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Estate Planning and Income Tax Basis
Income tax basis can be important when deciding whether to make gifts now or transfer property at your death. This is because the income tax basis of the person receiving the property depends on whether the transfer is by gift or at death. This, in turn, affects the amount of taxable gain subject to income tax when the person sells the property.
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Daylight Magazine and Bite! Magazine are pleased to present "50PM", a monthly collection of fine art photography portfolios with themes that are close to us all. 50PM is the first fine are and documentary photography magazine developed especially for the iPad. All images can be used as your iPad's background and shared for personal use by email (do read our copyrights notice first). 50pm does not require an internet connection, you can enjoy the magazine anywhere, anytime, and share wonderful photography with your family and friends! For more information, visit http://www.50pm.net

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1. Out On The Weekend |
2. Harvest |
3. A Man Needs A Maid |
4. Heart Of Gold |
5. Are You Ready For The Country? |
6. Old Man |
7. There's A World |
8. Alabama |
9. Needle And The Damage Done |
10. Words (Between The Lines Of Age) |
Harvest ranges from the understated, pensive mood of songs like "Out on the Country," "Harvest," and "Old Man" to the sheer desperation of "A Man Needs a Maid," and "Words" to the acoustic heartbreak of "Needle and the Damage Done," to the Moody Blues-style optimism of "There's A World," to the dark country rock of "Are You Ready for the Country," all the way down to the proto-grunge social criticism in "Alabama" (Made famous on the top 40 thanks to Lynard Skynard). With the possible exception of "There's a World," (which, a la Moody Blues, rather lays the London Symphony on a bit too thick - it works on "A Man Needs a Maid owing to the sheer drama of the song, but goes over the top on "There's a World), each track is a masterful cut, demonstrating Young's ability to conquer and mix numerous genres. Lyrically Neil is at his best, capturing mood and evoking emotion in ways that few composers can even touch. Young's singing, in spite of criticisms of the alleged "thin quality" in his voice, is superb - skillfully phrasing his lyrics so that they play well off of the Stray Gators heavier sound.
Read more ›


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cominguproses_ Welp that was awkward
6 days ago.
cominguproses_ So I didn't get the role I got a callback for, but I was still cast and I. Am. So. Freaking. Excited.
11 days ago.
MaggiKelsey I just auto liked everyone I passed on a dating app so you could say my dating life is coming up roses. #foreveralone #itsanumbergame
gwilso30 @MacKayCooper Aww man. Everything was coming up roses back then. Pmsl
12 days ago.
dearplasticband @synmedia was the first radio station ever to air 'Everything's Coming Up Roses'. These guys know where it's at. <3
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Succulents are known for retaining water and easily adapt to arid climates and soil conditions. Our striking succulent garden succulent plant makes a unique and living gift for birthdays, thank yous or housewarmings. Set in a classic ribbed gray ceramic planter.
, we have connected these accounts. You can now sign into 1-800Flowers.com anytime using Facebook Connect.


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WANTED is about matching skills and resource with opportunities.
WANTED is 38minutes.co.uk's most popular group. It has become a very successful job and opportunities group with new action daily. It's for members who are looking for new opportunities or who want to collaborate, or need resource.
This is the 'WANTED' group. Please don't use this group to promote your services or products. If you want to promote your services, please do this in the 'This way for talent' group.
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iOS / Android Developer role with a fabulous company in Edinburgh.......
Fantastic Opportunity for a Digital Content Producer at a leading Digital Agency based in Edinburgh. (21-25k DOE)
Digital Content Producer - Eden Scott
Eden Scott's client is Scotland's leading and most respected digital marketing agency. They have a tremendous client base covering blue-chip organisations and SME's within the consumer and business to business sectors, whom they work in partnership with to produce creative and technical solutions.
This key role will provide support to the Account Directors across a wide range of activities in the areas of content and client services. The ideal candidate will have a passion for digital marketing allied to an outgoing and confident personality, which will allow you to communicate with clients and colleagues in a fluent and cohesive manner whilst building long-lasting relationships.
Candidates will preferably have a background in the digital agency world but individuals who are from an in-house digital environment will be happily considered. All applicants must be able to project manage and multi-task whilst often working at pace, across a variety of clients. Candidates must have a good understanding and breadth of knowledge across the whole digital sector.
Excellent organisational and administration skills are crucial in dealing with a high volume of work in an environment where quality and attention to detail are vital elements of your service to clients. The successful candidate will work in an open and collegiate environment where you're encouraged to take responsibility and broaden your skills, whilst having lots of fun both in the office and whilst enjoying the excellent social opportunities.
This is an excellent opportunity to further develop your career with a digital market leader which promotes on ability and positively supports your personal development.
Excellent salary, circa £21,000 - 25,000 dependent on skills and experience + bonus and company benefits
Film Editor required for feature-length visual art and performance film, post-production work. (As per my profile image)
Experience with Red One media and format requirements essential.
The work "Exegesis" is an unusual montage of filmic storytelling, physical performance, music and academic lecture. The work explores multiple levels of interpretation upon a set of four convoluted stories, and their prosaic origins. The piece also transforms the artist and his actions, into a mythical character in-keeping with early British myths.
Having shot on location in March this year, I am now looking to commission an experienced film editor to create a feature-length piece and several shorter sequences.
A fixed fee is negotiable upon appointment.
Please do not apply if you are based more than 50 miles outside of Glasgow, Scotland (i.e. Edinburgh is fine but no further!)
Looking for a part time / full-time PR Account Director Circa £35k pro-rata
Hot Tin Roof is a dynamic, independent PR agency, creating iconic reputations for pioneering UK companies.
Based in Edinburgh, we're looking for someone who is traditional and digital PR savvy, with experience of working with clients in technology, new media and the public sector.
We're looking for someone with a minimum of five years' experience in Public Relations. You will be responsible for leading media relations as well as helping to grow Hot Tin Roof.
If you're interested in becoming part of our team please get in touch and check out: http://hottinroof.co.uk/2012/04/part-time-full-time-pr-account-dire...
Looking for freelance app developer.
We have the wireframes if you have the dev skills.
Apple and Android skills would be great. But will speak to folks with one or t'other.
firstname.lastname@example.com with your CV please!
Know any app developers? @JillGilchrist1 is looking. £top dollar #Edinburgh http://bit.ly/IEmHAt
Marketing graduate for social marketing role
We are looking for someone with an awareness of social media, background in marketing, solid copyrighting and communication skills to join the team.
Above all we are looking for someone with a passion what they do. This is a fast paced environment with a unique global proposition and a team that likes to work and play hard. Based in Edinburgh this is a full time role with great potential. If you know of anyone who would be interested in such a challenge please get in touch.
Lookin for a Business Development Exec
Wanted; we have a vacancy available right now for a Business Development Exec with some digital or online marketing experience. Based in Glasgow but working to generate business country wide. Some who is self-motivated to join a very successful team.
Please send a CV or get in touch at firstname.lastname@example.com
film makers, Illustrators and animators!
We're on the lookout for models for a quality/banterous photoshoot. Email us at hello(at)destrukt.co.uk for more information.
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The highly successful LL.M. in Bankruptcy program at St. John's School of Law offers more than two dozen specialized bankruptcy courses taught by leading practitioners, judges and academics. Our graduates practice with top firms and clerk for influential judges throughout the country.
The Law School's extensive bankruptcy offerings include the Center for Bankruptcy Studies as well as the American Bankruptcy Institute Law Review, the nation' premier bankruptcy journal with a circulation of approximately 11,000. We are also home to the student-led Bankruptcy Law Society and the St. John's Institute for Bankruptcy Policy.
Each year, together with the American Bankruptcy Institute, the Law School sponsors the Hon. Conrad B. Duberstein Bankruptcy Moot Court Competition. This major student competition brings more than 50 teams to New York from law schools throughout the country to argue important current issues in bankruptcy law. The event culminates in a banquet attended by nearly 1000 leading practitioners, academics, prominent judges and students.
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Author: Jon Doust
20 September 2012 , 9:47 PM by Lachlan Mackintosh
West Australian author, Jon Doust, joined the program to talk about his second novel 'To the Highlands'.
It's the second instalment to a trilogy which Jon calls a "dislocated memoir" of his life.
Jon has also published two children's books, has acted in a few films, is in demand as a public speaker, has a history in stand up comedy.
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Current Issue
September 2013, Vol. 65, No. 5
Amy Widman, The Rostrum Principle: Why the Boundaries of the Public Forum Matter to Statutory Interpretation
Todd Zywicki, The Economics and Regulation of Network Branded Prepaid Cards
Thomas J. Horton & Robert H. Lande, Should the Internet Exempt the Media Sector From the Antitrust Laws?
Thomas J. Horton, Robert H. Lande, & Virginia Callahan, APPENDIX
Chad Flanders, Pardons and the Theory of the "Second Best"
Brett McDonnell, Dampening Financial Regulatory Cycles
Dane Ullian, Retroactive Application of State Long-Arm Statutes
Tag Archives: immigration channels
Heather Reynolds, Irreconcilable Regulations: Why the Sun Has Set on the Cuban Adjustment Act in Florida
63 Fla. L. Rev. 1013 (2011)| | | NOTE :: Just past midnight, four Cubans walked off the beach in the dark and began to wade through warm waves out into the Florida Straits. They walked nearly a mile in waist-high … Continue reading
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6000 ROMs
From OESF
Contents |
What is available?
Sharp ROM
- (see below Restore Sharp Stock ROM) SharpUSA product page
- fast kernel instructions: ffpe (fast floating point emulation) or no-ffpe version
- fast kernel (beta) Discussion and Download
Guylhem ROM
- (beta) Guylhem Rom
- uses the fast kernel by default
- Qtopia or no GUI images
OpenEmbedded project
- OpenZaurus 6000L installation
- GPE or OPIE images
pdaX ROM
- pdaXrom 6000L installation
- How to install pdaXrom
- (beta) [http://www.oesf.org/forums/index.php?showtopic=12631 Discussion
Qtopia ROM
- (beta) http://www.qtopia.net/modules/users/downloads.php
- available as-is
How-to flash a new ROM
- Prepare a compatible memory card. It can be an SD type or CF type memory card, but it must be formated as FAT16.
- Copy updater.sh, consolescroll, zImage, initrd.bin, on to the prepared memory card. You may choose to use only a zImage file or a initrd.bin if you don't want to change one or the other.
- Before updating make sure that you backup any data that you wish to save.
- Push the reset button on the rear of the handheld using the stylus.
- Connect the A/C adapter to the handheld. The orange charge light should now be lit.
- Enter the maintenance menu. Holding down the Okay button, push the power button.
- Select item #4 to update.
- Select the type of card you prepared, either SD or CF.
- The handheld will reboot into a seperate hidden kernel used for reflashing the device, execute the updater.sh script, and reflash it.
- When everything is finished, you will be instructed to reset the device.
How-to restore the original SL-6000 ROM
This is for the SL-6000L only. You can also find a backup ROM for the 6000W here http://www.externe.net/zaurus/flash/.
- Download http://www.externe.net/zaurus/flash/updates/SL6000L-US-1.12.zip
- Extract files onto a SD or CF card formatted as FAT16
- Connect the A/C adapter to the handheld. The orange charge light should now be lit.
- Hold down the 'Q' and 'T' keys and while holding, push down the reset button with your stylus.
- When the unit begins to flash the green mail light will turn on. This light will stay on until it has finished.
Troubleshooting the lights
- If the mail light doesn't turn on, then the handheld could not find any files to flash.
- If the mail light starts to blink it indicates an error has occured. You may have corrupt files on your memory card.


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Should I pull the trigger on this trade:
Mcgahee for Calvin Johnson?
I'm pretty deep at RB, with Addai, R. Johnson, and Mcgahee. I can Only play Two RB a week. I am weak at WR, with Andre Johnson as my top WR being hurt.
Its a point per reception league, and I have Kitna as a QB.
I'd say no as well...you should be able to get a little more...Calvin has been good, but as a rookie, not sure he will keep it up....
Kids, you have the power
KARLinCL shall now be known as Karl Half Face and KALRinCL will live on in stories only
Just Like Football
Who is your 4th RB? With the bye weeks coming up you'll need McGahee at least twice for those weeks.
If this offer was on the table after the bye weeks then I'd say take it since you'd be getting a starter for a bench player, but McGahee's value for filling in is too much right now to give up.
Plugging Chuck Norris into any equation makes the outcome equal to pain
This fact does worry me. My fourth RB is weak, it was brandon jackson, but now its his backup (soon to be starter Wynn, alhtough i still have jackson). My WR worry me, especially with Andre Johnson hurting his knee. My others are (we have to have 6 on our roster):
Hines Ward
Santonio Holmes
Greg Jennings
Sam Hurd
Derrick Mason
Im still not sure what to do.
I feel i shoould also point out my TE is Antonio Gates, he's basically a WR. Not sure if this should have any effect though?
You definitely could use another wideout. My suggestion would be to package Hines Ward and McGahee for CJ and one of his backup running backs. That way you'll still have a backup running back for bye weeks or injuries. It will also help your receiving corp out while getting rid of one of your two Steeler WRs. Who does he have at running back that he could part with?
I would pass on this deal. Though CJ's stats have been gaudy the first two weeks, Week 1 against Oakland no one knew how to defend him as it was his first game and in week 2 against Minnesota their pass D is bad. I don't believe he can keep up this pace for the long haul. I think this week will be a good test for him against a pretty stout Philly defense.
With regards to Willis, I can't see giving up a top RB on a run first offense, even if he is your #3, at least not at that price. For a RB like Willis, you should be getting a WR like TJ Houshmandzadeh or someone with a good track record. That's what concerns me with CJ. Can he keep up with this? I don't think he can, at least not this year.
I would pass on that deal. Look for greater value for Willis.
* "God is the author of our hope - not the government"
* The borrower is SLAVE to the lender. - Proverbs 22:7
* "Integrity is not a matter of intent!" -Dave Ramsey
My opinion is you need to get more for Willis...If you get a decent back up rb with Calvin, then I would make it
"People who drink light "beer" don't like the taste of beer; they just like to pee a lot."
I also have this deal on the table. I'm being offered McGahee and Santana Moss for CJ. This is in a keeper league also. If I do this deal though i would have to cut Julius Jones because we can only have 5 RBs.
My WRs now are Holt, Housh, CJ, Arnaz Battle and Shaun McDonald.
RBs are Rudi, AP (Min), Lynch, Fred Taylor and Jones.
Thoughts and hurry up he might be watching


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Visit planetpit.com now to listen to Pitbull's new Spanish single "MALDITO ALCHOL," the first single from the new all Spanish album coming in 2010! While you're there be sure to check out the "SHUT IT DOWN" single and video (available to download via iTunes), and watch all the performances for the American Music Awards!
Jennifer Lopez' new video for "Fresh Out Of the Oven" featuring Pitbull just premiered. Have you seen it yet? Check it out here to see his verse. His part in the video is CRAZY.Read more
Pitbull has been nominated in 3 categories in holamun2.com's "Bleepin Best 09" programming and we need to go out and support Pit. Pitbull has been nominated for "Artist of the Year", "Best Act" and "Best Urban Act". Check out the voting widget below to place your votes or you can head over to the holamun2.com website!
The concert scheduled for Tuesday, November 10 in Antwerp, Belgium, will be held at Club Pure. Please be aware of this change as you prepare to attend this concert. The concert will not be held at Lotto Arena.


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Wish you were eating more homemade meals? Monica Kadillak will give you suggestions for meals that you can make ahead, freeze, and use on those days when you just don't have time to cook! Recipes & samples included.
Want to try a vegetarian dish or curious about new vegetarian recipes. Explore delicious vegetarian cuisine with Monica Kadillak, complete with advice, cooking tips, and samples.
Eggs--they're not just for breakfast! Monica Kadillak will teach you some recipes--from appetizers to desserts and everything in between--for this versatile, nutritious food. Recipes & samples included.
Pick up recipes and enjoy sampling treats like sweet breads, and muffins, even better than from your local coffee shop! With Monica Kadillak.
Whatever your next party might be, get some new ideas for appetizers that everyone will enjoy. Recipes & samples included.
Michelle from Gateaux will demonstrate basic spring-themed cake decorating techniques.
Join Ashley Greeno of Sugar Mama Bakeshop as she shares her baked goods and recipes.
Monica Kadillak shares some favorite dishes that were introduced to the U.S. by immigrants from all over the world. Part of Light: The Holocaust and Humanity Project in partnership with The Colorado Ballet. For more information, visit http://coloradoballet.org/performances-1/light-the-holocaust-humanity-pr...
This Is Not Food, It's War A special yearlong series of events, workshops and cooking demos centered on food culture, food politics, wellness and how to find the best, healthiest food to eat. Follow our Fresh City Life schedule for future events in this series – and here's to eating and living better in 2013!
DPL Holiday Closures December 24, 25, 31, January 1 More...
DPL Newsletters All Social Media


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Grand Western Canal
The Grand Western Canal Country Park and Local Nature Reserve meanders through beautiful mid-Devon countryside and quiet villages between Tiverton and Lowdwells (near the Somerset border).
Canal near East Manley - John Morton, Devon County Photography | Extending for eleven and a quarter miles, the Country Park provides a wonderful location to enjoy a peaceful walk or cycle ride along the towpath; experience a ride onboard the much-loved horse-drawn barge that has been taking passengers for trips along the canal since 1974; have a go at fishing; launch your own boat or hire a boat or a canoe. |
To help you plan your visit to the Country Park, please download:
Breach of Embankment at the Grand Western Canal
On November 21st 2012, the Canal suffered a major breach of a raised embankment near Halberton. Devon County Council has committed £3m for repairing the breach and undertaking improvements along the Canal. Work to repair the breach is due to be completed by the end of 2012. In the meantime, the Canal is very much open for people to enjoy except for a ¼ mile section around which a short diversion has been set up. Read the latest information >>
New Canal Visitor Centre officially opened
The new Canal Visitor Centre has been officially opened by Chairman of Devon County Council, Cllr Jerry Brook and local Olympic athlete, Jo Pavey. The new £305,000 centre is located in the Canal Basin in Tiverton and is designed to provide visitors with a fun and engaging introduction to the Canals rich natural and industrial heritage and a wealth of information about the many activities that can be enjoyed here.
Find out more
- Canal Breach
- New Visitor Centre
- Map and Directions
- History
- Wildlife
- Walking
- Cycling
- Fishing
- Boating
- Information for Disabled Visitors
- Rangers Rag Newsletter
- 2014 IWA National Trailboat Festival
- Events
- Local Businesses and Services
- Education
- Volunteers
- Management
- Joint Advisory Committee
- Towpath Code of Conduct
- Waterway Code of Conduct
- Grand Western Canal Photo Gallery
- Canal Visitor Survey
- Annual parking permits
Also on devon.gov.uk
Other web sites
- Tiverton Canal Co.
- Mid Devon Moorings
- Tiverton Town
- Abbotshood Cycle Hire
- Minnows Touring Park
- Tiverton Castle
- Tiverton Museum
- Mid Devon Natural History Society
- Green Flag Award
- Inland Waterways Association
- Countryside Mobility South West
- The Green Blue
- Waterscape
- Sustrans
- Mid Devon Natural History Society
Contact Us
Canal Ranger Service
The Moorings
Canal Hill
01884 254072
01884 255935


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The Solar System Mobile is an intriguing addition to any room that will delight everyone young and old.
It has nine detailed, colorful planets that follow their actual orbit paths as they spin independently of one another.
The mobile is sturdy and durable.
Size: 54"W x 17"H x 7"D.
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Year | 2000 |
Make | Jaguar |
Model | XJ8 |
Body | Sovereign |
Engine | 4.0L |
Trans | Automatic |
Color | Blue |
Interior | Ivory |
Web No. DA0912-135174
INV No. 76713 |
Get Sale Prices Members-only E-mails, auction webcasts, results and more!
Join Today FREE » Hats, Shirts, Kids Apparel & More. The perfect gifts for the Car Collector. Buy online. Details »
Lot T103 2000 Jaguar XJ8 Sovereign
4.0L, Automatic
Join or Sign In to the Mecum InfoNet to see the Sold Price
Dallas, TX Auction
September 5-8, 2012
DESCRIPTION- 4.0L 290 HP V-8 engine - Sapphire Metallic paint with Ivory interior - All options - Serviced at a Jaguar dealership - Damaged to rear bumper caused in transit, seller will reimbursed for repairs. - Cold air conditioning - Believed to be 83,670 actual miles Information found on the website is presented as advance information for the auction lot. Photos, materials for videos, descriptions and other information are provided by the consignor/seller and is deemed reliable, but Mecum Auction does not verify, warrant or guarantee this information. The lot and information presented at auction on the auction block supersedes any previous descriptions or information. Mecum is not responsible for information that may be changed or updated prior to the auction. The decision to purchase should be based solely on the buyers personal inspection of the lot at the auction site prior to the auction.


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An Odd Ellipse
A new Hubble Space Telescope image shows a galaxy with a complex identity.
Super-Star of the Universe
A local star is the most massive ever detected.
In Hot Pursuit of Asteroids
Scientists are charting new asteroid territory in order to understand the early Solar System.
Graphite Found in Moon Rocks
A rock collected by the Apollo 17 mission in 1972 yields a surprise.
Cosmic Collisions Fuel Black Holes
The Swift satellite, NASA's high-energy detector, is studying black hole mysteries.
Star Bolts from Crowded Nebula
In a nebula packed with stars, not all stay with the crowd.
New Evidence of Water on Asteroids
Asteroids may have delivered water to early Earth.
New Solar Satellite Delivers First Images
NASA's Solar Dynamics Observatory is the most advanced solar imager ever built.
Planck and Herschel: The Sky at Two Scales
Satellites go wide, then zoom in on galactic dust.
The Known Universe
Zoom from the Himalayas to the edge of the observable Universe—and back again.


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Ajwain Seed
Similar to thyme, but stronger and less subtle. A native of southern India, its light brown to purple-red seeds resemble celery seeds in size and shape. Ajwain is most commonly added to chutneys, curried dishes, breads and legumes. Coming from the same botanical family as cumin and parsley, it is also known as carom and bishop's weed.
AllSpice Berry
The whole berry of the pimento bush, this is the size of a large pea and has a deep rich brown color. Clove and pepper-ish flavors are very pronounced, especially when ground fresh. Used widely in Jamaican jerk and Caribbean dishes. Also nice in holiday pastries.
Unripe mangoes are sun-dried and ground to a powder which is used to give a sour tang to many East Indian dishes including meats, vegetables and curried dishes. Often added to chutneys, pickles and some stir fries much as vinegar is used in other parts of the world. It is also called simply mango powder.
Made of dried pomegranate seeds, this spice has a mildly fruity, sweet and sour flavor. Used in India to sour chutneys they are also used in pastries and breads in the Middle East. Try grinding them and sprinkling over salads or vegetable dishes.
Angelica Root
Traditionally root chewed on or brewed into a tea for the immune system. Roots sometimes used in making absinthe.
Anise Seed
Anise is primarily associated with cakes, biscuits and confectionery, as well as rye breads. It is used in much the same way as fennel to flavour fish, poultry, soups and root vegetable dishes. Anise is the true taste of licorice.
ORIGIN: India
MEDICINAL: It helps with digestion and sweetens the breath, so it is chewed after meals in parts of Europe, the Middle East and India.
Anise Star
This dried, star-shaped fruit grows on small evergreen trees in China and Vietnam. A dark brown pod that contains a pea-sized seed in each of its eight segments. Its smoky, licorice flavor makes it a distinctive ingredient in Chinese braised dishes and Malaysian curries, or use it as a garnish.
Annatto Seed
Annatto is used for coloring cheeses, confectionery, butter and cheeses. It is more widely used in the Caribbean and Latin America, especially Guatemala and Mexico. The seeds are also particularly associated with Filipino cuisine, in dishes like; ukoy, shrimp and sweet potato fritters; pipian, chicken and pork in an annatto oil sauce; and kari-kari, a brightly colored vegetable and oxtail stew. Annatto has a slightly peppery taste with a hint of nutmeg.
ORIGIN: Central America
MEDICINAL: Annatto was once used to control fevers, dysentery and kidney diseases, though is now used mostly as a dye in medical preparations such as ointments and plasters.
A thickening agent with more thickening power than flour or even cornstarch. It has the unique characteristic of adding a glossy sheen to sauces, much like finishing with butter, but without the fat.
Use in minute quantities, adding directly to cooking
liquid, frying in oil, or steeping in water. Asafoetida
is used mostly in Indian vegetarian cooking, in which
the strong onion-garlic flavour enhances many dishes.
It is also suited to many fish dishes and some
pappadums are seasoned with asafoetida.
ORIGIN: Afganistan
MEDICINAL: Known as an antidote for flatulence and is
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Tomato sauces call out for a dash of this intense
dried form of the common herb. Gardens in Egypt
can produce an intensely flavored leaf with hints
at an anise flavor and mild sweetness. Best in
dishes that will be heated to release the full flavor.
Bay Leaf
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Black Lime
The highly aromatic, somewhat fermented flavor notes in black limes complement chicken and fish particularly well. Surprisingly, one or two pierced black limes in an oxtail stew give it a welcome degree of piquancy. When adding whole black limes to a dish or putting one in the
cavity of poultry before cooking, make a few holes with a skewer or the tines of a fork to allow the cooking juices to infuse with the tasty inside.
Black Pepper, Smoked
The Smoked black pepper many of us use every day to season food has a wide variety of medicinal applications. Ancient herbalists used pepper as a stimulant to weak membranes, especially to treat runny nose, and also to treat hemorrhoids. This is certified organic.
Caraway Seed
It's an essential taste in sauerbraten, sauerkraut and rye bread. It figures
prominently in the cuisines of Germany, Austria, eastern Europe and
Scandinavia. It seems to have a special affinity for apples, pork and sausages.
Cardamom, Black
One of the world's very ancient spices. Cardamom is often included in Indian sweet dishes and drinks. At least partially because of its high price, it is seen as a 'festive' spice. Other uses are; in pickles, especially pickled herring; in punches and mulled wines; occasionally with meat,
poultry and shellfish.


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Protoxide: Death Race
by: HeroCraft
Sports - 43.04 MB
Are global warming, abnormal weather, increasing number of cataclysms all over the planet, cocktails of earthquakes, tsunamis and blowing nuclear power-stations the reasons to think about incoming apocalypse? «Protoxide: Death Race» offers you their version of the "world after 2012".
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Country Club 101: What To Wear To Master The Dress Code
While we adore analyzing the runways and poring over designer mood boards, we spend a considerable amount of time pondering a more prosaic question: what should we wear? Whether it's a wedding, work affair, or weekend brunch, getting dressed for specific occasions is a constant conundrum. In the hopes of outfit enlightenment--for us and for you!--we're delighted to present What To Wear, our weekly wardrobe guide for every occasion. This week, we'll be covering what to wear to a country club.
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Gorjana Fatima Ring Set ($50)-
Continue to next slideshow:
MORE What To Wear
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Check out our HR-approved outfit ideas to up your office game.
The Do's And Don'ts Of Dressing For Casual Friday
Obviously, the tracksuit's not part of your casual Friday uniform, but what about jeans? We clear up your questions, right here, right now.
What To Wear Next Weekend
The weekend should be your time to relax, not stress about what to wear! We did the heavy lifting and created our perfect off-the-clock ensemble.
Batter Up! What To Wear To A Baseball Game
With the Fourth of July approaching, we thought we'd tackle America's favorite pastime. Here's what we'd wear to a ball game.
Date Night Decoded: The Perfect Ensemble In 7 Pieces
Meeting a special someone and worried about what to wear? Dress to kill with editor-approved wardrobe advice.


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Eva Longoria
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text:
Two characteristic expressions of Lewis's displacement of modernist poetics can be discovered in his fiction of the late twenties and thirties. In predominantly satiric works like The Childermass and The Apes of God , Lewis employs modernist techniques while divesting them of their thematic legitimation. They appear as mechanical and hollow, absurdly functional within the more general social and political farce portrayed in his books. These techniques are highly "inorganic" to Lewis's texts: they are not clearly motivated by events or characters and thus often appear like tics and mannerisms erupting into the text; nor are they justified by an overriding stylistic unity, as are the idiosyncratic sentence forms in James's The Golden Bowl , Lawrence's The Rainbow , Hemingway's early stories, or perhaps even Lewis's own Tarr .
In later works like The Revenge for Love and The Vulgar Streak , Lewis apparently renounces the disruptions of grammatical and narrative syntax characteristic of his earlier prose and returns in long stretches to something resembling classical realist style.[28] While it would be possible to see this return to order in the fiction as congruent with Lewis's desire for order in the political arena, this view would both oversimplify the relation of literary form to politics and mischaracterize Lewis's prose of this time. On the one hand, the change in style does reflect Lewis's heightened rhetorical concern to establish his literary work within a broader social context (and not just political, but also commercial). On
the other hand, I want to suggest that this "realism," this return to certain "naturalist" conventions, is not as straightforward as it might first appear. For the world it "realistically" depicts is a universally de-realized one, one permeated by mimicry, counterfeit, diversion, imposture, and spectacle: the condition of generalized mimetism. The apparent transparency of these works is an unsettling, uncanny fiction of reference—not because the texts disrupt referentiality, like the vorticist montage text The Enemy of the Stars , but because the referent is explicitly thematized by the text as a mirage. More than "realist," these works are "hyper-realist"; if in a certain sense "naturalist," they nevertheless reflect a simulacral nature, a denatured reality of spectacles, codes, and models.
Yet while one can identify a certain shift from the novels of the late twenties to the novels of the thirties, the distinction should not be exaggerated. These two phases of Lewis's writing represent inflections and developments within a common late modernist aesthetic, rather than different modes altogether. In my view, the relevant divisions in Lewis's corpus are not between an "experimental" phase (ending in the twenties) and a return to "realism" (beginning in the thirties) but rather between the earlier work up to Tarr , the long middle phase including the majority of Lewis's fiction and criticism, and his partial abrogation of satire in the two late novels with which he attempted to complete The Human Age ( Monstre Gai and Malign Fiesta ), twenty-five years after the first installment (The Childermass ) appeared.[29] Within the middle period, embracing the work of the late twenties and thirties along with much of Lewis's later work, there are a number of fundamental continuities, despite the differences in surface texture and style.
In any case, the shift that occurred across the divide of 1926-1927 did register itself in Lewis's writing in points of style and general approach, but still more decisively in the relation of Lewis's literary works to the surrounding social and discursive context. In particular, Lewis sought to engage as fully as possible the political, personal, and commercial vectors of his works, understanding such "contextual" points of reference as not merely contingent to the work's artistic structure and meaning but rather as essential to its artistic design. Paul Edwards argues that Lewis refracts the formal elements of modernism through his distinct, "rhetorical" focus: "The recognizable features of a standard 'Modernist' aesthetic are present . . . but transformed by the inclusion . . . of ideological awareness."[30] Edwards goes on to note that Lewis's reputation has suffered for this ideological concern: "One reason for the lack of recognition of Lewis's Modernist aesthetic is that the
idea of the creation of a work of art as (at least partly) a self-conscious ideological critique of society is one that has a place in Marxist aesthetics, but not, until recently, in the Modernist tradition."[31] One discerns in the development of Lewis's work over the twenties and early thirties a decisive rethinking of the social and political role of the category of form , a category central to the aesthetic ideology of modernism, and his desire to consider form primarily as a rhetorically and politically effective artistic means.
Modernist form, as Ferenc Fehér suggests, has a paradoxical double-ness in its relation to ideology. It at once disavows it and attempts to embody it sensuously: "This art is thoroughly free of ideology (tolerating no interpretations, refuting all 'ideal content' imposed on it), and at the same time it is thoroughly ideological (in so far as the 'form,' the formed world, is, so to speak, a sensualized theorem)."[32] In its difficulty and singularity, the modernist work points to the rupture between itself and the ideological atmosphere of its readers. In its appeal to sensuous immediacy, however, it implicitly projects a reconciliation with that audience, in a utopian future perfect when it will have transformed or supplanted that ideology and can be understood transparently.
The reverse side of this utopian impulse in modernism is, however, as Stephen Spender suggests, a restriction of literature's engagement with topical, ideological issues:
Forster's antipolitics, antipower, anti-business attitude is implicit also in the novels of D. H. Lawrence, Virginia Woolf, and Aldous Huxley, which have so little else in common. The fact is that the separation of the world of private values imagined in art from the world of the public values of business, science, politics was an essential part of the victory of the generation for whom "the world changed in 1910." . . . The aim of D. H. Lawrence and Virginia Woolf was to create characters who were isolated creatures of unique awareness with sensibility transcending their material circumstances.[33]
At its most involuted, as for example with Woolf's The Waves , this impulse to restrict the field of experience to a succession of unique, lyrically transfigured moments became the self-reflexive thematic center and narrative telos of the work. Through her chorus of characters, Woolf decomposed everyday experience into its component sensory atoms (the following scene takes place in the midst of London):
"Look," said Rhoda; "listen. Look how the light becomes richer, second by second, and bloom and ripeness lie everywhere; and our eyes, as they range
round this room with all its tables, seem to push through curtains of colour, red, orange, umber and queer ambiguous tints, which yield like veils and close behind them, and one thing melts into another."
"Yes," said Jinny, "our senses have widened. Membranes, webs of nerve that lay white and limp, have filled and spread themselves and float round us like filaments, making the air tangible and catching in them far-away sounds unheard before."[34]
This intense abstraction from (or purification of) everyday experience placed rigid constraints on the writer, however, in key areas like choice of diction, plotting, character type, and thematic range. While Woolf's strong political concerns are in no way absent from The Waves , the novel's indirection and formal self-reflexivity does strongly affect the discursive range and rhetorical force with which these concerns can be expressed. A "formalist" reading of the book that fails to perceive its political aspects would be, of course, insufficient; yet given the dense thickets of prose through which these concerns must fight their way to the attention of a reader, such a reading could hardly be called aberrant. Quite the contrary, most remarkable is the degree to which the rich and detailed critical analysis that Woolf's work has garnered has become naturalized, for academic readers at least. To win some insight into how much effort has been required to educe the political content from Woolf's difficult texts, it is instructive to imagine oneself approaching a work like The Waves without this critical preparation of the ground.[35]
Spender's remarks on Woolf's generation, of course, also fall short generally of capturing the genuinely political significance of modernism's displacement of "business, science, and politics" from the more forthright treatment they had received in Edwardian naturalism to the margins and even beyond. Recent critics of modernism, following the lead, above all, of the negative aesthetics of Theodor Adorno, have emphasized the political nature of this apparent "withdrawal" through form. Peter Nicholls, for example, suggests that early modernists saw in formal artifice a critical purchase on forms of sociality that were suspect or even unendurable for them. Their commitment to form was in no way "apolitical formalism" but precisely an investment of political concerns in a practice and ideology of artistic form: "It was Baudelaire's generation which took the first step toward a substitution of the aesthetic for 'the lost terrain of social representation.' This is not to suggest that writers suddenly ceased to be oppositional, but rather that the ground of opposition shifted from political rhetoric and
polemic to literary 'style.' "[36] Nicholls goes on to argue that the symbolist tendencies in modernism, which had the most radical investment in form and artifice, should ultimately be understood as a form of social protest; for through their formal concerns the symbolists sought "to open up the divisions in subjectivity in order to call into question bourgeois ideals of rational progress and self-presence" (98). Analogously, Astradur Eysteinsson has identified modernism's political function as that of "interrupting" social modernization and rationalization and as putting brakes on the compulsory adaptation of subjective expressions to the social context in which they appear. "In refusing to communicate according to established socio-semiotic contracts," he concludes, the interruptive practices of modernism "imply that there are other modes of communication to be looked for, or even some other modernity to be created."[37] Bob Perelman, in The Trouble with Genius , has studied the formal innovations of Pound, Joyce, Stein, and Zukofsky as manifestations of a paradoxically political rhetoric of "genius," as expressions of their common attempt to relate to their public context through a language that proves its legitimate claim to be heard by scorning all conventions of effective public and commercial address. Modernist form, in Perelman's view, is not so much apolitical as impossibly political.
Though certainly steeped in modernism's formal innovations, Lewis rejected the modernist politics of form : the investment in form as the primary mediation between the writer and his or her political, ideological, and social environment. Accordingly, Lewis displaces many of the central concerns evinced by modernist writers to justify their concentration on form, an emphasis he saw as an obstacle to the writer's critical engagement of the intellect. High modernism's emphasis on interiority; its appeal to allusive "depth" and "roundness" of character; its obsessive concern with temporality and history; its foregrounding of the ways that events are psychologically mediated; its valorizing of the unique over the commonplace or stereotype; its knotty quandaries about the relation of mind and language to the world—none of these can be said to characterize Lewis's fiction, except in its parodic reference to modernist works. But above all, Lewis disavowed the utopian aspiration implicit in modernist form that the work might one day be reconciled with its audience. In polemical contrast, he set himself in direct, intransigent relation to the ideological climate of his time.
When compared to the great high modernist prose writers, Lewis
seems accordingly unconcerned with formal innovation or complexity as such. As Bernard Lafourcade has argued,
Unlike most of his contemporaries, Lewis cannot be said to be a great experimentalist or innovator in the art of the novel. The septenary construction of both Tarr and The Revenge for Love or the duodecimal structure of Snooty Baronet are significant but far less vital for the success of the novels than is the truly vorticist ternary structure of To the Lighthouse , the immensely ambitious structure of Ulysses or the paradoxical combinations typical of Faulkner's books (think of Wild Palms or Requiem for a Nun ).[38]
Yet while Lafourcade's observation is accurate, Lewis's novels could nevertheless hardly be described as conventional. Their literary center of gravity, however, lies not in the typically modernist engrossment with form but rather with a renewed engagement with figurality and rhetoric. For Lewis, Daniel Schenker writes, "Art does have a relationship to the world . . . but this relationship is more instrumental or rhetorical than mimetic. Thus, a fictional creation's effect upon its environment is more important than either its adherence to a canon of verisimilitude or its infidelity to inherent formal principles."[39]
Not just Lewis's positive ideological interest, but also his evident abandonment of modernist formal principles in his fiction may account for his relatively low regard among critics attached to high-modernist standards. Lewis's attempt to establish his literary art on different grounds than those of his modernist peers puts him at odds with the evaluative bases of a great deal of twentieth-century Anglo-American criticism, so crucially shaped by modernist writers like T. S. Eliot, the New Critical poets, Yvor Winters, and others. Even critics like Hugh Kenner and Timothy Materer, generally sympathetic to Lewis, find his work falling short of greatness when measured against high-modernist writing. Materer, for example, judges Lewis's late modernist works on evaluative criteria that, in their appeal to vitality, roundness, and human depth, might have come straight out of E. M. Forster's Aspects of the Novel:
When one compares Lewis's characters to those of D. H. Lawrence and James Joyce, his creative limitation is evident. One might compare characters like Tarr, Percy Hardcaster, and René Harding to Joyce's Stephen Dedalus and Lawrence's Gerald Crich as studies in the corrosive effects of pride and intellectuality. However, Lewis does not have the complementary power to create a "woman in love" like Ursula Brangwen, or a fully realized young man like Paul Morel, or a grossly material but deeply human
character like Leopold Bloom. . . . In an atmosphere flooded with the "laughing gas of the abyss," all his characters live their fictional lives a bit groggily.[40]
One would hardly want to deny, I think, that most readers will find these characters of Lawrence and Joyce more sympathetic than most of Lewis's (though what of Lawrence's cruel, quasi-allegorical puppet, Clifford Chatterley? what of Aaron or of Kangaroo?). As a reader not wholly insensible to the attractions of Lawrence's and Joyce's best characters, I am nevertheless led to wonder whether such judgments are really cogent as criticism. Once we leave the Forsterian reading room in which all novelists write their books simultaneously in a trance of inspiration, questions of history, intention, and literary politics must again be taken up. And here it seems necessary to recall that if Lewis never managed to create a character like those of Lawrence and Joyce, it is because he perhaps never intended to, and certainly not by the midtwenties, when he had set himself the task of satirically debunking modernist prose. It seems beside the point to judge the "shortcomings" of Lewis's work according to the evaluative criteria of high modernism, a literary poetics that Lewis had himself explicitly rejected.
I want to turn at this point from discussing the general outlines of Lewis's devaluation of form for contextual efficacy to considering some specific examples by which Lewis's relation to his context may be gauged. I am particularly interested in Lewis's relatively positive attitude toward the commercial dimensions of the work and toward the discourse of advertising, for it is here that the difference of Lewis's late modernist stance emerges most strikingly.
I will commence with the graphic shock of a peculiar juxtaposition. The facing illustrations are intended to suggest the shift in context that has occurred between the 1914 publication of Lewis vorticist drama Enemy of the Stars in the avant-garde journal Blast and its 1932 republication in book form. As Lewis suggests in his autobiography, the original version of the play was intended to assert and seal his leadership of the avant-garde circle around him. It drew its power and radicality from Lewis's privileged place as a painter, as the visual arts were clearly in advance of literary arts in terms of technical and formal innovation. "My literary contemporaries," Lewis writes, "I looked upon as too bookish
Image not available
and not keeping pace with the visual revolution. A kind of play, 'The Enemy of the Stars' (greatly changed later and published in book form) was my attempt to show them the way" (RA , 139). The work was, as Reed Way Dasenbrock suggests, primarily intended as a "gesture," a gesture of artistic genius, the evidence of which lay precisely in the
Image not available
formal innovations of Lewis's text: its destruction of narrative, fragmentation of syntax, and employment of typography and spatialized structure as primary vehicles of meaning.[41] The first version of the play appears to be a clear-cut example of the rhetoric of genius that Perelman has identified in Lewis's main rivals in the canon of modernism, Joyce, Stein, and Pound. Indeed, Dasenbrock suggests that the importance and influence of Lewis's play may lie precisely in setting the pace for such "genius writing" as Perelman discusses: "Because of its origins as a polemical demonstration, [Enemy of the Stars ] is a peculiar, almost unreadable work. Nevertheless, it has had . . . a large (if previously undiscovered) impact on other writers. Moreover, its difficult style has been responsible for this influence" (128).
The context of the play's first appearance was, of course, the avant-garde journal Blast . The opening page of Lewis's text announces its tense relation with its context by playing with two distinct senses of the word advertisement : either the foreword of a book (as with the French, avertissement ) or a piece of commercial publicity (as in English). The aggressive typography rhetorically underscores the violent self-"advertisement" of Lewis's work; at the same time, its visual forms refer ironically to the aesthetically untamed formats of popular advertising type.[42] Lewis thus suggests a complex relation of mimesis and critical destruction of the socially given form of advertising. Advertising is at once imitated in its abstract elements—its graphic shape and typographical vigor, its "loud" tone—and shattered by a syntax, diction, and content that could hardly be conducive to the commercial aims of the form. To take one line of the play: "A leaden gob, slipped at zenith, first drop of violent night, spreads cataclysmically in harsh water of coming. Caustic Reckett's stain." Could this be understood as an "advertisement" for a product, for instance "Reckett's stain"? The language of the "advertisement" would seem to have the very qualities conveyed by the passage about the "product": it is a leaden, violent, harsh, caustic stain of words on the page. "Who would like to buy? "—this "ad" sneers at its consumer. At the level of style the passage is above all characterized by the explosive tension between the various dimensions of the text: discursive, rhythmic, syntactical, lexical, tropological, and referential. It is this dissonance, this interference—and not a "message"—that is first and foremost communicated by the passage. In this first version of Enemy of the Stars , thus, Lewis has absorbed the advertising message into the formal and social
mechanisms of the avant-garde work, subjecting it to the rhetorical energies of vorticist aggression.
The later, book version of the play entered into a radically different context. The war had, as Lewis himself testified, stolen the thunder of Blast . If the first issue, with its loud red cover and violent rhetoric, could seem somewhat prophetic of the coming conflict, the second and final issue, the so-called War Number, had been but a pale echo of the first. Still more important, however, by the republication in 1932, Lewis had emerged as a major writer and critic, while his role as a painter had diminished. The republication followed Lewis's antimodernist polemics in The Art of Being Ruled and Time and Western Man and appeared in the immediate wake of Lewis's two most notorious (and personally damaging) books: his satirical novel The Apes of God and his book Hitler , which had appeared in article form in Time and Tide in 1931. Dasenbrock characterizes the shift from the 1914 to the 1932 text as one of "restoration"—restoration of narrative, of syntactic continuity, indeed, of a suppressed (sub)text: "The 1932 text . . . reveals that Lewis deliberately disfigured the narrative in 1914. He had a coherent, legible narrative in mind but rewrote the play suppressing the elements that would have allowed a reader to follow that narrative readily. Only in 1932 did Lewis make available the parallel text that enabled readers to make sense of Enemy of the Stars , but by then no one was particularly interested" (134). Obviously, one aspect of this "return to narrative" is Lewis's increasing emphasis on rhetorical and ideological effectiveness and his accompanying devaluation of "form"; from the rigorous strictures he placed on the modernism of his peers, Lewis did not spare even his own earlier work. Yet Lewis's interest in this "restoration" is not only political, it is also aimed at finding a place for his work within the commercial and critical context. A reading of the advertisement for Enemy of the Stars in the 23 July 1932 issue of Time and Tide (where Lewis was a regular contributor, including of the articles on Hitler) makes this point almost too obviously (see fig. 5).
In this advertisement, Lewis's book is spatially apposed to the financial self-help book on the left of the page, as well as to the high-culture publication of Chopin's Letters with which it shares the Desmond Harmsworth box. Within the ad for Lewis's book is included a quote, which itself serves to announce the forthcoming critical work of Hugh Gordon Porteus (Wyndham Lewis: A Discursive Exposition ) and to signify Lewis's importance as a writer, precisely because he is the object of
a critical monograph. The typography and layout and the disjunctive relation of registers could, indeed, have made this advertising page at home in the original Blast . But now, in 1932, it is not the text but the context of discourse within which the text as salable book appears that speaks the graphic language of the avant-garde. Whereas the early version of the text absorbed and shattered the social forms of advertising in the avant-garde work, here the avant-garde work has been reab-sorbed by the discourses of the context, made to recirculate in the channels of commerce and publicity that the Blast version of Enemy had so aggressively displaced onto its avant-garde "stage."
This resocialization of the untamed avant-garde work was far from unintended. It followed consistently from Lewis's reexamination of modernist poetics. One of the most poignant—and comical—examples of this reexamination can be seen in Lewis's deluded but symptomatically important commercial schemes for the marketing of his magnum opus, The Apes of God . In Lewis's thinking about the book as material artifact, as well as in his formal, stylistic, and thematic concerns, The Apes of God represented a major shift from the presuppositions of modernist aesthetics.
While critics have become increasingly aware of the extent of the complex divergence between the aesthetic ideology of modernism and modernist writers' practical manipulation of publicity, few would be prepared to suggest that the idea of writing as an autonomous, professional calling standing over and against commercial vulgarization is not integral to modernist poetics and practice.[43] One can see, for example, Pound's ambivalent relation to publicity in a 1914 squabble with Amy Lowell over the public image of imagism. Lowell had published an advertisement for her book Sword Blades and Poppy Seed which read: "Of the poets who to-day are doing the interesting and original work, there is no more striking and unique figure than Amy Lowell. The foremost member of the 'Imagists'—a group of poets that includes William Butler Yeats, Ezra Pound, Ford Maalox Hueffer—she has won wide recognition for her writing in new and free forms of poetical expression."[44] Pound raised a fuss about the ad both to Harriet Monroe, editor of Poetry , and to Lowell herself. To Monroe he wrote:
As to Amy's advertisement. It is, of course, comic. On the other hand, it is outrageous. . . .
If it dealt with biscuits or a brand of sardines [the publisher, Essenwei]n
and possibly the magazines publishing the adv. would be liable to prosecution. (43)
To Lowell, referring to the ad, Pound carped in a similar but expanded vein:
In view of the above arrant charlatanism on the part of your publishers, I think you must now admit that I was quite right in refusing to join you in any scheme for turning Los Imagistes into an uncritical democracy with you as intermediary between it and the printers.
[. . . .]
I don't suppose any one will sue you for libel; it is too expensive. If your publishers "of good standing" tried to advertise cement or soap in this manner they would certainly be sued. . .
P.S. I notice that the canny [Essenwei]n in his ad refrains from giving a leg up to any of the less well known members of the school who might have received a slight benefit from it. (44)
I have quoted at length, because these letters bring to the fore the essence of Pound's relation to publicity and professionalism. First, Pound insists on the equal status of poetry as a professional activity. It should, Pound ironically implies, be accorded equal dignity as factory work and be subject to at least the same protection under the law as industrial and consumer products (biscuits, sardines, cement, soap). In apposing it to such humble goods, it is the autonomy of poetry Pound is defending, however, not its lowly everydayness, as for example Eric Satie did when he proposed to write "furniture music." Second, Pound clearly objects to the vulgar commercialism and self-serving character of Lowell's advertisement. It is advancing Lowell, not writing as such, not even the group of writers (viz. his complaint that only the best-known writers were mentioned). Finally, while publicity is legitimate as a tactic for gaining recognition in a society that values poetry less than sardines and soap, it also threatens the aristocratic logic by which poetry must advance. If publicity is to be used, its employment is nonetheless dangerous and must be carefully policed. If it takes on a logic of its own, unsubordinated to the small group's end, it can lead to "uncritical democracy," the loss of clear boundaries between the public and the professional elite of poets and hence the decline in the quality of the product.
Against this backdrop of his friend's coherent but fraught attitude toward publicity, Wyndham Lewis's schemes for selling The Apes of God appear all the more striking. Lewis planned what he referred to as a
"speak-easy" edition of his massive satire, to be published by the Arthur Press and priced at an inexpensive 7/6d. While this edition never appeared, the following circular letter, surely composed by Lewis himself, has been preserved:
Dear Sirs,
We are shortly publishing a popular edition of Mr. Wyndham Lewis's novel, The Apes of God , probably at 7/6d. We are also publishing it with advertisements . The adverts. will not be confined to those of publishers and bookshops. We are including other adverts. of Steamship Lines, tooth-pastes, and lawn mowers.
This will be the first novel since the age of Dickens to carry advertisements. It will be a unique event in the publishing world . It is certain to arouse a great deal of interest and result in a wide publicity: and at the above price the book is certain to be very widely read.
The charge for a whole page is £5, a half page £2.10.0 We hope you will take this unusual opportunity of advertising in a more permanent form than the newspaper or the magazine offers—which once read is thrown away. For one person who reads any given copy of a magazine, a hundred read any given copy of a book .
As the time is short before the date fixed for our going to press, we hope you will send us your copy at once.
Faithfully yours,
THE ARTHUR PRESS (Letters , 196-197)[45]
This astonishing document reveals the degree to which Lewis was not only willing to acquiesce to the logic of publicity, but was actively attempting to meet commercialized, commodified discourse on its own terms. To sell Apes and advance his position against those attacked in the book, Lewis was projecting an inexpensive edition, which in turn committed him to selling advertising. The book itself would become the site of commercial exchange, as typographical space was divvied up at so much a page.
Still more striking, however, are the arguments with which Lewis surrounds these facts. First, he wants to break free of the book world (booksellers and publishers) and enter into the much wider industrial and consumer economies: "Steamship Lines, tooth-pastes, and lawn mowers." This goes well beyond Pound's assertions of the rights of poetry to be treated at least as well as sardines. Lewis's claim is both less rhetorical and more far-reaching. He is not ironically commenting on how little recognition his work can gain in a commodified world but is rather seriously staking a claim within the very domain of commerce. Moreover, while Lewis, like earlier avant-gardists, sets his book against
the commodified medium of the newspaper, his gesture is otherwise quite different. It is not intended, as was the case with Mallarmé, to assert the purity of his writing against the impurity of commercial discourse, nor even, as with Joyce in Ulysses , to create an ironic tension between the cited newspaper speech and the grand literary tapestry within which it appears.[46] On the contrary, in his competition with the newspaper, Lewis asserts the superiority of the book precisely on the newspaper's own terrain: as an effective medium of publicity . Lewis does not argue that the book is the repository of more enduring cultural values and is therefore superior to the throwaway writing in the newspaper. Rather, it is that the material form of the writing, as preserved in books, is more enduring, thus allowing it to be seen by more people for a longer cycle of circulation. Hence, Lewis concludes, advertising in books should prove more successful than newspaper ads. In setting himself up as a latter-day heir of the "age of Dickens," finally, Lewis embraces precisely the most commodified aspects of literary production in that day: subscriptions, serial production, advertisement, the thoroughgoing commercialization of authorship. It is these features of the book, before even its content is considered, which will make Apes a "unique event in the publishing world."
Of course, the scheme, and what seems to have been Lewis's sincere hopes for it, was ridiculously overblown. One can hardly imagine Lloyd's of London taking out a full-pager to precede the "Lesbian Ape" or the "Ape-Flagellant" chapters of Lewis's novel! But a small vestige of the plan remained in the second printing of the 1931 Nash and Grayson trade edition (the Arthur Press 1930 collector's edition of 750 copies preceded this edition). The verso of the title page was altered to register its commercial status. It reads: "First Cheap Edition / Published November 1931 / Second Impression . . . March 1932. "[47]


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1965 Shelby Daytona Cobra Coupe to Headline Mecum Monterey Auction
Porsche Showcases History - and the Future - As the Featured Marque of 36th Rolex Monterey Historics
Jesse James Successfully Reaches 199.7mph While Filming His Hit Show "Jesse James Is A Dead Man" on Spike TV
Jaguar is celebrating its 1949 win of the first-ever production car race at Silverstone, with its own feature race at the Silverstone Classic from July 24-26.
France celebrates as Peugeot takes the victory it lost last year, ending Audi's run of wins at La Sarthe...
Aston Martin exceeds expectation by finishing fourth in the Le Mans 24 Hours... behind the diesels of Peugeot and Audi
The driving force behind some of TVR's most successful cars, Peter Wheeler successfully ran the British car company until its sale in 2004...
Brawn GP Formula One Team to sell selected race cars and memorabilia
A Bugatti Type 57 Coupe presented to Ettore Bugatti by his employees tops the list at Goodings' Pebble Beach sale
Phil Hill's C-type Jaguar tops RM's sizeable bill at its Monterey Week auction
Mecum's going against the big boys during the Monterey Week...
Seriously significant Mini is one of the cars Bonhams has for sale at its FoS sale
Hamilton and Loeb confirmed for Goodwood
Barry Rowe to paint 2009 Pebble Beach poster
More than 400 Aston Martins in pristine condition, joined by a good selection from the Rolls Royce Enthusiasts Club – what more could the crowds ask for at the Aston Martin Owners Club Spring Concours?
The largest competitive gathering of Morgans takes place at Silverstone this August... at the Bentley Anniversary Meeting
A talented pilot, yachtsman and winter sportsman, there was more to Tony Marsh than just hillclimbing...
The UK's most exclusive Concours d'Elegance is hotting up, as the new car debuts are announced...
An iconic, pontoon-fender 1957 Ferrari 250 Testa Rossa (TR) sells for $12,122,550 in Maranello, Italy to set a new auction world record as the most expensive motor car ever to be sold at auction.
Stile Bertone has unveiled its Mantide concept - a $ 2m reskin of the Chevrolet Corvette - and its plan to build ten customer cars.
More than 2000 letters have been gathered in less than two weeks objecting the planned Tesco superstore on the famous AM site in Newport Pagnell
The eagerly anticipated Aston Martin One-77 makes its public debut at the Ville d'Este Concours d'Elegance.
Readers of Motor Klassik magazine in Germany have chosen the Audi R8 as the car most likely to...


text: 8/13/201203:50 PMBoonsri DickinsonNewsConnect Directly0 commentsComment NowLogin50%50% Tweet 10 Horrible Hacks: The VideoA video interview summarizes the hacks we found at BlackHat and DefCon, where hackers revealed some surprising vulnerabilities.Enterprise social TV site The Pulse Network has done a video on a recent BYTE infographic describing 10 nasty hacks we heard about at the recent Black Hat and Defcon conferences in Las Vegas. In the video below host Tyler Pyburn interviews Eric Lundquist, VP and editorial analyst, InformationWeek Business Technology Network, about the hacks. Comment | Email This | Print | RSSMore InsightsWebcasts Intrusion Prevention Systems: What to Look for in a Solution Transforming Operations - Part 1: Managing Outsourced Development in Telecommunications More WebcastsWhite Papers Forrester Study: The Total Economic Impact of VMware View Securing Executives and Highly Sensitive Documents of Corporations Globally More White PapersReports Research: Beyond IT Service Management What Every End User Should Know About Online Security More Reports Comments Newest First | Oldest First | Threaded View [close this box] Be the first to post a comment regarding this story.


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Rascal Flatts Tickets and Concert Dates
Short Biography
Rascal Flatts, one of the top selling touring acts in country music today having sold over seven million concert tickets in the last 10 years, will embark on a brand new tour this summer, Farmers Insurance Presents Rascal Flatts "Live & Loud." The 34-city run will launch on Friday, May 31 in Jones Beach, New York at the Nikon at Jones Beach Theatre with special guests the Band Perry and 2012's The Voice winner Cassadee Pope.
Rascal Flatts wrapped their "Changed Tour" earlier t and ended 2012 having played before one million fans. They are the best-selling country vocal group of the past decade and with the #1 debut of their latest album, CHANGED, they have the distinction of being one of only four acts to have seven consecutive studio albums debut in the top spot on the Billboard Country Albums chart during the Soundscan era. Since their musical debut in 2000, the band has sold over 21 million albums, 25 million digital downloads and delivered 14 #1 singles to the top of the charts. Rascal Flatts is the most awarded Country group of the past decade, earning over 40 trophies from the ACAs, ACMs, AMAs, CMAs, People's Choice Awards and more.
In-depth Biography
A country trio known primarily for its pleasing harmony and Grammy-winning songcraft, Rascal Flatts are comprised of Gary LeVox, Jay Demarcus, and Joe Don Rooney. Cousins Demarcus and LeVox grew up in Columbus, Ohio, a town Demarcus eventually left in 1992 to pursue a music career in Nashville. Meanwhile, LeVox pursued his own musical success with a Christian group; at the behest of his cousin, however, he also relocated to Nashville toward the decade's end. Although LeVox quickly found work as the keyboardist for country star Chely Wright, he still found time to play local shows with Demarcus. One night, the duo asked Oklahoma native Joe Don Rooney (who played guitar in Wright's band) to join them during a Printer's Alley gig in Nashville. A bond was quickly formed, and the musicians abandoned their other duties in favor of forming Rascal Flatts in the late '90s.
After landing a record deal with Lyric Street Records, Rascal Flatts recorded an eclectic mix of country and pop for the trio's self-titled debut. The album arrived in 2000, and "Prayin' for Daylight" became the group's first smash single. Rascal Flatts ultimately sent four singles to the Top Ten before the band's second album, Melt, appeared in October 2002. Co-produced by the bandmates themselves, Melt sold a million copies in eight weeks and yielded the band's first number one country hit, "These Days." By this time, Rascal Flatts had established themselves as a highly successful country act, with a particularly strong following among younger listeners (an elusive demographic to most country stars). A live album served as an amiable segue between Melt and 2004's chart-topping Feels Like Today, while Me and My Gang arrived in April 2006. Rascal Flatts' 2007 release, Still Feels Good, enjoyed a similar reception, going platinum before the year's end and yielding another number one hit, "Take Me There." Unstoppable followed in 2009. After Lyric Street Records ceased operations, the trio signed with Big Machine Records and released its seventh studio album, Nothing Like This, in 2010. Nothing Like This was another hit, thanks in part to the Natasha Bedingfield duet "Easy," and the group released The Best of Rascal Flatts Live in time for the Christmas season of 2011. Changed, Rascal Flatts' seventh studio album, and the first with the Big Machine Label Group, appeared early in 2012. ~ Andrew Leahey & Rick Cohoon, Rovi
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In an evening that pitted county rivals against one another, there was an atmosphere reserved for an intense division game, not a game in early December.
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Now the L2In-Flames putting all this with your project in OhLoh, causing the players have more knowledge of the development of the project! Because we are going through difficulties for our team, I will do everything again, now all have a role in the server, and mistakes will not be forgiven.
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camilla and marc
Annabelle Bikini
Camilla and Marc is a result of the creative talent of brother and sister team, Camilla and Marc Freeman. Presenting their first spring/summer collection during the Australian Fashion Week in 2003, the line has exploded with its eclectic use of fabrics and color and careful attention to flattering feminine details. From military-inspired jackets and capes to youthful, yet sexy mini dresses, Camilla and Marc appeal to both the women of classic sophistication and playful exuberance.
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- Revolve Style No. CAMI-WX8
- Manufacturer Style No. BCMB1005


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Moderators: mixofsunandcloud, Kelso, Rai, Garfield's Lasagna, Garfield
AA23 wrote:As for the confrontations, we came out on the pitch to play football, not to pick up flowers.
Pirate Jack wrote:So as an avid GNOME fan, there's one thing about Vista that REALLY annoys me. Every day. I get enraged and want to Smash things.
Is there any way to scroll a window that isn't in focus?
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The Malian government and rebel groups are expected to meet January 21 for peace talks in Burkina Faso's capital, Ouagadougou.
Mali held its first democratic elections in 1992, after decades of military rule.
It maintained a strong democracy until March, when a group of soldiers toppled the government, saying it had not provided adequate equipment for them to fight ethnic Tuareg rebels roaming the vast desert in the north.
Tuareg rebels, who for decades had staged rebellions seeking independence, took advantage of the power vacuum and seized parts of the north. The rebels had fought alongside Libyan leader Moammar Gadhafi and returned to Mali -- with their weapons in tow -- after he was killed in October 2011.
A power struggle then erupted in the north between the Tuaregs and local al Qaeda-linked radicals, who seized control of large parts of the desert north. The international community voiced concerns about al Qaeda in the Islamic Maghreb and its expanding presence in Mali.
The al Qaeda wing is linked to the attack last year in Benghazi, Libya, that killed the U.S. ambassador to Libya and three other Americans, U.S. officials have said.
The militants in the north have applied their strict interpretation of Sharia law by banning music, smoking, drinking and watching sports on television. They also publicly stoned a couple to death in July, reportedly for having an affair.
Public executions, amputations, floggings and other inhumane punishments are becoming common, the United Nations says.
The militants have attacked Timbuktu's historic tombs and shrines, claiming the relics are idolatrous. The picturesque city was once an important destination for Islamic scholars because of its ancient and prominent burial sites, and it is a UNESCO World Heritage Site.
Tuareg rebels retreated from the well-armed militants but have vowed to fight back and establish in the north their own country, which they call Azawad.


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So I just started my carb load up. Started the night out with a peanut butter and banana sandwich on toasted bread with jalepenos black pepper and garlic. First time I ever tried it and it was delicious.
Anyone else get odd cravings during their carb loads or am I on my lonesome here?


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I read that it was caught on helmet cam, but I don't see it anywhere.
I read that it was caught on helmet cam, but I don't see it anywhere.
Oh yeah, and fuck you Schmoopy. Stay the fuck out.
Schmoopy enhances threads
coulda used him ITT IMO
probably not, but at least this thread would have GIFs
What is this guy like beetlejuice? Say his name three times and he appears...lol
I'm not wasting my gifs in this shit mult thread.
oh I thought you had Schmoop on ignore
Me too.
Shit mult's sick and dumb.
the news station used the DCMA to have all the legitimate videos pulled. that doesn't mean you can't find it online but not on youtube.
ok, who writes "goo goo at a at a, fukin jew heeb"?
"fuckyoubigot i dont like you're sig" "repeated annoying comments"
The Lord is not my Shepherd for I am not a sheep.


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Thor Motor Coach showcased a host of new motorhomes and features at the 2012 Florida RV Super Show in Tampa, January 10-15, 2012. With heavy traffic and so many new products featured, both new and seasoned RVer's were impressed with the product offerings from Thor Motor Coach. Tampa provided a great kick-off for the motorhome market in 2012 as Thor Motor Coach saw a 40% increase in retail sales compared to the 2011 show.
"The Florida Super Show always gives us some indication of how the spring show season will go and it looks like it's going to be a great year. The consumer reaction to our 2012 line-up was very positive." explained Dana Simon, Vice President of Sales and Marketing for Thor Motor Coach.
The all new 2013 Palazzo rear diesel stole the show, drawing crowds throughout the event. The industry received its first look at the Palazzo when it was unveiled in November at the RV National Trade show in Louisville, KY. The Palazzo's compact low-profile design makes it easy to drive while providing the amenities a premium motorhome shopper expects, as well as several they might not.
Palazzo's Standard Equipment Highlights:
Chassis and Storage • 34' 6", 300HP rear diesel • Two slide-outs • 10,000 lbs. hitch • Auto-Generator start • Low-profile slide tray • Motorhome Mudroom™ • Tall Mega-Storage™ Pass-through compartment |
Living Space • Seating for eight in the living space • Always-in-View™ TV slide system • Home theater sound • Bedroom TV • Oversized shower • Pull-out computer tray in the dash • Brushed metallic residential refrigerator & microwave |
"The Palazzo, like the A.C.E., is a game changer creating a new segment in the market - attracting many buyers who thought a full featured rear diesel coach was out of reach. While talking with new potential Palazzo owners at the show, it was clear the market has been waiting for this coach," stated Adam Gudger, National Sales Manager for the Thor Motor Coach Diesel Division.
The A.C.E. continues its success as a crossover class A motorhome. The recent additions of the 29.2 and brand new 30.1 floorplans were popular choices for shoppers. The 30' 10", 30.1 adds a second slide-out, larger shower, and more bedroom storage, in addition to the already well equipped offerings of the entire A.C.E. line up.
Making its Super Show debut, the 45LT (45', 450HP) tag axle Tuscany was a big hit. The 45LT combines the best of luxury and value by offering a full wall slide, expandable sofa, half bath with washer dryer option, dual vanity master bath, fireplace, and Sony™ electronics at a price point far less than its competitors.
2012 45LT Tuscany Luxury Motorhomes
For more information on Thor Motor Coach motorhomes, call (800)860-5658, visit http://ThorMotorCoach.com, or write to: Thor Motor Coach, Inc., PO Box 1486, Elkhart, Indiana 46515.
Thor Motor Coach is a subsidiaries of Thor Industries, Inc. Jackson Center, OH (NYSE: THO), the world's largest manufacturer of recreational vehicles.


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Amid rising foreclosure rate, some homeowners have success stories
Friday, 02 March 2012 00:00
Even as the latest statistics show house foreclosures rising again, not all households in a financial bind with a mortgage lose their home --- or their shirt.
'It's not just politics. It's about their faith and it's about others'
Friday, 24 February 2012 00:00
'Faithful Citizenship' gives Catholics a chance to seek the common good.
The 'contraceptive mandate' of the HHS
Friday, 10 February 2012 00:00
HHS will grant an exemption to the mandate in exchange for having the final say about the meaning of Catholicism.
Learning Styles: Why should we care?
Friday, 03 February 2012 00:00
We should care about Learning Styles because we are Christian and we believe in the Body of Christ; because "there are different kinds of gifts but the same Spirit distributes them" (1 Corinthians 12:4); because "God has placed the parts in the body, every one of them, just as he wanted them to be. If they were all one part, where would the body be? As it is, there are many parts, but one body" (1 Corinthians 12:18-19).
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Papal intentions for November: That priests who experience difficulties may find comfort in their suffering, support in their doubts, and confirmation in their fidelity. That as fruit of the continental mission, Latin American Churches may send missionaries to other Churches.Papal intentions for December: That children who are victims of abandonment or violence may find the love and protection they need. That Christians, enlightened by the Word incarnate, may prepare humanity for the Savior's coming.