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Difference between revisions of "BoycottWikipedia"
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Wikipedia Boycott Campaign
The purpose of the Wikipedia Boycott Campaign would be to call attention to the systemic issues plaguing Wikipedia as explained within the Criticism of Wikipedia article.
- Disclaimer: This is not an actual boycott. This is discussion about a possible boycott; its purpose and means, etc.
- All details about the possible campaign are all subject to change. Feel free to make recommendations, comments, etc on the talk page.
Possible slogans for the boycott could be
- Imagine a world without Wikipedia. That's our mission.
- Imagine a day when Wikipedia truly benefits society. That's our mission.
- Imagine Wikipedia living up to its ideals. That's our mission.
Aspects of the boycott could include
- Acknowledging that Wikipedia is an inherently flawed system that should be ended rather than amended.
- Acknowledging that Wikipedia can never become encyclopedic regardless of changes, recommendations, etc.
- Acknowledging that Wikipedia is based on false assumptions and ideals.
Consequently, the boycott could seek
- To refuse to participate in contributing to Wikipedia as well as encouraging others to do so.
- To actively discourage everyone from using Wikipedia as a research tool
- To encourage everyone to use legitimate sources for research.
- To encourage professional organizations to officially denounce Wikipedia as a research tool.
Participants could consist of
- Wikipedians as well as non-Wikipedians. Eventually, the boycott could consist primarily of non-Wikipedians.
Other details are available at Wikipedia Boycott Campaign.


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Actress Shraddha Kapoor is turning 30 on March 3 but it seems like the lady is already in her celebratory mood.
Actress Shraddha Kapoor is turning 30 on March 3 but it seems like the lady is already in her celebratory mood.
Disclaimer : We respect your thoughts and views! But we need to be judicious while moderating your comments. All the comments will be moderated by the newindianexpress.com editorial. Abstain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks. Try to avoid outside hyperlinks inside the comment. Help us delete comments that do not follow these guidelines.
The views expressed in comments published on newindianexpress.com are those of the comment writers alone. They do not represent the views or opinions of newindianexpress.com or its staff, nor do they represent the views or opinions of The New Indian Express Group, or any entity of, or affiliated with, The New Indian Express Group. newindianexpress.com reserves the right to take any or all comments down at any time.
Telugu Desam Party pulls out of NDA; to move no-confidence motion against Modi govt.
Class 12 Accountancy paper not leaked, clarifies CBSE; Vows strict action against rumour-mongers
Death toll in Lahore suicide blast rises to 9
TTV Dhinakaran floats new political party - 'Amma Makkal Munnetra Kazhagam'
TN farmers receive ₹3, ₹4, ₹5 and ₹10 as crop insurance disbursal

subset: commoncrawl


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An investigation this week into potential metal thefts turned up much more than detectives from the Lenoir County Sheriff�s Office anticipated.
On Wednesday around 8 a.m., LCSO detectives went to 794 Dawson Station Road to further an investigation into local metal thefts. Detectives made contact with Kristopher Adam Tyson, who initially cooperated with detectives and allowed a search of the property.
During the search detectives noticed what was believed to be a poppy plant � a species of plant that�s used to create morphine and heroin. Poppy plants are illegal to possess in North Carolina.
Based upon the discovery of the plant, narcotics detectives secured the property and obtained a search warrant after consent was withdrawn by Tyson.
�The finding of poppy plants in North Carolina is unique as they are commonly grown for the production of heroin in South America and Afghanistan,� said Sheriff Chris Hill.
A Kinston-based State Highway Patrol helicopter assisted with a search of the area that uncovered numerous marijuana plants. Detectives also found precursor materials for methamphetamine.
�A search of the residence and numerous outbuildings also yielded two suspected destructive devices,� Hill said. �These devices appeared to be pipe bombs.�
Upon discovery of the pope bombs, deputies evacuated the area, secured a perimeter and immediately contacted the State Bureau of Investigation to request assistance from their bomb squad. Assistance was also requested from the FBI, ATF, ALE, and the SBI�s Clandestine Lab team. Lenoir County EMS, Lenoir County Emergency Management and the North Lenoir Volunteer Fire Department stood ready to assist in case of an emergency.
SBI bomb squad technicians detonated the suspected bombs on the scene. After rendering the devices safe, technicians found there were no explosive elements inside the devices.
Evidence seized from the property included 22 marijuana plants, 19 poppy plants and drug paraphernalia.
�We are thankful for the assistance of the NCSBI, ATF, FBI, and ALE for their roles in this investigation,� Smith said. �It�s good to know our county and state have the personnel and equipment to deal with these matters and bring them to a safe conclusion.�
Tyson has been charged with maintaining a dwelling for use/selling of controlled substances, manufacturing schedule II and manufacturing schedule VI. Tyson is being held in the Smith Detention Center under a $35,000 bond. Tyson�s first court appearance was scheduled for Thursday.
This investigation is still under way. More charges are pending. According to the North Carolina Department of Corrections database, Tyson has never been incarcerated.
You can reach Jon Dawson at 252-559-1092 or at firstname.lastname@example.com. Follow him on Twitter at JonDawsonHQ.


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Even when travelling through Queensland's Outback, a state of the art sports and aquatic centre is only as far away as the sign to Boulia. The recently constructed four million dollar Boulia Sports and Aquatic Centre is proving to be an oasis for visitors wanting to dip in the 25 metre pool or work out in the air-conditioned gymnasium.
Other facilities at the centre include an indoor sports stadium incorporating basketball, netball, volleyball and badminton, along with an exercise room and two squash courts. The snack bar overlooks the pool and children's splash pool coupled with a playground and barbecue area. The centre complements the existing grassed sports oval and shaded tennis courts.
The centre is open seven days a week and offers many activities for all levels of fitness. Regular exercise regimes include water aerobics, social squash games, exercise and fitness classes, swimming training and learn to swim, to name a few.
Note: Information on listed products and services are provided by the operator and were correct at the time of publishing. Rates are indicative based on the minimum and maximum available prices of products and services. Please visit the operator's website for further information. All prices quoted are in Australian dollars (AUD).


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Home » shared universe » Suicide Squad (2016)
Suicide Squad (2016)
Posted by best movie Posted on 02.25 with No comments
You've just seen the movie categories shared universe titled Suicide Squad (2016). You can bookmark this page with the URL http://mikeandhayleycurtis.blogspot.com/2016/04/suicide-squad-2016.html. Thank you!
Suicide Squad (2016) 910109.
Label: shared universe


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The Stiff Heart Questions: Elegy and Murder
Temper, by Beth Bachmann. University of Pittsburgh Press, 80 pp., $14.95.
Slamming Open the Door, by Kathleen Sheeder Bonanno. Alice James Books, 61 pp., $15.95.
Incident at the Edge of Bayonet Woods, by Paula Bohince. Sarabande Books, 88 pp., $14.95.
Death's history was long, but the country was young. Thus, when confronted by the assassination of his beloved President at Ford's Theatre on Good Friday 1865, how would Walt Whitman—America's most public poet—respond? Although best known for his frank celebration of the body and its sensuality, as well as the democratic treatment of fellow citizens and terrain, Whitman had written in the elegiac mode prior to Abraham Lincoln's passing. "The smallest sprout shows there is really no death," Whitman asserted in Song of Myself. "All goes onward and outward, nothing collapses, / And to die is different from what any one supposed, and luckier."
Lincoln's, of course, was the unluckiest of deaths. It was murder—privately plotted, and then executed on a public stage. Met with national tragedy, Whitman's singing changed. In "When Lilacs Last in the Dooryard Bloom'd," composed immediately after the assassination, Whitman asks,
O how shall I warble myself for the dead one there I loved?
And how shall I deck my song for the large sweet soul that has gone?
And what shall my perfume be for the grave of him I love?
In these lines we find not the steadfast affirmations made by the singer of Song of Myself, but the questions of a more hesitant speaker, one who wonders how best to "warble," how to "deck [his] song." No longer certain that Lincoln is "alive and well somewhere," rising as the grass of his grave's "beautiful uncut hair" (Song of Myself), Whitman reaches a crisis. It's as if the assassin's cruel hands have rendered the poet as powerless as the dead President. Even elegy itself—a mode that imaginatively resurrects the dead, thereby granting lyric immortality—has been tainted by the dark facts of murder.
Of course, Lincoln was a public figure—perhaps the most public American figure of the nineteenth century—and Whitman's outpouring of grief was equally and appropriately civic. "When Lilacs," for example, reflects not only the poet's sorrow but also that of the country, cataloguing its "crape-veil'd women," "the silent sea of faces and the unbared heads," and "tolling bells' perpetual clang" as the Presidential coffin passes via train "through lanes and streets, / Through day and night with the great cloud darkening the land" (section 6). While elegies like Whitman's have long uttered a communal cry, the mode also confronts loss at the private level. In Emily Dickinson's "After great pain, a formal feeling comes—" the "stiff Heart questions" whether it can survive grief's darkness. The final stanza declares,
This is the Hour of Lead—
Remembered, if outlived,
As Freezing persons, recollect the Snow—
First—Chill—then Stupor—then the letting go—
Throughout the poem, emotional anguish itself becomes an assassin or at the very least a deadly adversary. The "Hour of Lead" is, in fact, so hazardous and debilitating it isn't necessarily survived (see conditional "if outlived" in line eleven, emphasis mine). Dickinson, however, not only warns of grief's life-threatening potential; she also provides a clear and devastating account of its physical and psychological stages via the poem's final line: "First—Chill—then Stupor—then the letting go—." Because we don't know whether the "Freezing persons" will even survive to "recollect the Snow," their "letting go" becomes particularly disturbing. While Dickinson suggests some sort of surrender, it's unclear whether the last phrase indicates emotional liberation (grief's survival) or the ultimate capitulation, one forcing the "Heart" to forever "stiffen."
Recent collections by Beth Bachmann, Kathleen Sheeder Bonanno, and Paula Bohince demonstrate the respective stages of grief so eloquently lyricized by Dickinson. Using elegy as a primary means of considering the deceased, each author confronts the devastation and terror that follows a loved one's murder. In Temper, an eighteen-year-old girl is killed near railroad tracks and survived by her older sister, as well as her father (who's suspected of the crime). Slamming Open the Door charts a mother's sorrow and rage following the strangulation of her adopted daughter. A woman tries to make sense of the Incident at the Edge of Bayonet Woods by returning years later to the remote Pennsylvania farm where her father was shot by hired workers.
History tells us that Abraham Lincoln died shortly after 7:00 a.m. on April 15, 1865. But what of the sister, daughter, and father in poems by Bachmann, Bonanno, and Bohince? Are these real-life losses, or figures of artistic invention? Whereas Bonanno makes clear the autobiographical nature of Slamming Open the Door—a close-up photo of the author's elegized daughter serves as the collection's epigraph—Bachmann's and Bohince's book-length elegies aren't necessarily transcriptions of experience. Bachmann's poems, for example, investigate not only a sibling's death, but forms of physical desecration in art, literature, nature, and culture. Bohince, on the other hand, relies on constructed personas and varied poetic structures to explore the chronic hardships of a particular place. All too real or partially imagined, what matters most about the tragedies explored in Temper, Slamming Open the Door, and Incident at the Edge of Bayonet Woods is that the deep psychological shock and sense of powerlessness exemplified by Whitman in "When Lilacs" become lyrically imprinted. Whether chilled by forensic facts, staggering in a state of emotional stupor, empathetically imagining, or struggling to let go of the past, the poets press elegy's familiar tactics and, by example, expose both its pitfalls and its powerful effects.
Temper begins with judgment. Its opening verdict, however, brings anything but deliverance. Shifting poem to poem from first- to third-person, the book conflates its author's history with that of seemingly fictive scenarios and personages. Although the line between fact and invention isn't always clear, just ten syllables into the collection Beth Bachmann's readers witness a smoldering condemnation: "Some things," pronounces the title poem's opening line, "are damned to erupt like wildfire." An epigraph from Wallace Stevens—"...the imperfect is so hot in us..."—turns the thermostat even higher. Thus, first impressions suggest that the elegiac movement of Temper is predominantly one of descent, a journey moving down toward that "pyre, bonfire / where pale strips of bark peel back and burn" ("Woodpile"). From time to time the book's "words rise as though spoken, boiled" ("Second Mystery of My Father"). Nevertheless, the average temperature of Bachmann's poems runs closer to that of Dickinson's; that is, they burn cold from the inside out, most often reading "zero at the bone" (Dickinson, "A narrow Fellow in the grass").
The chill felt throughout Temper is partly tonal. Whether a sister's self-protective need to curtail the disturbing details surrounding her sibling's murder or a poet's natural inclination toward understatement, the collection's matter-of-factness is commanding. "I want to tell you a story..." writes Bachmann:
I'll start with the thing dragged up: the body of my sister.
I'll give you the location: the tracks.
The red treble designed to mock blood, to stick into the skin: one suspect—
our father—
Put this begging in your mouth, a decade of loaded beads.
What's lost in the above excerpt from "Paternoster" is its imagistic framework. The poem, in fact, opens by defining its title as "the word for a line with a series of hooks [that] also means the recitation of a prayer." Stated simply, the poem's overall strategy is this: etymological exploration leads toward a narrative end whereby Bachmann introduces a murder. I've isolated the aforementioned lines, however, to demonstrate a critical point: despite its subject matter's dramatic potential—imagine the theatrical voiceovers peppering similar stories covered by weekly programs like Dateline and 20/20—this passage is as sensationalistic as Temper gets. In other words, by using a combination of emotional restraint and lyric compression, Bachmann creates enough distance between herself and the subject matter to avoid exploiting the sordid and graphic details associated with the sister's death, as well as the crime's more obvious dramatic tensions.
The body of my sister. The tracks. One suspect—our father. Such phrases hang over each of Temper's poems, casting a cool shadow. While the collection's first section expands its readers' knowledge of the central event and its aftermath, Bachmann consistently juxtaposes poems featuring what appears to be her own sister with those depicting anonymous women. Consider, for example, a poem like "Sorrowful Mystery," reprinted here in its entirety:
Something ancient burrows its white heart into the girl
left for dead along the side of the road, stoned past
the point of reflex. The opossum's tongue grazes her lip,
brushes the soft hair on her neck. You'd think it might
show a little sympathy for a thing so like itself: oblivious
to the breaching of bone, unable now to see anything
other than what must be an opening. It's light,
though, back home, it'll be hours before anyone stirs.
Like "Sorrowful Mystery," the majority of the poems in Temper run six to ten lines—enough for Bachmann to demonstrate a talent for lyric compression. Vacillation between abstraction and image quickly establishes narrative tension. While the "something ancient" burrowing "into the girl / left for dead" in the above example is ambiguous at best—is it death itself, some merciful angel, a scavenging animal?—what follows is the precise characterization of an "opossum's tongue" as it "grazes her lip, / brushes the soft hair on her neck." That Bachmann chooses an opossum, that animal known to "play dead" when attacked, increases the reader's compassion for the victim: is there a sliver of hope she's not really lifeless, but merely "stoned past / the point of reflex"? The meaning of "stoned" also works toward multiple ends. The word suggests both the girl's intoxication and a form of corporal punishment. Although the opossum's actions are gentle, almost sensual, we're told it lacks sympathy; like the body it grazes, the animal is "unable now to see anything / other than what must be an opening." Here, Bachmann again mines ambiguity: the language used to describe the opossum's blind foraging also depicts the dying girl. Thanks to enjambment, "It's light" that she sees during her final moments. As if the primary scene weren't moving enough, Bachmann then shifts "back home," where the victim's family rests. And even though "it'll be hours before anyone stirs," unlike the girl, ironically, they will stir, rising from one darkness into another.
The poem's title invokes the Catholic rosary, that meditative and devotional prayer cycle underscoring divine mysteries throughout the history of salvation. Repeatedly in Temper, Bachmann borrows and adapts the ritual's categorical terms—Joyful, Luminous, Sorrowful, Glorious—in poems such as "First Mystery of My Sister," "Joyous Mystery," "Answer to the Mystery of My Blank Stare," and "Mystery Ending with a Girl in a Field." While the religious language of such titles is pronounced, the poems' content lacks overt spiritual gestures. When they do occur, biblical brushstrokes seem more like residue from the elegy's tradition of imaginative resurrection, rather than some rhetorical validation of faith. In fact, Bachmann calls the very idea of salvation into question:
... Forget what you've been told.
Love is not immutable.
See this handful of birds I release on the church steps?
I do this to remind you.
("Luminous Mystery")
As when the speaker tosses back toward heaven what are most likely doves—traditional symbols of faith and hope—the Christian gestures in Temper don't provide consolation. Nor do they acknowledge God's redemption. Instead, Bachmann uses such symbols to express spiritual doubt, admitting, "Some would call this heaven—a teenage girl half-naked / in the grass. For all I know, they might be right" ("Heaven").
It's no coincidence that Temper ends its first section in a violent, eroticized version of heaven, in a poem by that title, and concludes its third and final chapter with "Elegy." In addition to destabilizing the myths of afterlife and redemption, Bachmann also questions poetic tradition itself. Although the book's primary occasion is most certainly loss, until the last possible moment Temper delays identifying itself strictly as elegy. When it does make that identification, however, the mode's myth-making is undermined:
No shepherds. No nymphs. Maybe just one:
the girl the fawn strips like a fisherman's rose.
Death turns its mouth red. It can no longer lie
in the lilies. Not on my watch ...
No shepherds. No nymphs. In the poem's first line, Bachmann erases the form's long-standing connection to pagan and romantic symbols. A concession, "Maybe just one," follows, however. This turn allows Bachmann to introduce "the girl the fawn strips like a fisherman's rose." Although for an instant death seems to have the upper hand, it loses footing in the third enjambed line. As suggested via word play, "Death ... can no longer lie"; Bachmann, in other words, refuses to allow death to rest. What's more, she will not accept its deception.
It's clear to me that the poem's title identifies not only its form, but its secondary subject as well. "Elegy," in other words, comments not only on the death of a particular girl, but on the limitations of the very poetic model prescribed to lyricize the deceased. Read this way, it is elegy itself—part lamentation, part consolation—whose mouth is bloodied in line three, and whom the poet won't let "lie." Bachmann goes on to describe elegy's waters as "filthy / with silver fish sticky with leeches. Lovesick...." Via this image, we recognize the corroded form as an inadequate means of salvaging the girl from death's grip. Although Temper recognizes that it can't bring the beloved back from obscurity, it does build a monument from imagination. What's striking about the collection is the extent to which its reader can feel the structure's chilling marble. Bachmann isn't a classical hero revisiting and then rescuing a loved one from hell. Frankly, she doesn't try to be. Yet, she is heroic: her singing resonates beyond the elegy's often idealized myths and pastorals, and echoes something colder—something that approximates "the acoustics of the finch's song after a tear / in its vocal cord" ("Luminous Mystery").
Whereas Bachmann's reluctance to disclose creates a chilling psychology, Kathleen Sheeder Bonanno depicts grief's maddening effects without hesitation. Unlike Temper, whose subject matter broadens to include depictions of women and violence in history and art, Slamming Open the Door remains focused on the daughter for and about whom the book is written. If Bachmann labors to avoid examining details of a sibling's murder, Bonanno sees her child's apparition seemingly everywhere. The poems operate primarily in the conversational mode, as in "Birthday Poem":
It is our dead daughter's birthday.
Her name was Leidy, pronounced Lady.
We adopted her from Chile.
Her nickname when she was little
was Ladybug
Taken over time, however, this casual tone reveals an almost obsessive quality, one that reflects the depth of a parent's sorrow following such loss. In Slamming Open the Door, grief knows no bounds: ordinary activities such as running errands or sipping tea are tinged with as much heartache as facing the killer's mother after the trial verdict is read. Ultimately, what Bonanno confronts each hour following Leidy's strangulation is the kind of waking stupor Dickinson describes in "After great pain, a formal feeling comes—," a condition for which there seems little consolation or cure. "Excuse me, excuse me," the poet asks in varied ways throughout the collection, "can you tell me / where to turn?" ("Red Saturn").
One of the difficulties of writing a book-length elegy is shaping the material so that it transcends its occasion, giving the poems a purpose and meaning beyond catharsis. The difficulty of reviewing a book like Slamming Open the Door is separating deep sympathy for the author's unimaginable loss from the ethos of her poetry. At her best, Bonanno uses details from the aftermath of the crime to enact grief's debilitating hold. "The Hair," for example, describes "Bernadette in blue jeans, / and Suzanne in her swishy skirt and boots" as they divide "one healthy hank of [Leidy's] hair" cut off for preservation. The women,
... shampoo it three times
until it smells like honeysuckle,
brush it and tie it and lay
the curling bundles
on the dining room table.
They put one in an abalone box,
one in an amber box,
one in a wooden box,
and one in a locket for me
to fasten around my neck.
The care with which Suzanne and Bernadette handle the tresses mirrors those intimate moments of childhood when mothers primp and care for their daughters. Although Leidy Sheeder Bonanno was an adult at the time of her death, the above lines call to mind those precious years of girlhood in which she may have worn "curling bundles" that "smell[ed] like honeysuckle." The poem's final stanza is particularly rich in pathos. After the women divide the hair into three boxes whose materials are of various worth, they place the remaining strands in the most valuable object of all—a funerary locket—thereby performing a ritual dating back to ancient times. The necklace's fastening, however, takes on added significance: echoing Leidy's death by strangulation, the locket simultaneously reflects a mother's love for her daughter, as well as sorrow's permanent chokehold.
In "The Hair," the final stanza opens out rather than slamming shut. Even so, this mining of image in order to create various levels of tension is the exception in Slamming Open the Door. More often than not, Bonanno's poems simply restage dramatic events, or offer anecdotes about the murder and its aftermath. "Woman Strangled," for instance, draws its language from a newspaper article; not surprisingly, the language reads as lineated prose. Flatter still are many of the poems' endings, like that of "What People Give You," which after charting the "Long-faced irises," "water crackers and tiny jams" offered as condolences, concludes by characterizing those well-intended sympathizers who,
... file into your cartoon house
until it bows at the seams;
they give you every
except your daughter back.
As readers, we know from the collection's first poem that nothing will bring Bonanno's "daughter back." Unfortunately, what's catalogued in four preceding stanzas doesn't complicate the final lines. Although the circumstances surrounding "What People Give You" are tragic, the revelation that one's daughter is irreplaceable is obvious.
The type of declarative utterance that concludes "What People Give You" recurs throughout Slamming Open the Door. Is such assertion a syntactic attempt to orchestrate an end to the grief, an end the poet fears may never be reached? Although it's impossible to know, what becomes clear is Bonanno's preference for precise and exacting structural closure. While enjambment typically facilitates hesitation and suspense via syntactical disruption, for example, Bonanno most often breaks lines into neat, logical clusters that summarize plot:
She said he stole
her social security number
to get a credit card
to buy motorcycle parts,
that he was a phlebotomist
and could call up her data
on the hospital computer.
Bonanno also tends to emphasize narrative points via accumulated end-stops. In such cases, the sentences amass difficult facts or painful memories, striking the reader with relentless blows of pathos. "Meeting You, Age Four" recounts the parents' early introduction to the girl who would become their adopted daughter. In this example, the surefootedness of the sentences reflects the adults' fresh though already steadfast feelings for the child, while also conveying via the present tense the past's enduring imprint:
I do not need to look at David.
He does not need to look at me.
We drive straight home.
We look ahead.
The little ball whirrs:
We want you, we want you, we want you.
After four successive declarative/narrative sentences—subject-verb, subject-verb, subject-verb, subject-verb—Bonanno's personification of the whirring ball is a welcome shift. The "little" object introduced in the penultimate line literally refers to some "funny sound ... / from under the inscrutable hood" of the car, but is also a figurative nod toward the couple's own emotional engine. As in poems such as Stanley Kunitz's "Touch Me" ("What makes the engine go? / Desire, desire, desire"), Bonanno exploits repetition to sonically enact the heart's continual thumping. The recurrence of "we want you" further underscores the couple's great desire to take home the girl with "a sober little chin" waving goodbye from the parking lot.
In his essay "The Elegy's Structures," D.A. Powell describes a poetry that "gives in to grief and will not be consoled." Slamming Open the Door certainly falls into this category. According to Powell, "one must think of the complex psychology of loss and remember that anger and denial are the first steps of grieving." More common to the collection than denial is Bonanno's expression of rage. When prompted by her minister in "Communion" to forgive, for example, the speaker responds by "hoisting the cup of wine" and toasting "Here's to hate." "Don't fuck with me now," the poet warns the stranger who, after "The Verdict Is In," "decides to get a good seat / in the front row..." reserved exclusively for family. In "Sticks and Stones," Bonanno targets her daughter's murderer directly:
To you, who killed my daughter—
Run. Run. Hide.
Tell your mother
to thread the needle
made of bone.
It is her time now
to sew the shroud.
The men are coming
with sticks and stones
and whetted spears
to do what needs doing.
Throughout Slamming Open the Door, words are a mother's weapon against not only her daughter's assailant, but also the potentially lethal opponent that is grief. The mother in Slamming Open the Door can't quite see past the details of her daughter's death—and shouldn't have to. The poet, however, too often restages the story of a murder without complicating the material or providing additional layers of meaning. As a result, Slamming Open the Door reads more like memoir; that is, an expository synopsis of private experience. Robert Lowell is said to have remarked that a poem is "an event, not the record of an event" (emphasis mine). Rather than an event in itself, Bonanno's book is the personal summation of tragic events and their aftermath, and an expelling of grief into language. This isn't to say Bonanno's work isn't moving. Its intimacy and rawness are undeniable, as is its author's unflinching candor. In considering the collection's limitations, however, the reader witnesses one of the elegy's greatest challenges: finding language fresh and complex enough in both its music and meaning to transform private suffering into more than an act of catharsis.
Of the three collections, Paula Bohince's Incident at the Edge of Bayonet Woods most consistently utilizes elegy's traditional pastoral symbols. While frequently located on the sheep-filled fields of a familial homestead, Incident is neither Percy Bysshe Shelley's grief-saturated "Adonais" nor John Milton's intellectualized "Lycidas." Instead, Bohince uses economic language to question and lament a deceased father. Put simply, the collection's speaker revisits the past in an effort to make sense of its overt and ambiguous complexities—and then moves forward. Bohince's publisher, Sarabande Books, describes the narrative arc of Incident as "a kind of mystery novel." Its "mystery," however, isn't limited solely to a parent's murder. Rather, Bohince exploits elegy's long-standing pastoral concerns as a lens through which to explore the greater mysteries of family history, crime, a woman's legacy, a daughter's resolve, betrayal, spiritual defiance, lust, suffering, and survival. Declares the poet, "This pasture is owned by a ghost / who turns meaner each hour" ("Silhouette"). It is on such haunted ground that Bohince recognizes the meanness in all things—living and deceased—as well as the inborn and inescapable tensions between shadow and light. Accepting such tensions allows the book's central figure to finally let go of her father's brutal death, saying "yes, pain and yes, grief, / but also grace" ("Charity").
Archetypal elegies often open with invocations of the muse. Incident replaces this classic gesture with Bohince's version of prayer, a lyric poem by that title that blurs the identities of God the Father and father the deceased. "I've kept our appointment / in the barn," offers the speaker, as if honoring a contract, "board after board of pine / hewn by us." After populating the structure with bird and beast—that "chickadee / who stutters in, a little obsessed" and "the pig we chose / for his mildness" smiling "in his waste"—Bohince reluctantly concludes,
Something must be wrong
or else you would answer—
my father in heaven who speaks to me
when no one else will speak to me.
That the dialogue is one-sided is telling: the speaker's unanswered plea imparts spiritual and psychological dilemmas. How long, begs the poem, can one endure silence and seclusion? Ultimately, whether "father"—lowercase "f"—refers to God or to the speaker's parent matters not. What's clear from Bohince's introductory lyric is that absence is the collection's central crisis.
Unlike the other books under review here, Incident doesn't immediately disclose the circumstances surrounding the father's nonappearance. Although clearly missing and mourned, his absence colors the atmosphere like a fox half visible in rain, "each flaming hair / a lit filament" ("Where Radio Fails"). The murder itself is finally revealed in the sixteenth poem—and only after readers enter the book's second section. In "The Apostles," Bohince introduces paid laborers John, Lucas, and Paul,
who drove up each morning, caps low
over their faces, who may have felt
cheated, ruined, furious
at this man who barely had anything—
an inherited homestead, a few
aging animals ...
In these lines and elsewhere, Bohince makes clear that social and economic divisions separating the workers from their employer are thin at best. As it turns out, the man "shot through the ribs" and left by "to bleed in his bed" has a great deal in common with "The Apostles" who betray him. "Trespass," for example, reveals the father's own criminal history:
Father's paroled during the drought
of seventy-eight only to vanish again, this time
taking me with him—
stealing into Levi's pasture for cow skeletons,
sun-stripped and patiently gleaming
between the crushed iris.
By means of a primarily trochaic sentence—one whose metrical scheme, like the convicted man, is destined to fall—Bohince restages a remarkable father-daughter reunion. Although one assumes this reconciliation is a happy event, Bohince steeps the surrounding imagery in decay. According to the opening stanza (above), the event takes place during a natural crisis; that is, a chronic water shortage inhibiting growth. The pasture itself is in ruins, its flowers "crushed," its skeletons "sun-stripped." Juxtaposed with the passive construction "Father's paroled," active verbs such as "stealing" and "taking" gain additional emphasis. The daughter is likewise passive, modeling her father as he pilfers "skull, rib, sternum, spine" to whittle into earrings and candlesticks. Although built from four descriptive and declarative sentences, "Trespass" implies a single question: can an ex-convict-like the sun-bleached bones—be transformed into something worthy, namely a productive father and citizen? However indirectly, Bohince offers readers an answer. As "the dead / rise," she confesses, "we forget to be afraid, / thinking only of profit, new lives."
The girl in "Trespass" gains paternal intimacy by stealing, thereby committing the very crime that originally estranged her from her father. Absence and presence, parent and child, wrong and right: throughout Incident, Bohince explores such tensions in a variety of poetic forms. Assailants John, Lucas, and Paul speak through personas, a device Bohince exploits to lend the culprits dimensionality and humanity. "Farm Triptych" moves from the "swampy length" of a remembered pond to the action of splitting logs, then finally arrives at a place where time is suspended, where the speaker is again "... with him, in the barn / damp with birdsong, thrushes thrilling the eaves, / air perfected by oat-dust, the sweetness / of kerosene." The poet also incorporates several acrostics, a form in which the first letter of each line spells out a word, name, or phrase when read vertically, as in "Acrostic: Outhouse":
Once this homestead held many children,
uncles and great-uncles, delicate and stooping aunts
tatting lace all day, needles replacing
husbands who disappeared into Bayonet Woods, never returning,
obsession becoming gems of fine knots
until their men thread wholly into white roses,
sadly filigreed, as the wild roses
edging the outhouse are eaten by beetles.
As in much of Incident, in this poem conversion plays a critical role. A single sentence contains at least a half dozen transformations: ancestors become lacework, needles replace husbands, men turn to thread, cloth flowers grow into living roses that soon become fodder for beetles. Finally, the outhouse itself is altered as wild flora seasonally hem in its walls.
Much like the women in "Acrostic: Outhouse," those "stooping aunts / tatting lace all day," Bohince makes "gems" from "obsession." Throughout Incident, she "thread[s] wholly into white roses" not just a fatally-wounded father, but entire generations of "children, / uncles and great-uncles." As a result, the collection transcends book-length elegy and becomes more than a meditation on private loss and a source of consolation. Although sometimes paralyzed by the sorrow of Bayonet Woods, Bohince pushes through its darkest places and discovers a clearing. She finally finds closure in "Charity," a poem that recalls an attempt to save a drowning lamb. "When I cry," claims the speaker, "I can hear her still / crying in the loam." Although the pair admittedly weeps from fear and grief, they are ultimately left "dazzled by white flowers." Such beauty demonstrates the collection's main principle: that we are "allotted / for each gift one brutality / for balance." It's Bohince's balanced examination of what's taken away and what's given over a lifetime that allows her readers to hear the faint beginnings of closure, those "gnats strumming softly / It's over, It's over."
As Bachmann, Bonanno, and Bohince pass through respective stages of grief—that Dickinsonian chill and stupor, followed by emotional release—we see a poetry that is as varied as the loved ones mourned in their respective collections. Suggested by its title, Bachmann's Temper is simultaneously a state of feeling, an attunement, an act of restraint; to temper is to mitigate, to soften by reheating at a cooler temperature. Slamming Open the Door reveals a room in which evidence of devastation is nailed to every wall. Bohince sees the incident of her book's title as a means of understanding not only the loss of a parent, but also the traumatic history of place. For all their differences, each poet expresses degrees of love and loss, while touching on—however reluctantly—matters of gender, brutality, punishment, and crime. Because the beloved has been murdered, his or her body inadvertently becomes politicized. As is often the case with elegy, in Temper, Slamming Open the Door, and Incident at the Edge of Bayonet Woods we witness a poetic hybrid.
Whitman's "When Lilacs Last in the Dooryard Bloom'd" is obviously public, its personal utterances really a communal call for mourning. With urgency and candor, Bachmann, Bonanno, and Bohince remind us that elegies honoring private citizens can be equally political and powerful. A final and critical point about the featured books—they're debuts. As we know, the slaying of America's sixteenth President changed Whitman's tune. "When Lilacs" finds the optimistic poet in a state of psychological distress. Unlike Whitman, the authors reviewed here may find themselves turning from grief to exuberance in the future, which invites a question: how will their future poetic scores change once freed from the bonds of mourning?


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Regional leaders meeting in Libya were united in their condemnation of Israel's settlement activity in occupied Palestinian land. The Arab League summit commenced on Saturday in the Libyan city of Sirte, with Amr Moussa, the Arab League chief, warning that continued Israeli settlement building would end efforts to revive the Middle East peace process.
"We have to study the possibility that the peace process will be a complete failure," Moussa said in his opening speech to the two-day annual summit. "It's time to face Israel ... We have accepted an open-ended peace process but that resulted in a loss of time and we did not achieve anything and allowed Israel to practise its policy for 20 years."
Ban Ki-moon, the UN secretary-general, reiterated that Israel's settlements were illegal under international law, and called for Jerusalem to be part of peace negotiations. "Jerusalem's significance to all must be respected, and it should emerge from negotiations as the capital of two states," he said at the meeting's opening session.
Ban also called for Arab leaders to support US-led efforts to facilitate indirect "proximity" talks between Israel and the Palestinians. "I urge you to support efforts to start proximity talks and direct negotiations. Our common goal should be to resolve all final status issues within 24 months," Ban said.
But Mahmoud Abbas, the Palestinian president, ruled out taking part in the talks unless Israel stops building settlements. "We cannot resume indirect negotiations as long as Israel maintains its settlement policy and the status quo," he said in his speech.
The warnings over Jerusalem were echoed by Recep Tayyip Erdogan, the Turkish prime minister, who called Israel's policy of considering Jerusalem as its united capital "madness". "Jerusalem is the apple of the eye of each and every Muslim ... and we cannot at all accept any Israeli violation in Jerusalem or in Muslim sites," he said.
Muammar Gaddafi, the Libyan leader, whose country is hosting the summit, opened the summit with an unusually short speech in which he said that Arabs were "waiting for actions, not words and speechs".
Gaddafi has said he wants the meeting to be one of unity.


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Ride-Sharing App Lyft Is Valued at More Than $700 Million
Lyft, the ride-sharing app for smartphones, has been valued at more than $700 million in a new round of funding that will help it compete with Uber, according to people familiar with the deal.
The San Francisco startup has closed a round of about $80 million from investors, said the people. That is a portion of the $150 million the company expects to raise, according to a filing it made in the state of Delaware this week.
Contributing to the round was at least one new investor, Coatue Management, as well as Andreessen Horowitz, a previous backer of Lyft, according to two people briefed on the deal. Lyft is in the process of raising more funds, with existing backers such as Founders Fund expected to participate, according to one of these people.
Recode earlier reported news of the funding.
A Lyft representative wasn't immediately available to comment.
Lyft has faced increasing competition from Uber, which has lowered prices on its UberX ride-sharing service by up to 30% on a trial bases in a few cities. Uber is eating some of that cost itself. The company, whose service is available in more than 90 cities, raised more than $250 million last year from investors including Google Ventures and TPG Capital in a round that valued that company at $3.5 billion.
Lyft, for its part, has offered a slew of discounts to get new riders using its app. In some cities, it has given new customers unlimited free rides for two weeks if they agree to give drivers feedback after each trip. And for special occasions, like Halloween, the company has armed its drivers with baskets of Lyft discounts to give to riders.
Lyft's valuation has nearly tripled since May 2013, when investors valued the company at $275 million. Including the new round of $80 million, the company has raised more than $160 million in total.
Famous for the pink moustaches sported on the front of its cars, Lyft recruits non-professional drivers and connects them with passengers using a smartphone app. The company has expanded to 24 cities.


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Special pleading
Special pleading is a claim that standards of evidence should be modified or reversed for a particular claim or type of claim.
Apologists often compartmentalize their religious beliefs and apply special evidenciary standards to claims related to those beliefs.
For example, while the standard practice for analyzing a claim places the burden of proof on the individual making the claim, some theists seek to reverse this burden, asserting that belief in the existence of a god (usually their particular prefered god) is warranted until the evidence and arguments opposing this claim are sufficient to warrant disbelief.
Another good example of special pleading was done by Charles Oxnard in a study on australopithecines. In it he claimed that his results showed that australopithecines were no more closely related to humans than apes. The study was criticized for several reasons and is not widely accepted in the scientific world. However, the study is widely quoted by Creationists such as Duane Gish because of Oxnard's use of computers in his research. Gish claims that since "[a] computer doesn't lie, [a] computer doesn't have a bias" Oxnard's should be taken seriously. This is where special pleading comes in: a great deal of studies have been done using computers that contradict Oxnard's results, yet Creationists do not want those studies to be taken seriously. This is also an example of cherry picking--counting the times that computers have backed up Creationism yet forgetting the times they have not. Incidentally computer programmers can be biased and that can theoretically influence computer results.
Creationist Arguments: Australopithecines at TalkOrigins


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Welcome to Carnal Comics & the official home of Demi the Demoness
Carnal Comics is one of the better known Adult comic publishers & has been publishing comics since 1992. Over a hundred different titles have been published, most co-created with various stars and directors of adult feature films. Carnal Comics gives you the whole real illustrated story in their own words, along with their own fantasy story. Jay Allen Sanford was the driving force behind Carnal Comics and he created the concept of authorized x-rated bio comics. SS Crompton is the current publisher of Carnal and he is the creator of Demi the Demoness.
Whether you're a long time fan or a causal web surfer, we're sure you'll find something here worth your visit. Plus, no pop-up windows or annoying cookies - we promise!
It's all meant to give you a sample of what our books are like. Some of it is cute, some of it is sexy and some of it is really HARDCORE! There is also a complete listing of all Demi & Carnal books for sale, details on Demi's friends, foes & fans, the latest news, info about Demi's artist - S.S. Crompton, a Carnal Comics page and a few surprises. . .
Upcomming Carnal Releases
Did You know Demi Ran in OUI Magazine!
A Full-color strip ran for over 2 years
Yes it's true, Demi had a regular 3 page, full color strip in OUI Magazine, one of the best known adult magazines out there. The strip follows the original adventures of Demi, but with some new art, new dialogue and all-amazing computer color. If you like the look of the Demi covers, you'll love the story as you read it in full glorious color! All the changes and coloring were made by series creator & artist S.S. Crompton. We do not have any OUI back issues available from this website, but you should keep an eye out for any of those issues. Besides having the Demi strip, OUI has all these great pictures of naked women and articles too!
Here's a list of all the OUI issues Demi appeared in for you bibliophiles. OUI: May 96, July-Dec. 96, Jan. 97 - Sept 98. The series ended with the Sept. 98 issue. Most of these issues are available in our Catalog for $5 each
Demi's appearances in OUI Magazine are a retelling of the first two issues of Demi. Using some new art & new dialog. They are computer painted and broken into 2 & 3 page episodes. You can see some of these pages in our comix gallery.
Well that's all the news for now. Be sure to check out the rest of Demi's official website if you haven't already.
Get the complete, behind-the-scenes story of our company, Porn Stars & creators who we worked with in Carnal Comics: the Inside Story. 56 pages B&W $5.95.
Are You A Carnal or Demi Fan?
Drop the publisher an e-mail at: S.S. Crompton
In her various adventures, she meets a great cast of strange and wonderful characters that - well you just have to meet them. The story is sort of a cross between the Wizard of Oz, Dante's Inferno and the Kama Sutra. It's an epic fantasy tale except that Demi's magic involves love and sex. It's hard to explain, but there's something about the Demi story that's more than just an "X-rated comic." It feels like the comics they used to make: quaint, fun, and with a certain innocence. How it manages to be innocent and "pornographic" at the same time is a mystery you'll have to unravel.
Website Copyright
2007-2011 by Opus Graphics. Other materials Copyright by their various authors/publishers.


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2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
2018 Porsche Panamera
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"That's the way we've always done it." Not really a sentence to inspire change. Except at Porsche… LEARN MORE »
"That's the way we've always done it." Not really a sentence to inspire change. Except at Porsche. That's because we've always made each new generation of engines higher-performing, more dynamic and more efficient than the last. The new engine generation of the Panamera models now takes the next significant step forwards.
The all-new twin-turbo V6 engine in the Panamera 4S is lighter and more compact than its predecessor and comes equipped with VarioCam Plus. The two turbochargers are now positioned in between the cylinder banks. This reduces the distance that the exhaust stream has to travel to reach the respective turbo – delivering a more rapid response.
The direct fuel injection in the new generation of engines is realised by a central injector inside the combustion chamber. This optimises both the mixture injection and combustion – for greater efficiency and increased power delivery.
Getting more power from an engine is worthwhile only when you know where it needs to go. And how… LEARN MORE »
Getting more power from an engine is worthwhile only when you know where it needs to go. And how quickly and effectively. The latest Panamera models are therefore equipped with a newly developed 8-speed Porsche Doppelkupplung (PDK), which translates the tremendous drive force of the respective engine into the acceleration expected of a sports car.
Gears 1 to 6 have a sports ratio and top speed is reached in 6th gear. 7th and 8th gear have a long ratio, which helps to keep engine revs low even at high road speeds – for efficient and comfortable driving over long distances. The precise gearshifts take place in milliseconds with no discernible interruption in the flow of power – as you would expect of a sports car.
All Panamera models are equipped with Porsche Traction Management (PTM). This active all-wheel drive… LEARN MORE »
All Panamera models are equipped with Porsche Traction Management (PTM). This active all-wheel drive with electronic and map-controlled multi-plate clutch ensures the optimum distribution of drive force whatever the driving situation – for excellent acceleration power on long straights, through tight corners and on road surfaces with varying grip.
The multi-plate clutch regulates the distribution of drive force between the rear axle and the front axle. Driving conditions are constantly monitored, enabling the system to respond to a variety of situations. Sensors check, among other variables, the rotation speeds of all four wheels, the longitudinal and lateral acceleration of the vehicle, and the steering angle. If the rear wheels threaten to spin under acceleration, a greater proportion of drive force is distributed to the front by a more powerful engagement of the multi-plate clutch.
Whether you're behind the wheel or occupying a passenger seat in the front or rear: in a Porsche, every drive should feel like sport, not transport… LEARN MORE »
The chassis of the new Panamera models performs this balancing act between sport and comfort effortlessly – and in the most masterful way possible: with further-developed, optional chassis technologies. Examples include the adaptive air suspension with three-chamber technology boasting a 60 % greater air capacity than that of the predecessor, new Porsche Dynamic Chassis Control Sport (PDCC Sport) and rear-axle steering. What's also new is the integrated Porsche 4D Chassis Control system, which centrally analyses the driving situation in all three spatial dimensions, e.g. pitch, roll and yaw, computes optimum driving states from these data, and synchronizes all chassis systems in real time: the fourth dimension. The objective is to optimize overall performance, and to make the middle ground between sporty driving and comfort as expansive as possible.
Available for the Panamera models for the first time: optional rear-axle steering. It enhances… LEARN MORE »
Available for the Panamera models for the first time: optional rear-axle steering. It enhances performance and everyday driveability in equal measure.
During low-speed maneuvers, the system steers the rear wheels in the opposite direction to that of the front wheels. This has the virtual effect of shortening the wheelbase. The turning circle is reduced, agility is increased and parking becomes noticeably easier to manage.
During high-speed maneuvers, the system steers the rear wheels in the same direction as that of the front wheels. This virtual extension of the wheelbase increases driving stability.
Rear-axle steering makes it clear that there is no contradiction between stability and agility or performance and everyday driveability. The result: greater maneuverability and driving safety in everyday use – and a significant increase in maximum driving performance.
PASM is an electronic damping control system. It actively and continuously adjusts the damping force… LEARN MORE »
PASM is an electronic damping control system. It actively and continuously adjusts the damping force on each wheel, based on current road conditions and driving style. The effect is to reduce vehicle body movement and thereby improve comfort in all four seats.
Three modes are available: 'Normal', 'SPORT' and 'SPORT PLUS'. Sensors record the body movements as they occur during powerful acceleration, braking, fast cornering or on uneven road surfaces. From these data, the control unit of the Porsche 4D Chassis Control system determines the effect on the actual driving state of the car and modifies the damping force on each of the wheels in accordance with the selected mode. The results are tangible: increased driving stability, improved comfort and enhanced performance.
New Porsche Dynamic Chassis Control Sport (PDCC Sport) is an active roll stabilization system with… LEARN MORE »
New Porsche Dynamic Chassis Control Sport (PDCC Sport) is an active roll stabilization system with an ultra sporty setup. It registers the lateral inclination of the body induced by cornering from the very outset and acts to suppress it. The system also reduces the lateral instability of the vehicle on uneven ground.
The new system sees the introduction of active electromechanical anti-roll bars. These provide a much faster response and are tuned for sporty driving. The result: improved performance.
In combination with new PDCC Sport, PTV Plus enhances driving dynamics and stability. As a function of steering angle and steering speed, accelerator pedal position, yaw rate and vehicle speed, it improves steering response and precision by strategic braking of the right or left rear wheel. At high speeds and when accelerating out of corners, the electronically controlled rear differential lock with fully variable torque distribution also acts to provide greater driving stability and traction.
The overall result? Strong resistance to destabilization side forces for self-assured poise. Excellent traction. Great agility at every speed – with precise turn-in and well-balanced load transfer characteristics. And, accordingly, even more fun in the corners.
We rise to the challenge we're given. The same applies to the wheel dimensions of the new Panamera… LEARN MORE »
We rise to the challenge we're given. The same applies to the wheel dimensions of the new Panamera. The tires are wider, the contact surface larger – for enhanced performance under acceleration and braking. As of now, optional sizes of up to 21 inches are available from a range of wheel designs, assuring you of a grand appearance. The Panamera models are equipped as standard with 19-inch wheels. The material? Alloy, of course. The design? Classic and sporty. A choice of other 19-, 20- and 21-inch wheels is available on request.
With SPORT mode, you can swap from a comfort-oriented tuning to a sporty setup. The electronic… LEARN MORE »
With SPORT mode, you can swap from a comfort-oriented tuning to a sporty setup. The electronic engine management system demands a sharper response. Engine dynamics become more direct. In SPORT mode, PDK shifts up later and shifts down sooner. Porsche Active Suspension Management (PASM) and optional Porsche Dynamic Chassis Control Sport (PDCC Sport) and rear-axle steering also switch to SPORT mode, delivering harder damping and more direct turn-in – and even greater agility through corners.
Adrenaline at the push of a button: the Sport Chrono Package offers an even sportier tuning of the… LEARN MORE »
Adrenaline at the push of a button: the Sport Chrono Package offers an even sportier tuning of the chassis, engine and transmission. The kit includes a digital and analog stopwatch, a graphic in the instrument cluster showing longitudinal and lateral acceleration, and a performance display for viewing lap times in Porsche Communication Management (PCM).
What's new is the mode switch on the steering wheel with SPORT Response button, derived from the 918 Spyder. Four driving modes are available to choose from: 'Normal', 'SPORT', 'SPORT PLUS' and 'Individual' – for an even more personalized driving style.
In SPORT mode alone, the new Panamera delivers increased dynamics and more direct handling. In SPORT PLUS mode, the engine becomes even more responsive. The rev-limiter is adjusted to a harder setting. Porsche Active Suspension Management (PASM) and Porsche Dynamic Chassis Control Sport (PDCC Sport) are retuned for harder damping and more direct turn-in. The adaptive air suspension drops to Low Level and firms the spring rate. The rearaxle steering acts to provide even greater agility. Another function included in the package is Launch Control – for optimum acceleration from a standing start.
The stopwatch mounted on the dashboard displays recorded driving time or can be used as a conventional clock. Porsche Communication Management (PCM) is upgraded to include a performance display, enabling you to view, store and evaluate laps or other driving times.
Pressing the button in the center of the mode switch primes the engine and transmission for the fastest possible unleashing of power (e.g. for overtaking).
In other words, maximum responsiveness – for a period of approximately 20 seconds.
In conjunction with the Sport Chrono Package, Porsche Stability Management (PSM) is supplemented by a 'Sport' mode. It allows a significantly more sporty driving style, with PSM remaining active in the background. For a further enhancement to your driving experience.
A few years ago, everything to do with the sedan suddenly changed. Large, cumbersome and thickly… LEARN MORE »
A few years ago, everything to do with the sedan suddenly changed. Large, cumbersome and thickly padded instantly seemed outmoded qualities. On the road, something happened – something rather fast and dynamic: a sports car came along. A sports car with four seats, an unmistakable silhouette and performance figures normally associated only with a Porsche.
The Panamera. It changed everything. For drivers of sedans first and foremost. Sporting spirit – in business and in personal life – found its automotive counterpart. The courage to perform found a matching performer.
Now the change continues. Forwards. On the road, something is happening again. For sporty drivers – and their sporty companions – our engineers and designers have created the next Panamera. With the courage of a new generation.
Our engineers have demonstrated their courage with the Panamera concept. By continually re-evaluating and reinventing. By reconciling apparent contradictions: performance and comfort, dynamics and efficiency, career and family. And by forever remaining true to our roots, with shared traits like the ignition on the left and the tachometer in the middle – in short: typical Porsche DNA. The result? Singularity. Of the Porsche kind.
New Porsche InnoDrive and other innovative assistance systems make driving not only safer, more efficient and more relaxing – but also more enthralling. Typically Porsche.
And it's more dynamic than ever: thanks to Porsche Dynamic Chassis Control Sport (PDCC Sport), Porsche 4D Chassis Control, three-chamber air suspension and – for the first time in the Panamera – rear-axle steering.
And because a Porsche is always heading in the direction of the future, the new Panamera models are fully digitally networked thanks to Porsche Connect.
The new Panamera. Courage changes everything.
The new Panamera Executive models combine sporty driving with a comfortable work zone in the rear… LEARN MORE »
The new Panamera Executive models combine sporty driving with a comfortable work zone in the rear compartment – thanks to an extra 15 cm added to the length of the body, which benefits the rear passengers the most. Visual hallmarks of the Executive models are silver-coloured elements in the slats of the front air intakes and above the sideskirts. The air outlet trims in the front wings are in silver colour with a high-gloss finish.
The standard specification includes adaptive air suspension, a panoramic sunroof, side airbags in the rear compartment and a rear roll-up sunblind. Particularly pleasant: power seats in the rear compartment with seat heating and comfort headrests.
Panamera 4S Executive and Turbo Executive models are additionally equipped with rear-axle steering, ParkAssist including reversing camera and soft-close doors. Standard in the Panamera Turbo Executive: four-zone air conditioning system.
Does a sporty sedan really have to look like a sedan? Or can it look rather more athletic? With a… LEARN MORE »
Does a sporty sedan really have to look like a sedan? Or can it look rather more athletic? With a taut roof line, for example, that displays a sleek and harmonious contour more likely to be associated with a two-seater?
The silhouette and proportions of the new Panamera models are more Porsche than ever. Clearly perceived rounded transitions, powerful muscles and a sharpened sports car silhouette emphasize the precision of the new design.
The wheelbase is 1.2 in. longer than that of the predecessor – the shorter overhang at the front and the longer overhang at the rear lend visual dynamism. The more prominent sculpting of the side creates the customary Porsche waistline and sense of lightness.
Characteristic features of all Panamera models: the light strip on the rear end and the slimline three-dimensional LED taillights with four-spot brake lights. The extending rear spoiler integrated into the body reduces lift at the rear axle at high speeds.
The interior has been completely restyled – and nevertheless remains typically Porsche. The center… LEARN MORE »
The interior has been completely restyled – and nevertheless remains typically Porsche. The center console ascends towards the front. The dashboard is flat and conspicuously wide. The analog rev counter is positioned in the middle of the instrument cluster.
Also new is the control concept: Porsche Advanced Cockpit. The center console with Direct Touch Control has a glass-like surface with touch-sensitive buttons for direct access to the most important functions. In between: the compact gear selector. A high-resolution 12-inch touchscreen display is integrated into the dashboard. In conjunction with optional four-zone automatic climate control, the passengers in the rear also have a touchscreen display of their own. Two high-resolution screens, one to the right and one to left of the tachometer, display virtual instruments, maps and a range of other information.
Above all, though, there is plenty of space and comfort. Not so typical of a sports car. Absolutely typical of the new Panamera.
For over 60 years, we've been working on being faster. Even when it comes to slowing down. That's… LEARN MORE »
For over 60 years, we've been working on being faster. Even when it comes to slowing down. That's why the new Panamera models are equipped with a brake system having six-piston aluminium monobloc fixed brake calipers at the front and four-piston equivalents at the rear. The brake discs are internally vented and slotted. This improves braking behavior even under extreme conditions and heat is dissipated more effectively. The one-piece brake calipers have an enclosed construction. This makes them lighter yet highly resistant to deformation. Pedal travel is tight, the pressure point precise, the braking distance impressively short.
Proven in motorsport, Porsche Ceramic Composite Brake (PCCB) is available as an option. For the new… LEARN MORE »
Proven in motorsport, Porsche Ceramic Composite Brake (PCCB) is available as an option. For the new Panamera models, the cross-drilled ceramic brake discs of PCCB now have a diameter of 420 mm at the front and 390 mm at the rear – for even more formidable braking performance. PCCB features 10-piston aluminium monobloc fixed brake calipers on the front axle and four-piston units at the rear – all painted in yellow – to provide braking forces that are considerably more powerful and, crucially, are exceptionally consistent. PCCB enables shorter braking distances in even the toughest road and race conditions. Safety under high-speed braking is also improved thanks to its excellent fade resistance. Another advantage of PCCB is the extremely low weight of the ceramic brake discs, which are approximately 50 % lighter than standard discs of a similar design and size. This results in better roadholding and increased comfort, particularly on uneven roads, as well as greater agility and a further improvement in handling.
Available as an option for all Panamera models, fitted as standard to the Panamera Turbo: LED… LEARN MORE »
Available as an option for all Panamera models, fitted as standard to the Panamera Turbo: LED headlights including Porsche Dynamic Light System (PDLS) with dynamic range adjustment, dynamic cornering lights and speedsensitive headlight range control. For enhanced near-field, lateral and far-field illumination – and added safety.
Even greater foresight is achieved with LED featuring matrix technology. LED matrix headlights… LEARN MORE »
Even greater foresight is achieved with LED featuring matrix technology. LED matrix headlights including PDLS Plus : bright, homogeneous, safe.
PDLS Plus, which includes all the functions of PDLS, now comes for the first time with electronic cornering lights.
Night View provides the driver with information even beyond the range of the headlights. An infrared… LEARN MORE »
Night View provides the driver with information even beyond the range of the headlights. An infrared camera detects pedestrians or large wildlife before they are illuminated by the headlights. A thermal image in the instrument cluster warns the driver: the detected person or animal is highlighted in yellow – or in red and accompanied by an audible signal if within the critical range in front of the vehicle.
In an era of global climate change, every automotive manufacturer is asking what it has to offer… LEARN MORE »
In an era of global climate change, every automotive manufacturer is asking what it has to offer right now. Our answer? Excellent performance together with excellent efficiency.
Vehicles manufactured by Porsche demonstrate that even high-performance sports cars can achieve moderate fuel consumption and exhaust emission values in their respective category. This is accomplished, on the one hand, through the efficient use of fuel by means of efficiency-enhancing technologies such as auto start/stop, thermal management, electrical system recuperation, adaptive cylinder control and coasting. On the other hand, catalytic converters with stereo Lambda control circuits provide efficient emission control.
Intelligent lightweight construction is integral to the Porsche identity. This identity is expressed in the form of a high proportion of aluminium, magnesium, plastics and super-high-strength sheet steels. All materials have been strategically selected, and the paints used are predominantly environmentally friendly water-based paints. Each lightweight material is easily recyclable and all plastic components are labelled to facilitate future separation for recycling.
In short, the Panamera is around 95 % recoverable.
All Porsche models – including the Panamera – are designed to operate on fuels with an ethanol content of up to 10 %, e.g. 'E10'. Ethanol has a positive impact on the CO2 balance because it is derived from plants that absorb CO2 from the atmosphere.
This system regulates the speed of your Panamera fully independently in line with the speed of the… LEARN MORE »
This system regulates the speed of your Panamera fully independently in line with the speed of the vehicle in front. Radar sensors on the front end scan the road ahead. Let's imagine you've selected a cruising speed but have begun to gain on the vehicle in front because it is driving more slowly – the system reduces the speed of your vehicle by restricting throttle or gently applying the brakes until your chosen distance from the vehicle in front is restored.
Your Panamera now continues to maintain this distance from the vehicle ahead. If it brakes even more, Adaptive Cruise Control will reduce your speed accordingly – even down to a halt. As soon as the road ahead clears, your vehicle will accelerate back up to the cruising speed originally set.
Those who drive a Porsche want to drive. The more sporty, more comfortable, more efficient and more… LEARN MORE »
Those who drive a Porsche want to drive. The more sporty, more comfortable, more efficient and more safe the drive the better. Porsche InnoDrive assists you in a completely new way.
The system enhances adaptive cruise control with additional, innovative functions.
It predictively optimises your speed. With the aid of high-resolution navigation data and information supplied by the radar and video sensors, Porsche InnoDrive determines speed limits and topographical road features, such as gradients or corner radii, along your route even before you reach them – and modifies the gearshift strategy and speed of the Panamera accordingly. For intelligent driving and a significant efficiency advantage.
You can adapt the driving feel by pressing the SPORT button. Depending on the mode, the system selects the optimum parameters for engine management and gear selection, including coasting and deceleration.
Implemented for the first time at Porsche in the Panamera, the system uses the knowledge gained from its prediction horizon of up to 1.8 miles to formulate the optimum timing for acceleration, constant speed driving and deceleration phases to provide a harmonious driving experience.
Imagine, for example, that a speed restriction is in force further along the route but the traffic sign is not yet in sight of the driver: the system already knows that deceleration will be required and initiates a fuel-saving coasting maneuver.
Porsche InnoDrive represents the typically Porsche realization of efficient driving – for greater comfort and greater driving pleasure.
Another feature of Porsche InnoDrive including adaptive cruise control is Traffic Jam Assist. It eases the burden on the driver when congestion is encountered on major highways.
At speeds of up to approximately 37 mph, the system uses gentle steering inputs to keep the vehicle in the middle of the lane, regulates the distance from vehicles in front and follows the queue ahead where system limitations allow. To do this, Traffic Jam Assist tracks roadway signs and other vehicles on the road. The benefit? Appreciable stress relief and greater comfort on long drives.
* The assistance provided by Porsche InnoDrive is subject to system limitations. The driver must monitor driving style at all times and intervene in cases of doubt. The system can be overridden at any time by use of the brake or accelerator pedal.
Porsche InnoDrive is not available in some countries.
Lane Change Assist uses radar sensors to monitor the areas to the rear of the vehicle and the blind… LEARN MORE »
Lane Change Assist uses radar sensors to monitor the areas to the rear of the vehicle and the blind spots on either side. As you move to change lane, the system issues a visual warning signal in the exterior mirrors if another vehicle is rapidly approaching your vehicle from behind or is residing in one of your blind spots. The function can be activated in PCM as required.
During low-speed turns, new Turn Assist improves safety at the rear. When approaching an intersection, Turn Assist issues a visual warning if it detects objects approaching in the blind spots behind your vehicle.
Lane Keep Assist is a camera-based system for automatic detection of divider line markings on the… LEARN MORE »
Lane Keep Assist is a camera-based system for automatic detection of divider line markings on the road. The system eases the burden on the driver by providing steering assistance, helping to keep the vehicle in lane.
Integrated traffic sign recognition uses a camera and navigation data to detect speed limits and 'no passing' zones. Information is displayed in the instrument cluster. The advantage over information stored in the navigation database is that even temporary speed restrictions can be detected.
New for Porsche is the corner notification, an enhancement to the traffic sign recognition function. Based on navigation system data and camera recognition of cornering road signs, the system displays an arrowed direction warning on the instrument cluster display alerting you to tight corners. Long before you reach them.
ParkAssist is fitted in all Panamera models and audibly alerts the driver to the presence of… LEARN MORE »
ParkAssist is fitted in all Panamera models and audibly alerts the driver to the presence of obstacles detected to the front and rear of the vehicle. The audible alert is supplemented by a visual warning on the central display screen.
The reversing camera facilitates precise reverse parking and maneuvering. Help is provided in the form of the camera image and the dynamic, superimposed guidelines on the PCM screen, which illustrate the predicted course of the vehicle given the current position of the steering wheel.
The optionally available Surround View system supplements the reversing camera with three more high-resolution cameras – one in the front apron and one in each lower trim of the exterior mirrors. Based on the information supplied by all four cameras, the system generates a virtual bird's eye view of the car and displays it on the PCM screen. It is also possible to switch between various camera views to improve visibility, e.g. at narrow exits.
The tinted glass panels of the new panoramic sunroof on the Panamera models create a particularly… LEARN MORE »
The tinted glass panels of the new panoramic sunroof on the Panamera models create a particularly bright and pleasant lighting mood in the interior. The two-piece panoramic sunroof can be tilted and opened electrically at the front.
Sporty, for an outing on the racetrack. Comfortable, for a long journey in a party of four. There… LEARN MORE »
Sporty, for an outing on the racetrack. Comfortable, for a long journey in a party of four. There is no 'either–or'. That's the Panamera. Its ingenious sports car ergonomics are centered on the driver and on performance – without disregard for the well-being of passengers.
Let's give you some examples. Ascending center console: enabling quick hand movements from the steering wheel to the gear selector. New control and display concept: Porsche Advanced Cockpit with newly styled centre console in glass look and touch-sensitive buttons arranged in logical groups. High-resolution 12-inch touchscreen display. Instrument cluster with analog tachometer positioned in the middle, flanked on the left and right by two high-resolution displays. Multifunction sports steering wheel.
And what else? You decide: seat variants, leather or two-tone interior schemes? Fine woods, aluminium or carbon? More sporty? More luxurious? Both? Thanks to our extensive range of personalization options, the possibilities for you and your wishes are virtually boundless.
Optional ambient lighting with rear interior lighting is an indirect lighting concept designed to enhance passenger comfort. You can choose from seven lighting colors and customize their intensity.
A cinematic experience enjoyed in the second row: new Porsche Rear Seat Entertainment has been… LEARN MORE »
A cinematic experience enjoyed in the second row: new Porsche Rear Seat Entertainment has been specially developed to appeal to the discerning taste of a Porsche passenger and offers a fully integrated and networked infotainment system for on the move. Both units are removable, making them convenient to use outside the vehicle, too.
Porsche Rear Seat Entertainment connects to Porsche Communication Management (PCM) via WLAN to provide access to the radio, media, navigation system and vehicle functions of your Panamera. A wealth of entertainment awaits, thanks to two separate 10-inch touchscreen displays on the front seat backrests, an internal 32-GB memory, micro SD card slot, micro USB interface, Bluetooth® and NFC (near field communication). Through the connection to the WLAN router of the Connect Plus module, you also gain access to the Internet and up to one million apps and games, to movies and music, audiobooks, e-books and productivity applications from the GOOGLE® Play Store.
For an unrestricted listening experience, the sound can be output from the integrated loudspeakers, the in-car sound system or the wireless Bluetooth® headphones.
Analog meets digital: the new instrument cluster of the Panamera models is reminiscent of Porsche… LEARN MORE »
Analog meets digital: the new instrument cluster of the Panamera models is reminiscent of Porsche motorsport history – and, at the same time, it is as modern as only it can be.
In the middle and in direct view of the driver is the analog tachometer, its needle integral to its truly classic design. To the left and right, two high-resolution displays provide you with a variety of information as and when you need it, such as the navigation map or Night Vision Assist.
On the left-hand side of the tachometer is the speedometer. In its center, you can see data relating to adaptive cruise control, for example. In the display field on the outer left, you can choose to show the speed limit indicator, traffic sign recognition or the external temperature.
On the right-hand side, the possibilities are even more varied. The inside display field is occupied by information from the on-board computer, the fuel gauge or the residual range. In the field on the outside right, you can see the time. And there's also the option of viewing the map of the navigation system.
The front seats offer a high level of comfort and provide support in fast corners without… LEARN MORE »
The front seats offer a high level of comfort and provide support in fast corners without restricting freedom of movement. The seat height, squab and backrest angles and fore/aft position are electrically adjustable.
Available as an option, adaptive sport seats (18-way, electric) including memory package provide even better lateral support – thanks to the elevated side bolsters on the seat squab and backrest. Electrically adjustable, they offer comfort on long journeys and made-to-measure lateral support in the corners.
The most striking feature of the rear seats? There are two separate ones. With plenty of leg- and headroom and offering excellent lateral support through fast corners without sacrificing comfort. Eight-way power seats are available as an option for the rear in any Panamera model. In addition to the electric backrest adjustment, seat squab length adjustment and lumbar support, there is a facility to adjust the front passenger seat from the rear compartment (depending on equipment specification). In conjunction with adaptive sport seats in the front, sport seats featuring elevated side bolsters are also fitted in the rear.
On request, the power seats are also available with a massage function – front and rear. With five programs and five intensity levels to choose from, 10 air cushions in each backrest provide a relaxing treat for the back muscles. For improved seating and long-distance comfort.
Welcome to your personal climate zone. Four-zone automatic climate control features individual… LEARN MORE »
Welcome to your personal climate zone. Four-zone automatic climate control features individual temperature setting controls for the driver and front passenger, and separate ones for each seat in the rear, too. The system also comes with a dedicated touchscreen display for the rear compartment. In addition to the air conditioning, this can be used to operate a range of other comfort and entertainment functions (depending on equipment specification).
An active carbon filter traps particles, pollen and odors and thoroughly filters fine dust out of the outside air before it can reach the interior.
A new ionization function is available as an option – for improved air stream quality. Before it reaches the cabin, the air in the automatic climate control system is passed through an ionizer. Airborne viruses, bacteria and spores are reduced and the interior air is appreciably refreshed for an even more pleasant cabin environment.
The BOSE® Surround Sound System features 14 amplifier channels and offers a total output of 710 watt… LEARN MORE »
The BOSE® Surround Sound System features 14 amplifier channels and offers a total output of 710 watts. Fourteen loudspeakers including a 160-watt passive subwoofer box ensure a balanced, faithfully reproduced acoustic pattern. The patented AudioPilot® Noise Compensation Technology continuously measures the ambient noise inside the vehicle and adapts music playback instantly and automatically so that a consistent sound is maintained – whatever the driving conditions. The result is a captivating 360° acoustic experience delivered to all four seat positions. At all times.
A concert hall with the four best seats around? Panamera. The Burmester® High- End 3D Surround Sound… LEARN MORE »
A concert hall with the four best seats around? Panamera. The Burmester® High- End 3D Surround Sound System delivers an acoustic performance worthy of one of the best concert halls in the world. Every audience member can enjoy the full breadth of the stage thanks to the perceived spatial distribution of the sound source.
Quiet, please, as we introduce a total output of 1,455 watts, 21 individually controlled loudspeakers including an active subwoofer with 400-watt class D digital amplifier, two-way center system and a total diaphragm surface area of more than 2,500 cm². Ribbon tweeters have been used for unmistakably fine, clear and undistorted high-frequency sound reproduction with excellent level stability. All loudspeaker housings are perfectly matched and deliver superior bass foundation, definition and impulse accuracy. The result is a natural and richly textured spatial sound, even at top volume. Particularly impressive is the new 3D sound experience, created by the loudspeakers integrated into the roof pillars and by the use of a special 3D algorithm.
A superlative visual performance, too. The borders of the loudspeaker trims are illuminated in white or – in conjunction with optional ambient lighting – a choice of seven colors. Uncompromising in sound and design.
Specs reflect base model unless otherwise noted.
|Number of cylinders
|3.0 liters
|330 hp
|@ rpm
|5,400 - 6,400 rpm
|331 lb.-ft.
|Compression ratio
|11.2 : 1
|Fuel Consumption
|City (estimate)
|21 mpg
|Highway (estimate)
|28 mpg
|Combined (estimate)
|24 mpg
|Top Track Speed
|164 mph
|0 - 60 mph
|5.4 sec (5.2 sec w/ Sport Chrono)
|Driveline layout
|Rear-wheel drive
|Manual Gearbox
|Standard / 8 speed
|Luggage compartment volume
|17.6 cu.-ft. (seats up) / 47.3 cu.-ft. (seats folded)
|Fuel tank
|23.7 gal.
|198.8 in
|Width (w/ mirrors folded)
|85.2 in. (76.3 in.)
|56.0 in
|116.1 in
|Drag coefficient (Cd)
|Curb Weight
|4001 lbs
|From $ 85,000.00*
*Manufacturer's Suggested Retail Price. Excludes options; taxes; title; registration; delivery, processing and handling fee; dealer charges. Dealer sets actual selling price.


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the deal with Flames is that it is too narrow. Unless you are specifically prepping for it, 95% of your adventurers will never end up in a position where they can afford a -50% hit to attack in exchange for a +25% efficiency in Fireballs. I have used it in weird emergency scenarios, but probably less than 5 times in total.
Weakness costs too much to be used unless you also got Flames, in which case you have to have it. The result is that two of her boons are limited to fringe cases.


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Doris Winkler of Marion was recognized as Kansas State University Research and Extension Service's Local Unit Office Professional of the Year for 2012 at an awards luncheon Oct. 17 in Manhattan.
Winkler began her career as the office professional in the Marion County extension office in 1961. Agent Rickey Roberts nominated her for the honor.
"The most unique thing is that in today's 'microwave society,' we've lost some persistence, but Doris has been with this office over 50 years," Roberts said. "That dedication is unique in society today."
Roberts wrote in his nomination of Winkler that he was almost overwhelmed when he began working in extension, but Winkler helped him navigate those rough waters early in his career with her vast knowledge and experience.