SOURCE: "Post-Colonial Pox," in Times Literary Supplement, No. 4870, August 2, 1996, p. 23.
[In the following review, Baker offers a positive assessment of The Calcutta Chromosome.]
The existence of "research luck" has been often remarked; a serendipitous book almost leaps from the shelf, and fortuitous pieces of evidence obtrude themselves on the researcher in ways that seem almost supernatural. Scientific breakthroughs, too, have famously happened as happy accidents. These phenomena are given uniquely sinister treatment in The Calcutta Chromosome by Amitav Ghosh, an ingenious and bewitching novel which proposes a dark, secret history of malaria research.
It opens in a near-future New York, where a computer clerk named Antar is having his daily battle of wills with his computer, Ava. Ava has no qualms about reporting him to his employer, the International Water Council, if she senses she doesn't have his full attention, and they have already threatened to reduce his pension. Today, Ava has trawled up a mystery item in one of her filing inventories, which Antar recognizes as the burned remains of an ID card; more than that, he recognizes the man it belonged to, Murugan, an eccentric colleague who went missing in Calcutta back in 1995.
Murugan's hobby-horse was the research career of Sir Ronald Ross, who won the Nobel Prize in 1906 for discovering how...
(The entire section is 806 words.)
SOURCE: "Oh Death, Where Is Thy Bite?," in Spectator, Vol. 277, No. 8771, August 24, 1996, pp. 25–26.
[In the following review, Hulse offers a negative assessment of The Calcutta Chromosome, criticizing the characters' grating slang dialogue and the improbability of the plot.]
Immortality has not figured very prominently in literature since Swift's Struldbrugs, and Amitav Ghosh's donné ought by rights, in the age of genetic engineering, to have fired a fiction of unusual trajectory. His subject is malaria, and its transmission by the anopheles mosquito. What if the principle by which the disease is imprinted on the mosquito's target could be adapted for genetic imprinting, so that an entire personality, by being imprinted upon succeeding generations of host bodies, might be chromosomatically granted immortality?
That immortality, if I understand Ghosh's bee-in-bonnet protagonist Murugan correctly, has been achieved by a bizarre Indian conspiracy overarching the generations, a conspiracy in which a select community of the living dead seek new host bodies as they extend their franchise. The Calcutta Chromosome is a melodramatic thriller set simultaneously in three periods: the 1890s, when the anopheles mosquito was identified as the carrier of malaria by Sir Ronald Ross, who received a Nobel Prize for his work in 1902; the 1990s, when Murugan pursues his pet...
(The entire section is 611 words.)
SOURCE: "The Story Bug," in New Statesman, Vol. 125, No. 4299, September 6, 1996, p. 47.
[In the following review, Chew offers a positive assessment of The Calcutta Chromosome.]
With its dazzling and haunting mix of science fiction, the history of malaria research, thriller, ghost story and postcolonial allegory, Amitav Ghosh's new novel is—like his previous work—wonderfully clever as well as a good read. Set in the not-too-distant future but covering in its sweep the 1880s and 1890s (crucial years in the medical history of malaria), The Calcutta Chromosome finds its driving force in the idea of research. Specialised knowledge carries the narrative, and is fired by the character's obsessive energies into mesmerising talk. This has all the excitement and frustrations of the chase, with the tangled operations of accident and design, the ground-breaking discoveries as well as the near-misses.
Antar is a bored computer clerk employed by the International Water Council in New York. In the course of identifying an item from one of the endless inventories that AVA (the computer) is programmed to file, he is stirred to curiosity by the familiar image of a metal chain and its scrap of ID card. A closer check points to the owner as Murugan, a colleague reported missing in Calcutta since August 1995. Murugan was an eccentric who held himself to be the "greatest living expert" on...
(The entire section is 548 words.)
SOURCE: A review of The Calcutta Chromosome, in World Literature Today, Vol. 71, No. 1, Winter, 1997, pp. 221–22.
[In the following review, Sen offers a positive assessment of The Calcutta Chromosome.]
The Calcutta Chromosome is Amitav Ghosh's fourth substantial work of prose. He has already written two novels, The Circle of Reason and The Shadow Lines, as well as a book of creative nonfiction, In an Antique Land, all of which have received widespread critical attention and praise. Those familiar with Ghosh's earlier work will at once recognize the macrocosmic links his latest work has with the earlier ones, not in terms of similarity (in fact, stylistically the novels are entirely dissimilar) but in terms of linking various landscapes and vocation. By training, Ghosh is a social anthropologist, and therefore it is not surprising that he brings to his art of writing an exactitude of construction and a clarity of language and style. The way one handles content and themes in a novel, however, is a consequence of one's intellect and genius of creativity. Ghosh possesses all that, and therefore his new novel is able to take the reader through the multiwired world of computer technology, archeology, and tropical medicine that simultaneously traverses an unusually variegated landscape: that of New York, Egypt, and Calcutta.
At the level of story, the novel...
(The entire section is 591 words.)
SOURCE: "Once Bitten," in Los Angeles Times Book Review, September 21, 1997, p. 13.
[In the following positive review, Panosian discusses the scientific aspects of The Calcutta Chromosome.]
"Murugan sat suddenly upright, the sweat pounding off his face, not sure whether he was still dreaming or awake. The net was buzzing with mosquitoes; he could see them dancing like motes, in the finger of light that bisected his bed. His whole body was aflame, covered with bites. He had been scratching himself furiously in his sleep; he could see blood on his fingernails, and on the sheets."
Blood, mosquitoes and malaria are all talismans imbued with mystical powers in The Calcutta Chromosome, Amitav Ghosh's latest book, deliciously subtitled A Novel of Fevers, Delirium, and Discovery. Ghosh, a Bengal-born anthropologist living in New York City, ought to know. In his native Calcutta, malaria is a malady as familiar as the common cold, albeit more sinister. Even today, this tropical invasion of red corpuscles claims 1 million to 2 million human lives every year.
Malaria's not the only microbial scourge featured in The Calcutta Chromosome. Syphilis too rears its ugly head, and for good reason. Here's a clue. In the pre-penicillin era, dementia paralytica was sometimes treated by artificially induced malarial fever, in hopes that it might reverse the...
(The entire section is 963 words.)
SOURCE: "Rushdie's Children," in Nation, Vol. 265, No. 9, September 29, 1997, pp. 36–40.
[In the following essay, Kumar analyzes the reception to and importance of Indian writers who write in English, using Arundhati Roy's The God of Small Things and Ghosh's The Calcutta Chromosome as his primary examples.]
"India: The Fiction Issue" sang the cover of The New Yorker at the newsstand run by a Gujarati man inside Penn Station. On the bright cover, topped with turmeric sunset hues, sat a stone Lord Ganesha browsing through a couple of books, the task made easier because He has more than two hands. And emerging from a thicket, dressed for a safari, were a white couple, mouths agape.
This has been the season of the discovery of India—presumably because it is the fiftieth-anniversary year of Indian independence and not because India, under World Bank/I.M.F. dictates, has introduced wide-scale "structural adjustments," exponentially increasing the commercial traffic between India and the United States. (Jesse Helms, whose conservatism is old enough to deserve an anniversary of its own, congratulated an Indian-American audience recently for its enthusiasm for U.S. capitalism: "Everything that you good friends who are citizens of this country of ours have worked for—opening the Indian economy and improving relations—is coming to pass.") Welcome to the...
(The entire section is 2142 words.)
SOURCE: "Malarial Dreams," in Washington Post Book World, Vol. XXVII, No. 50, December 14, 1997, p. 7.
[In the following review, Todd offers a negative assessment of The Calcutta Chromosome, faulting the plot elements as underdeveloped and incohesive.]
Last summer, in a special Indian fiction issue of The New Yorker, Amitav Ghosh was one of 11 writers included in a group photo of leading Indian novelists. The label "Indian novelist," applied to Ghosh, is slightly misleading, since there's nothing distinctively Indian about Ghosh's writing.
Born in Calcutta and currently living in New York City, Ghosh tends toward the international. His prose doesn't sound Indian: It's the polished, textbook-perfect English of CNN reports. His books of fiction and nonfiction (The Circle of Reason, The Shadow Lines, In an Antique Land) are set in places as diverse as 12th-century Egypt and contemporary London, and his characters are unrooted, itinerant types. He's less interested in describing a single culture than in examining the interaction between cultures and histories on a global scale.
His third novel, The Calcutta Chromosome, is no exception. It spans one century and three continents, and the main characters are an Egyptian data analyst and a malaria-obsessed Indian living in New York City. There's no easy way to describe The...
(The entire section is 791 words.)
SOURCE: "Science-Fiction Novel Intrigues but Falls Short," in Christian Science Monitor, January 8, 1998, p. 12.
[In the following review, Rosenberg argues that although The Calcutta Chromosome is an excellent fiction novel, it fails as a science-fiction novel due to its lack of scientific concreteness.]
Amitav Ghosh is an Indian-born writer and anthropologist who writes "fabulist," or science fiction. He considers this genre part of the literary mainstream—one that encompasses such varied works as the 2,000-year-old Babylonian epic, Gilgamesh, replete with mythic elements, and the recent movie Groundhog Day, where time is severed from cause and effect.
His latest novel, The Calcutta Chromosome, begins in the not-too-distant future, where Antar, a low-level functionary using his computer to sort through information, discovers the trace of someone he met briefly in 1995, L. Murugan, who then disappeared.
Murugan was obsessed with the life of Ronald Ross, winner of a 1902 Nobel Prize for discovering the life cycle of the malaria parasite. Beginning with claims about "slight discrepancies" in Ross's work, Murugan responds to more extravagant suggestions—that there was a "secret history" of unseen forces using Ross as a tool, directing his research along certain lines and away from others.
(The entire section is 497 words.)
SOURCE: "The Past is Now," in Far Eastern Economic Review, Vol. 61, No. 31, July 30, 1998, pp. 42–43.
[In the following review, Tripathi offers a positive assessment of Dancing in Cambodia, At Large in Burma, and stresses the importance of historical Asian literature written by post-colonial Asian writers.]
In 1906, two years after succeeding his half-brother Norodom, King Sisowath of Cambodia went on an extensive visit to Marseilles, accompanied by the royal ballet troupe. France responded warmly to the charming dancers and the king's entourage. The dancers so enchanted sculptor Auguste Rodin that he travelled with them and drew evocative sketches of their fluid, graceful movements. Lamenting their inevitable departure, a moved Rodin said: "What an emptiness they left for me! I thought they had taken away the beauty of the world. I followed them to Marseilles; I would have followed them as far as Cairo."
According to chroniclers of the day, one milestone of that visit was the signing of a Franco-Siamese treaty, which saw today's Thailand returning the provinces of Battambang and Siem Reap to Cambodia. The latter area, where the stunning and culturally significant Angkor Wat temples are located, was particularly meaningful for Cambodia's self-image.
But as David Chandler has pointed out in A History of Cambodia, Sisowath actually had little to...
(The entire section is 1310 words.)
SOURCE: A review of Dancing in Cambodia, At Large in Burma, in Asian Affairs, Vol. 30, No. 2, June, 1999, pp. 230–31.
[In the following review of Dancing in Cambodia, At Large in Burma, Zinkin commends Ghosh for his proficiency in portraying the strife and harsh living conditions in past and present-day Burma and Cambodia.]
Published in Delhi, this small book by Amitav Ghosh deserves to be available worldwide. Never before has this reviewer had the privilege of reviewing a travel book, if it can be so classified, of such evocative scholarship and empathy. The title, like the presentation and illustrated cover, is deceptive. There are three essays, two on Cambodia, one on Burma.
The author, Bengali by name who leaves one in doubt as to whether he is Indian or Bangladeshi, has such a rare gift of empathy with the people and events he describes that his readers can imagine themselves at his side.
In Burma he meets Suu Kyi, Aung San's Nobel Prize-winning daughter on two occasions. He is at his best when he describes how the Karen guerrillas manage to live in the jungle off the land they cultivate. A messier situation is difficult to imagine, or indeed convey: there are no boundaries, no issues beyond the government's refusal to let democracy and autonomy exist. Unlike in Cambodia there is no genocide or ethnicity at stake. Some of the guerillas are pure...
(The entire section is 506 words.)
SOURCE: "Microstoria: Indian Nationalism's 'Little Stories' in Amitav Ghosh's The Shadow Lines," in Journal of Commonwealth Literature, Vol. 35, No. 2, Fall, 2000, pp. 35–49.
[In the following essay, Roy uses The Shadow Lines as an example of how local ties and community history can supersede the ideal of nationalism.]
If imperialism is an "act of geographical violence through which virtually every space in the world is explored, charted, and finally brought under control," the primacy of the cartographic impulse in the anti-imperialist imagination is quite understandable. Cultures of resistance are seen to "reclaim, rename and remap the land"1 in their move towards nationalist self-assertion. Amitav Ghosh's The Shadow Lines examines the relevance of nationalism's concern with geographical restoration in the context of a new borderless, global landscape.2 While acknowledging the contribution of nationalism in affirming the Indian people's identity during the Independence struggle, Ghosh attempts to fill up the gaps in nationalist histories by telling alternate revisionist stories, suppressed or elided by nationalism's dominant discourse, even as he interrogates the validity of the nation, nationalism and nationalist identity in an era of global capitalism.
Following Benedict Anderson's idea of "nations" as "imagined...
(The entire section is 6312 words.)
SOURCE: "Questions of Authority: The Story of 3 Generations Living in the Shadow of Empire," in Chicago Tribune Books, Vol. 1154, No. 35, February 4, 2001, pp. 3, 7.
[In the following positive review, Aslami praises The Glass Palace and examines the characters' quests to discover their physical and moral boundaries in a post-colonial land.]
Amitav Ghosh's latest novel, The Glass Palace, begins with a sound. New and unintelligible, this sound comes surging across the plain into Mandalay, Burma, traveling up the banks of the Irrawaddy River, skidding across the western wall of the Mandalay Fort, and ultimately spreading confusion in the marketplace. With gentle irony, the narrator tells us that the only person who can identify the sound correctly—it is British cannon as the army advances on defiant Burma in the 1880s—is Rajkumar, who is merely an Indian and only a boy, and thus not to be believed.
In this way, the opening of Ghosh's fourth novel beautifully ushers the reader into a world of sensations, crowds, symbols and boundaries that rest fragile and suspended in the face of global forces. As this impressive historical novel unfolds over 100 years and across the borders of Burma, India and Malaya, it reminds us how globalization is not a recent invention of late-20th Century capitalism, but rather a phenomenon with a long and complex history that insinuates...
(The entire section is 1215 words.)
SOURCE: "The Persistence of Memory in Love and War," in Christian Science Monitor, February 8, 2001, p. 20.
[In the following positive review, Hewett compliments Ghosh's weaving of history and political turmoil into the lives of his characters in The Glass Palace.]
Amitav Ghosh's sweeping historical novel, The Glass Palace, begins with a young boy watching the British storm the Burmese royal fortress in 1885. Eleven-year-old Rajkumar, an impoverished orphan from India, sneaks into the forbidden palace and meets Dolly, a beautiful young court attendant. Amid the chaos of looting and violence, Dolly's face is permanently etched into Rajkumar's memory.
Soon after, Dolly follows the banished king and queen to India, while Rajkumar stays in Burma, making his fortune in the timber industry.
The young man is haunted by Dolly until years later, when he meets her again in India. The Glass Palace traces the story of their love during the tumultuous 20th century.
Ghosh, the author of three novels and the nonfiction travelogue In an Antique Land (Vintage, 1993), weaves an intricate story of desire whose scope and richness echo the fantastic tales of Naguib Mahfouz and Gabriel Garcia Marquez.
Ghosh grounds his latest work in the unassailable march of history and the unpredictable swings of fate, infusing his novel with a...
(The entire section is 622 words.)
SOURCE: "Questions of Allegiance," in Los Angeles Times Book Review, February 11, 2001, p. 5.
[In the following review, Budhos offers a positive assessment of The Glass Palace.]
What an exciting time for Indian writing in English. Every month, it seems, another young Indian writer publishes a novel capturing the migratory pangs of the new Indian diaspora, an immigrant group that now ranges from dot-com engineers in Silicon Valley to taxi drivers in New York. In The Glass Palace, Amitav Ghosh has staked a different claim: turning the clock backward to examine a lesser-known, earlier Indian diaspora, and in doing so exploring the foundation of modern Indian identity.
Ambitious, multigenerational, The Glass Palace is a saga akin to a 19th-century Russian novel. Opening with the British invasion of Burma in 1885, its early chapters focus on Rajkumar, a penniless boy who, through sheer intelligence and pluck, becomes a rich merchant in Burma and marries Dolly, a lady-in-waiting from the exiled Burmese royal court.
From Rajkumar, the novel expands to a vast array of characters in Burma, India and Malaya, all connected through the broader currents of history and the intimate links of friendship and marriage. Out of this large cast, the two most searing portraits are of Rajkumar, the unquestioning empire builder, and Arjun, the tormented warrior who tries...
(The entire section is 1695 words.)
SOURCE: "The Road from Mandalay," in New York Review of Books, Vol. XLVIII, March 8, 2001, pp. 28–31.
[In the following review of The Glass Palace, Iyer acknowledges that Ghosh's body of work draws attention to the oppressed Indian and Burmese people, but argues that Ghosh's political stance against the British is hypocritical in nature.]
Although the British formally left India more than half a century ago, their presence still sits at the center of that culture like a picture of Miss Havisham's lost fiancé. It has been tempting—too tempting, perhaps—to place all the Indian writers recently so conspicuous in the West on a spectrum represented at its poles by Salman Rushdie on the left, trying to get back at the Empire by turning its very language and literature into sentences as crowded and noisy as the streets of an Indian city, and, on the right, V. S. Naipaul, perfecting a style more Augustan and austere than even that of his historical masters, and writing with a self-conscious concern for clarity, and for making fastidious discriminations, in an international world ever more without a center.
The distinction is a political one, of course, as well as a generational one (Rushdie's great good fortune, aesthetically and personally, having been to come into the world just as the British were leaving India), but on neither side have any Indian writers been able to find...
(The entire section is 3618 words.)
Further Reading
Barrett, David. "Collected Works." New Scientist 155, No. 2091 (19 July 1997): 48.
Barrett discusses a variety of novels, including Ghosh's The Calcutta Chromosome, that are considered science fiction, yet also exhibit aspects of other literary genres.
Brawarsky, Sandee. "Mortality, Mosquitoes, and Mystery." Lancet 348, No. 9043 (21 December 1996): 1717.
Brawarsky offers a positive assessment of The Calcutta Chromosome, complimenting the novel from a scientific standpoint.
Hayward, Helen. "Once a Golden Land." Times Literary Supplement, No. 5076 (14 July 2000): 21.
Hayward offers a positive assessment of The Glass Palace.
Mongia, Padmini. "Postcolonial Identity and Gender Boundaries in Amitav Ghosh's The Shadow Lines." College Literature 19, No. 3 (October 1992): 225–229.
Mongia addresses the cultural and gender based impact that post-colonialism has on modern literature, using The Shadow Lines as her prime example.
Somtow, S. P. "Variations on an Indian Theme." Washington Post Book World (16 July 1989): 9.
Somtow offers a mixed assessment of The Shadow Lines, praising certain subplots in the novel, but arguing that Ghosh's nonlinear style...
(The entire section is 242 words.)
Source: Contemporary Literary Criticism, ©2002 Gale Cengage. All Rights Reserved. Full copyright.


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LINCOLN, Neb., Sept. 11, 2013 /PRNewswire/ -- MacPractice, Inc., the leading developer of native practice management and clinical software for Mac, iPad and iPhone for doctors, today announced integration of MacPractice MD with OneTouch EMR. With OneTouch, a cloud based EMR/EHR, doctors can easily record and access medical records using any modern browser or OneTouch EMR's native app for iPad.
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Mark Hollis, MacPractice's CEO, stated, "We are excited to work with OneTouch EMR. The application is template driven and thus flexible enough to fit very well with a wide range of specialties. Moreover, OneTouch EMR seamlessly interfaces with our MacPractice practice management software and provides another excellent EHR option for our users. The interface ties MacPractice MD and OneTouch EMR together, facilitating a streamlined workflow for staff and fewer steps for physicians, which provides them more time with patients. Based upon the high level of interest we have seen in quality EHR apps for iPad, we expect OneTouch EMR to do very well with MacPractice users and prospective users."
Chuck Kinch, President of OneTouch EMR, said, "We are delighted that a large, well established and high quality company like MacPractice chose to partner with us. We believe that OneTouch EMR will be an excellent complement to their stable of top tier products."
Fully certified for Meaningful Use, OneTouch EMR for MacPractice is simple-to-use, storing data in the cloud for easy access from the app for iPad or from any modern browser. Integration with MacPractice MD eliminates the need for the re-entry of demographic data into OneTouch. Charges created in OneTouch are electronically forwarded to MacPractice for review and posting by the front desk, even when charges are posted from outside the office.
OneTouch operates without popup windows and can incorporate custom forms, templates and macros. OneTouch EMR for iPad is available as a free download from the App Store.
MacPractice invites doctors to register at MacPractice.com to view demo videos of MacPractice and of OneTouch EMR working with MacPractice.
About MacPractice: MacPractice's founders have been the leading Apple developer of software for doctors for 30 years. MacPractice provides 5 Star support to 30,000 users in 26 countries. MacPractice maintains a global network of dedicated, regional MacPractice Practice Consultants in the US, Australia and the UK to provide affordable onsite installation, training and support for MacPractice products. MacPractice regularly conducts corporate training at its National Training Center, as well as remote training and free remote mini-classes.
About OneTouch EMR: OneTouch EMR provides practitioners with an EMR that is fast, flexible and familiar, facilitating high quality patient encounters and professional notes. Cloud based by design, users have access to the application and all their data whenever they are connected to the Internet. In addition to providing access via any modern web browser, OneTouch EMR's native iPad app gives practitioners an excellent platform to use when documenting their patient encounters.
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I don't agree at all with the answer.
The diagnosis is clearly chronic paronychia as evidence by the swelling and absence of the cuticular seal. Candida will routinely invade the wet area of the proximal nail fold in the absence of the cuticle and set up inflammation.
Effective treatment requires that the area be kept dry and that the cuticle be allowed to reform. It is essential that manicures that interfere with the cuticle be avoided.
Anti candida therapy alone is not a reliable way to fix this problem and culture is not necessary.
Dermclinic: A 4-Case Quiz on Fingernails
Dermclinic: A 4-Case Quiz on Fingernails
Quiz | April 01, 2008
Case 1:
During the past few weeks, a 14-year-old boy has noticed blood on the proximal nail folds of the second and third fingers of his dominant hand. He denies any pain or pruritus. The patient is otherwise healthy and takes no prescription medications.
Which of these questions do you ask the patient?
A. What sports do you play?
B. What are your extracurricular activities?
C. Do you bite your nails?
D. Do you take any over-the-counter medications or alternative remedies?
E. All of the above.
(Answer on next page.)


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James Gandolfini probably died of a heart attack, according to the head of a Rome hospital's emergency department where the actor was taken after falling ill at a hotel in the Italian capital.
The body of the actor was transferred to the morgue at the Policlinico Umberto I hospital in Rome early Thursday, where it awaited an autopsy.
By law, medical examiners in Italy are required to carry out the postmortem 24 hours after the body's arrival in the morgue, a hospital spokesman said.
Professor Claudio Modini, head of the emergency department where the actor was taken, said he could not be certain of the cause of death until after the autopsy -- but it was "probably a natural cause of death, myocardial infarction," or heart attack.
Emergency room doctors had not noted any suspicious factors, such as alcohol, on his medical report, he said.
Ambulance staff tried to resuscitate the actor at the hotel, and further efforts were made when he reached the emergency room, Modini said, but Gandolfini was dead when he arrived at the hospital, and "there was nothing to do."
Though the cause of death is not confirmed, his managers also believe that a heart attack killed the man who portrayed Tony Soprano, a washed-up mob boss prone to keeling over from panic attacks, at age 51.
Before Italian authorities can release Gandolfini's remains for transport back to the United States, the U.S. Embassy in Rome must issue a death certificate.
No one from the embassy or the actor's family has contacted the morgue yet, morgue spokesman Antonio Spasola said Thursday morning.
The U.S. Embassy said it was "deeply upset" by the news of Gandolfini's premature death but had not yet received any official confirmation from local authorities. The embassy "will offer any proper assistance to the family when they request it," its statement said.
Enjoying Italy
Hours before he died, Gandolfini told Mario Sesti by phone how much he was looking forward to the next leg of his Italian vacation.
He was heading for Taormina in Sicily, a quaint town packed with historical architecture and nestled between lush green hills and the azure waters of the Mediterranean Sea.
There, he was to receive an award at a local film festival held before the backdrop of an ancient Roman arena.
Sesti, who heads the festival, was eagerly awaiting Gandolfini's arrival Friday. He was shaken by the news of his death.
Sesti will replace the award ceremony with a tribute to Gandolfini's lifetime achievement.
"He was the American actor who better than anyone else was able to interpret the Italian-American society, with all of its rich contrasts, ambitions, pain, humor," Sesti said.
A medical emergency
Michael Kobold, who described himself as a close family friend of Gandolfini, gave more details of his final moments in a news conference Thursday at the Boscolo Exedra Rome Hotel, where the actor was staying.
Gandolfini experienced a medical emergency about 10 p.m. Wednesday, he said.
His family found him in his room.
"The hotel notified emergency crews who responded, and first aid was administered before Mr. Gandolfini was taken to the hospital, where he died of an apparent heart attack," he said.
"Our prayers and condolences go out to Mr. Gandolfini's family and friends."
Kobold said he'd known the actor from New Jersey for more than a decade and lived with him years ago. "I consider him like a big brother," he said, as he appealed for privacy for Gandolfini's grieving family.
The suddenness of Gandolfini's death struck many people at home and around the world.


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Superfeet Trim to Fit Black Insoles
Superfeet Trim to Fit Black Insoles
Add Superfeet Trim to Fit Black Insoles to your basket now
Everybody's feet are different, but all can benefit from the support and comfort provided by a Superfeet Premium Insole. Superfeet's firm, contoured shape provides comfort soft insoles cannot achieve. Ideal for cycling and running.
Top Features of the Superfeet Trim to Fit Black Insoles
Product Data
MTB: | Yes |
Road: | Yes |
Superfeet Black: Designed for slim, tighter fitting footwear, Superfeet BLACK is intended for people with flat, extra sensitive feet that have difficulty wearing supportive orthotic devices. Featuring Agion® antimicrobial top cover treatment to reduce bacteria and help prevent foot odor. Ideal for feet with low arches, but fits all arch types. Recommended footwear: Golf shoes and cleated athletic footwear, cycling shoes, mountain biking shoes, and all types of casual and dress shoes.
Superfeet makes a variety of products designed to fit different shaped feet for different types of activities and sports. Insoles are like mattresses. A good mattress is made of firm, supportive materials. A bad mattress is soft and unsupportive. Same thing with insoles. When you stand on a Superfeet Premium Insole, you can feel the firmly supportive shape and materials. It's not soft and mushy like other brands...because although soft non-supportive insoles feel good when you first put them in your shoes, in the long run your foot problems don't disappear.
Support the Foot. Align the Body.: Wearing soft insoles is like running in the soft, dry sand at the beach. Initially it feels good, but you quickly grow tired, waste energy, and begin to feel the stress on your knees and back. Wearing Superfeet Premium insoles is like running on firmer, wet sand. It's still comfortable, but your feet feel more balanced and stable, and it's certainly more productive and enjoyable from a performance point of view.
Every Shoe. Everyday: Everybody's feet are different, and they wear different types of shoes. That means it is unreasonable to think one model of insole will meet everyone's needs. That's why Superfeet makes different products to fit different foot shapes in different types of footwear. No matter what type of activity or sport you engage in, Superfeet has a product for you - at a price you can afford.
Specification information
Trim and fit instructions for your new Superfeet insoles | |||||||||
Step1: Remove the original insole from your footwear. To work properly, your Superfeet insole should lie on the bottom surface of your footwear. It should not rest on any insole, arch pad or heel cushion material. These items should be removed. |
Step2: Place the original insole over the top of your new Superfeet insole, lining up both the heel |
inside edge |
Step3: With a marking pen, trace the original insole pattern onto the new Superfeet insole |
Step4: Trim the insole by cutting along the inside edge of the tracing line. Care should be taken not to trim too short. Trim it, try it. Trim it, try it. |
Step5: Fit your insole into your footwear, ensuring it rests properly on the bottom. The insole needs to have minimal back-to-front movement inside the footwear (about 1/16" or 2mm) to ensure the insole moves with your foot inside your footwear, and is not jammed heel-to-toe. This is very important. Properly trimmed, your insoles will fit easily into your footwear without a struggle, and will not curl up in the toe area |
How to size your Superfeet | |||||||||
Step1: Check the Superfeet size chart, and select the size that you feel is the closest to your size. |
Size Label | J | A | B | C | D | E | F | G | H |
Euro | 29-31 | 32-34 | 35-37 | 37-39 | 40-42 | 43-45 | 46-48 | 49-51 | 52-54 |
Trim to Fit - Orange | * | * | * | * | * | * | |||
Trim to Fit - Berry | * | * | * | * | |||||
Trim to Fit - Blue | * | * | * | * | * | * | * | * | |
Trim to Fit - Black | * | * | * | * | * | * | * | ||
Trim to Fit - Yellow | * | * | * | * | * | ||||
Step2: If the insole you selected is too short (Fig. A), go up one size (Fig. B). |
Step3: Check the heel width. If width is too small (Fig. C), go up one size (Fig. D). |
Step4: Follow the Quick Trim and Fit instructions from the beginning of the Guide. |
About the Superfeet brand
Superfeet are the makers of premium insoles ideal for feet with low arches, golf shoes and cleated athletic footwear, mountain biking shoes, and all types of casual and dress shoes. Superfeet actually began back in the mid 70's, as the Sports Division of a leading Podiatric Laboratory. In 1977 Superfeet became its own company, with the mandate to 'provide more affordable orthotics to the general public'. Since their beginning almost 30 years ago, Superfeet has been providing premium insoles for different types of feet, for different activities and sports... When you wear a pair of Superfeet you get more than just an insole. It reflects the passion and commitment of everyone at Superfeet to provide you with healthy feet and a better life.
Delivery Information
The delivery options available for shipping this product along with the contents of your basket to USA are:
Standard Delivery: Estimated Delivery within 8 working days – $13.54
Spend $38.54 more to qualify for free delivery - Priority International Delivery: Estimated delivery within 6 working days - $20.31
- Tracked Courier Delivery: Estimated delivery within 4 working days - $33.90
International Delivery
Wiggle ships to over 100 countries. To see what delivery options are available for other destinations you can update your delivery destination via the International Options feature at the top right of the website.
Goods are shipped from the UK. Does not include delivery charges, local taxes or import duties, if applicable.
More information on International delivery options
Returns Information
We will happily refund or exchange any item purchased on Wiggle if returned to us within 365 days, excluding Wiggle gift vouchers and personalized products except when faulty.
Returned goods must be unused and supplied with their original packaging, unless the goods are faulty.
Wiggle will pay the return postage costs for any faulty items.
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Releasing 86 different pieces of vinyl and plastic since their inception in 1987, Nunslaughter are a band that's not about to let another year go by without a little something. 2007 sees not just another myriad of releases from the band, but a new full-length studio album entitled Hex. It's been four years since their last full album, 2003's Goat, and to say I've been rather aggravated with the 40 something live albums, compilations, splits, and EPs in between is to be kind. I simply don't have the money or time to track down 10 Nunslaughter releases a year, many of which having extremely limited pressings, and while it's certainly not mandatory to keep up with a Nunslaughter catalogue outside of full-lengths, it certainly wouldn't hurt as some songs on Hex have been released previously (album closer, "Power of Darkness" has been recorded for splits and live releases I don't know how many times since 1995).
So what's up with Hex? Well, Nunslaughter isn't exactly a band that's about to start "progressing", "maturing", or "experimenting". There's no room for technicality, dive bomb solos (come to think of it, are there even solos?), breakdowns, grind or anything else the modern death metal movement has to offer. Nunslaughter is a band that's playing death metal as it was invented: simple, catchy, and with a passion that few can seem to muster. Keeping with that mentality Nunslaughter aren't about to start recording with Erik Rutan, Neil Kernon, or any other big name producer, nor are they heading to the big name studios. The production on Hex is dirty, the playing even somewhat sloppy, while the drums are natural (no typewriter bass drums here folks), the guitars are thick like molasses, and the vocals are demonic, yet easily understandable. One gripe that I do have is that the vocals take up far too much space in the mix and tend to push the rest of the music to the background in some areas, which is a great disservice as Nunslaughter's charm is found in the guitar riffs as well as the interplay between all the instruments.
Nunslaughter aren't about to create any epic songs either, the song lengths rarely rise above two minutes (only five of the seventeen receive that honour) and never go beyond three minutes. The point is to beat one over the head with big riffs, an insane amount of aggression, and get the hell out before the charm wears off. It's an effective strategy; songs and riffs don't have time to become boring, and the album is over in just 30 minutes, leaving one with ample time to hit the repeat button and do it all over again.
The opening "This is Fucking War" thrashes forth and sets the tone for the album, yet it's the following song, "I Hate Christians", that truly defines what this album is about. The anger and aggression, the speed (even some blast beats), the use of dynamics, and a crushing bridge melded together to create an interesting minute and a half ride that while definitely extreme, is undeniable in its ability to tunnel its way into the listener's head. The band can be as extreme, blasphemous, and old school as they want to be, yet they have a very traditional sense of keeping things simple and enticing. A song like "Hex," with its opening ritual-styled vocal/drum combo, instantly has an identifiable rhythm that is only brought to another level when the mid-paced thrash influenced guitar riff comes in. Yet a song like "Unbaptized" brings a larger sense of rock groove to the band's repertoire. The song sets a nodding pace and does a good job of playing with it before picking things up later in the song.
Nunslaughter are a band that does not leave their message hidden, especially with songs like "I Hate Christians", "Unbaptized", "Smell the Burning Churches", "Slaughter the Heavens", "No Place for the Cross" etc. While the message may come across as rather childish and one dimensional in execution it doesn't come off as insincere as a band like Deicide. Nunslaughter does have a tendency to deliver their message with tongue planted firmly in cheek, especially if you delve deeper into their discography (2001's live offering, Radio Damnation, being a prime example).
What makes Nunslaughter's music work is the band's unstated motto of keeping things as simple as possible while staying true to the roots of death metal. It's rather unfortunate that Nunslaughter are one of the few bands that aren't caught up in being the fastest, the most brutal, the most technical, or even the heaviest, because when those superficial ideas of what death metal is get tossed aside it becomes evident that there's more freedom to come up with some truly face stomping death metal.


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Hello, does anyone know if these Moshi iGlaze Shell Case for the 13" MBA are matte finished?
This is a make or break for me because I hate fingerprints especially from gloss finishes!
- Asked by Martius L
- Dec 9, 2012
- Flag as inappropriate
1 Answer from the Community
Yes, I just got mine and it is matte finish, looks really nice.
- Answered by Tatiana L from Portland
- Jan 5, 2013
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- Home
- One Good Turn: Indianapolis Motor Speedway's Turn One
April 04, 2013 | By Road&Track.com - Marshall Pruett
One Good Turn: Indianapolis Motor Speedway's Turn One
You may have watched the Indy 500 on TV or even attended the race in person, but have you ever wondered what it's like to go screaming into the first turn at the Indianapolis Motor Speedway? To get answers, we asked track historian Donald Davidson and a couple of pros you may have heard of named Mario and Dario. They give you the insider's rundown on what Turn One is like in a open-wheel racer at full-tilt boogie:
Indianapolis Motor Speedway/Turn One
- Entry Speed (Without Draft): 232 MPH
- Max G's: 4.3
- Exit Speed: 226 MPH
- Corner Length (Wall): 1407.25 feet
- Banking: Entry: 5.40o Apex: 8.27o Exit: 5.14o
The Comments
- "All those Saturday night dirt tracks around America, most are a quarter mile. That's Indianapolis turn one. Each turn is the length of a drag strip." - Donald Davidson, Official Track Historian
- "Turn One is not an easy wide-open. You turn in flat and have to keep it flat in order to gain lap time, but as you turn, you don't know what you've got. You're committing yourself to the corner at high speed, and you might get that big oversteer, a load of understeer, or you might not get enough grip and the thing will slide off the track. You're really going into the unknown." - Dario Franchitti, Indy 500 Winner, 2007, 2010, 2012
- "When I was a rookie, there was a big dip in the middle of the corner; that's where a lot of guys would get caught out. You had to set up for that dip or you could kiss your car good-bye." - Mario Andretti, Indy 500 Winner, 1969
- "I loved the apron. We were only supposed to go down there with two wheels, and I'd catch hell from (track superintendent) Clarence Cagle all the time. 'Stay off the apron!' I'd say, 'You know what? If it's asphalt, we're going to use it.'" - MA (Indy's Turn One included a banked and unbanked portion;the unbanked portion, called the apron, was taken out in 1992.)
- "Look at some of my qualifying in '65, '66, '67, we were sliding around because there was no downforce. I was taking every inch of the track, white-walling those skinny treaded tires in the short chute." - MA
- "It's supposedly been blind for years. European drivers have especially noted how Turn One narrows as you approach the corner, but most of all, it's blind. You cannot see the exit until you're at the corner, which must be daunting at any speed." - DD
For the full story go to RoadAndTrack.com!
- Thu, December 12
Chevrolet And Honda To Produce Aero Kits For 2015 - Tue, December 10
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IndyCar Series Confirms 2014 Television Schedule - MORE HEADLINES
- Fri, December 13
Ryan Briscoe teams up with Ganassi Racing - Thu, December 12
Details on Kanaan, Briscoe expected Friday - Thu, December 12
NASCAR appoints 28-year-old Jimmy Small as Iowa Speedway president - Mon, December 09
Danica Patrick talks marriage, why she's waiting to have children - MORE INDYSTAR NEWS


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I have always wondered this.
I have always wondered this.
Yes but they kneejerk and slit your throat so I wouldn't recommend
Yes, that's how they are tortured. They are tickled until they tell the secrets.
Trailer for a fan-made movie of War of the Ancients by Keytal, Vaanel and a few other talented people. Watch it!Why you shouldn't buy items from the cash shop of a subscription based game:
Yes, and their faces are odd, all squishy and weird.
Touch my paws and you get a prybar to the face.
/grouchy charr engineer
Last edited by Klavier Gavin; 2013-01-22 at 02:11 AM.
I think they are ticklish behind their ears ... not paws.
What's the worst that can happen to you ...


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First published in 1648 in a volume of verse entitled Hesperides, "To the Virgins, to Make Much of Time" is perhaps one of the most famous poems to extol the notion of carpe diem. Carpe diem, or "seize the day," expresses a philosophy that recognizes the brevity of life and therefore the need to live for and in the moment. Seizing the day means eating, drinking and making merry for tomorrow we shall all die. The phrase was used by classicists such as Horace, and its spirit marks the theme of Herrick's lyric poem. Echoing Ben Jonson's poem, "Song: To Celia," the speaker of the poem underscores the ephemeral quality of life and urges those in their youth to actively celebrate life and its pleasures; however, the speaker does not urge "the virgins" simply to frolic adulterously, but to seek union in matrimony, thereby uniting the natural cycles of life and death with the rites and ceremonies of Christian worship. Although a very common theme in sixteenth- and seventeenth-century verse, and particularly in Cavalier poetry, the association of Christianity and carpe diem is not a traditional one; it is unique to Herrick and perhaps "natural" given Herrick's thirty-two year career as vicar of Dean Prior, an appointment originally bestowed by King Charles I. Written during a period of great political unrest that culminated in Britain's Civil War, the theme and the sage advice proffered by the speaker of the poem appears appropriate in this particularly transient period. The carpe diem spirit, however, has translated to modern times and is the theme of Henry James's The Ambassadors and Robert Frost's "Carpe Diem."
To the Virgins, to Make Much of Time Study Guide: Homework Help
Source: Poetry for Students, ©2013 Gale Cengage. All Rights Reserved. Full copyright.


text:
hi everyone, i have recently just turned 18 and i plan to use this site to my advantage. i have read every bit of this website for 2 weeks solid now, i understand everything about lays and back. i opened a new bank account today just for betting, so its easy to manage my money. once my bank card comes through i plan to put a 100pound in it and hopefully start making some money :)
i've set myself a goal of £1000 by xmas, not sure if this is to high or not.
any feedback and tips would be very welcomed.
i will update this post every couple of days :)