text:
On "Ode to the Confederate Dead"
Edward Hirsch
Tate's most important single poem, "Ode to the Confederate Dead," is a kind of Southern analogue to The Waste Land. As opposed to Ransom, who thought The Waste Land "seemed to bring to a head all the specifically modern errors," Tate defended the way Eliot's poem embraced "the entire range of consciousness" and impersonally dramatized the tragic situation of those who live in modern times. Tate's "Ode" treats that situation in specifically Southern terms. The poem presents the symbolic dilemma of a man who has stopped at the gate of a Confederate graveyard. He is trapped in time, isolated, alone, self-conscious, caught between a heroic Civil War past, which is irrecoverable, and the chaotic, degenerate present. In his essay "Narcissus as Narcissus, " Tate argues that "the poem is 'about' solipsism, a philosophical doctrine which says that we create the world in the act of perceiving it, or about Narcissism, or any other ism that denotes the failure of the human personality to function objectively in nature and society." As the poem develops, it becomes a drama of "the cut-offness of the modern 'intellectual man' from the world." The situation of the speaker is symptomatic of the crisis of his regionthe crisis of the Old and the New South after World War I. In its diagnosis of that historical situation, the "Ode" is an Agrarian poem. It universalizes from the situation of the South in the middle and late twenties to the larger condition of the modern world.
from A Profile of Twentieth-Century American Poetry. Ed. Jack Myers and David Wojahan. Copyright © 1991 by Southern Illinois UP.
Francesco Mei
Born in Winchester, Kentucky, in 1899, Tate belongs to that group of American intellectuals and artists deriving from the agrarian aristocracy of the South, such as John Crowe Ransom, Robert Penn Warren, and Cleanth Brooks, who under the name of Fugitives reacted against the culture of the industrialized and pragmatic North, reaffirming the value of tradition, of form, and of artistic discipline. Shaping itself afresh through recourse to the classics, this movement affirmed the importance of literature as an autonomous expression of a need of the spirit. In the poetry of Tate one feels the influence of the Latin poets, especially in his spirited and stinging satire, basically political, in the mode of Persius and Martial, no less than the influence of Dante and Donne, in his ability to sustain his verse upon a rich basis of thought. The return to the closed forms of sonnet and terza rima does not prevent him from experimenting in even more complex rhythms, in which the verses are linked stanza to stanza by recurrent rimes and the images are sustained by a coherent logical structure. But upon this passionately intellectual ground there developed in Tate another source of inspiration: the hallucinated world of the South, peopled with memories of his boyhood and with the phantasms of the Civil War. The warm and luxurious landscape alternates, in his poems, with evocations of ambiguous states of soul in which one seems to halt listening to catch the faint voices that swarm in a dusk filled with shades and specters. In this sense, Tate moves in the same sphere as other symbolist writers of the South, such as Faulkner and Poe. In "Mother and Son," for example, is represented with great dramatic force a troubled spirit's struggle for salvation on the brink of damnation and death. In "Ode to the Confederate Dead," a poem on the dead of the Civil War ("The peoplepeople of my kind, my own / People but strange with a white light / In the face"), the prodigious formal virtuosity and the perfect accord of the images serve to focus a vision broken by infernal flashes and celestial lightnings, in which the paean of glory for the dead soldiers is linked with the sense of bodily decay and the realistic notation is made one with the metaphysical breath.
from Il Quotidiano, (1954)
Thomas Daniel Young
In 1925 to 1926 Tate was deeply involved in writing "Ode to the Confederate Dead," which he revised for the next ten years. (During this period he wrote two biographies: Stonewall Jackson: The Good Soldier [1928] and Jefferson Davis: His Rise and Fall [1929], as well as many of the poems that appeared in his first collection, Mr. Pope and Other Poems.) Although it was far from his favorite, it remains his best-known poem. While the poem carries "Ode" in its title, Tate insisted that he wrote it to demonstrate that the form is no longer accessible to the modem poet. "Fragmentary chaos" has succeeded the "active faith" of the traditional society, the poem reiterates, and try as he may, the protagonist of the poem, standing at the gate of the Confederate cemetery, cannot imagine that the falling leaves are the "charging soldiers" of the Confederacy who lie buried in the graves before him. He is aware of the changing seasonshe can see the falling leaves of autumnbut he has lost the faculty of explaining mystery through myth. Modern man is like a blind crab who has "energy but no purposeful world in which to use it." Like the "hound bitch / Toothless and dying" in the cellar, modern man can hear the wind only. He has lost his creative imagination, the means by which he could transcend the knowledge circumscribed by reason and sensory perception.
from The History of Southern Literature. Ed. Louis B. Rubin et al. Copyright © 1985 by Louisiana State UP.
Lillian Feder
The "Ode to the Confederate Dead," Tate says, is about "solipsism." (All the critical comments quoted in connection with the "Ode to the Confederate Dead" are from Tate's essay "Narcissus as Narcissus.") In the "Ode" Tate suggests, as he does in "The Mediterranean" and "Aeneas at Washington," that the solipsism of modern man results from the fact that contemporary society denies him his traditional right to fulfillment through a heroic goal. This is the positive quality of the "Ode." The dual themes of solipsism and the need for the virtutis opus, which are, of course, really one, are developed more fully and more deeply in the "Ode" than they are in the two poems discussed above, and again they are expressed through the imagery of the ancient world.
Tate remarks on the general form of the poem: it is an ode ". . . even further removed from Pindar than Abraham Cowley. I suppose in so calling it I intended an irony: the scene of the poem is not a public celebration, it is a lone man by a gate." Though Tate does not say so. he implies that the contrast between the personal quality of his ode and the public nature of the Pindaric expresses the solipsism of modern man. The man at the gate has the "secret need" of the wanderers on the Mediterranean, and like them he makes a lonely journey into the past. Obviously, Tate expects his readers to be aware of the nature of the traditional odes, the Pindarics, not of the specific details of their contents, but their tone, which always implies that the poet speaks to and for a society united in triumph. The Pindarics are not simply victory odes: they are poems in which a particular hero is regarded as the worthy bearer of a great tradition. Tate's adaptation of the ode form implies that if modern man is trapped by his personal conception of the world, so is the very character of the ode transformed by this view. The lone man speaks for himself, and, if what he says represents the thoughts of others, it is their defeat which he expresses, for they, like him, are cut off from the heroic past and the actual present.
This defeat is symbolized most intensely in the leaf image, which Tate uses not only in the refrain but in the first and last strophes. The image is an extremely interesting and important one. In the first strophe Tate says of the leaves: "They sough the rumors of mortality." The leaves, "of nature the casual sacrament / To the seasonal eternity of death," remind man of his own mortality. "Autumn and the leaves are death," says Tate in "Narcissus as Narcissus." The leaf image replies with finality to the cry for an "active faith," which constitutes the second theme of the poem.
* * *
There is a striking similarity between Tate's and Homer's use of the leaf image. Homer's passage containing this image is perhaps one of the best known in the Iliad. Diomede and Glaucus meet on the battlefield, and Diomede asks Glaucus who he is. Glaucus replies: "Great-souled son of Tydeus, why do you ask about my lineage? Just as the generation of leaves, so is that also of men. The wind scatters the leaves upon the earth, but the forest as it flourishes, puts forth others when spring comes. So one generation of men springs up while another passes away. However, if you want to, you may know my lineage. There are many who do know it" (VI, 145-51). In this passage the contrast between man's struggle to live heroically, between his justified pride in his past and present achievements and his tragic destiny is clearly set forth. Man is like a leaf but he is also man. The agony of his tragic end is all the more terrible because, unlike a leaf, he struggles to perform heroic deeds, yet like a leaf he passes away to extinction. The very points at which the simile is inadequate contain its greatest emotional force.
In Homer the leaf image provides a commentary on the constant feats of heroism which his heroes demand of themselves and which it is assumed they owe their society. "Be a man," says one warrior to another. In other words, act nobly; perform the heroic deeds which offer man his one chance of redemption, his chance to snatch from life a glory which defines it. That the very act which may destroy a man is what offers him a measure of release from his doom is the tragedy of human life.
Tate's repeated references to the leaves in the "Ode to the Confederate Dead" recall the leaf image in the Iliad. In the "Ode" the image of the leaves provides the answering strain to the quest for heroism in history, in man himself, and vainly, in society. Like the Iliad, the "Ode" is "a certain section of history made into experience." Tate uses history both literally and symbolically, fusing with ease the recent American past with antiquity. Before discussing the leaf image in the "Ode," it is necessary to observe how Tate develops "the theme of heroism," which he himself says is the second theme of the poem.
Tate says that the strophe beginning "You know who have waited by the wall" contains "the other terms of the conflict. It is the theme of heroism, not merely moral heroism but heroism in the grand style, elevating even death from mere physical dissolution into a formal ritual: this heroism is a formal ebullience of the human spirit in an entire society, not private, romantic illusionsomething better than moral heroism, great as that may be, for moral heroism, being personal and individual, may be achieved by certain men in all ages, even ages of decadence." He goes on to quote Hart Crane's definition: "the theme of chivalry . . . active faith." He describes an ideal way of life based upon conduct, and the heroic code of conduct he speaks of is that clearly defined in the Iliad and the Aeneid, the code which could make Aeneas "disinterested," which makes Glaucus, even after he has expressed the tragic irony of man's doom, go on to tell his enemy of his ancestors, prepared to fight as bravely as they did and as nobly as the code of his society demands that he fight and live. Both his desire to fight Diomede and his subsequent acceptance of his friendship are motivated not by personal whim but by the code of his society.
Tate tells us that the passage in the "Ode" beginning "you know who have waited by the wall" is "meant to convey a plenary vision, the actual presence of, the exemplars of an active faith." This plenary vision appears in two main symbols: the warrior and the ancient philosophers, Zeno and Parmenides, The warrior is the traditional symbol of heroism. Though Tate concretizes his warrior through his list of names connected with the Civil War, he does not limit him to this particular time, for he is the warrior whose heroism results from a view of the world represented by the philosophical system of Parmenides and Zeno. His warrior is once again the man who lives by a heroic code of conduct. "Muted Zeno and Parmenides" represent the world view which makes such a code possible.
Of those who have the heroic vision, Tate says:
You know the rage,
The cold pool left by the mounting flood,
Of muted Zeno and Parmenides.
Parmenides and his disciple, Zeno, were the first to separate existence into being and becoming. Theirs is a philosophical system which makes a distinction between the objective and unchanging world of being and the subjective world of becoming. Parmenides (in Frag. VI) warns against the "way of seeming" (the state of solipsism, Tate would say). He warns against the subjective blindness of mere dependence on the senses for knowledge of the world. Thus, Parmenides and Zeno represent for Tate an objective, "whole" view of life. Moreover, Zeno, not only in his thought but also in his conduct, exemplifies the heroic way of life. According to tradition, when captured by the tyrant he was opposing, he bit off his tongue rather than give the information demanded by his enemy. "Muted Zeno," therefore, has a double meaning: Zeno made mute by his own act of heroism and Zeno, the heir and exponent of a philosophical system which regards the universe as whole and knowledge as objective, muted in what Tate calls the, "fragmentary cosmos of today."
The heroic vision, as Tate presents it poetically, is composed of heroic action based on a view of the world which is objective, whole, and unchanging. Moreover, it is a vision created out of the ancient past combined with the recent one. It is a vision which suggests a continuity in human thought, conduct, and feeling, broken only in the world of today.
"In contemplating the heroic theme," says Tate, "the man at the gate never commits himself to the illusion of its availability to him. The most that he can allow himself is the fancy that the blowing leaves are charging soldiers, but he rigorously returns to the refrain: 'Only the wind'or the 'leaves flying.'" The wind-leaf refrain provides the answering strain. The lone man, striving to be one with those who waited by the wall, tries even to transform the leaves into fighting men. But, as in Homer, we are struck by the dissimilarity. In the Iliad the simple quality of the leaf is contrasted with the complex and tragic nature of man, doomed to the same end. In Tate's poem man's inability to transform the leaf into a symbol of heroism suggests that the certainty of man's tragic fate overpowers any thought of his potential heroism. The man at the gate cannot identify himself with the leaves ''as Keats and Shelley too easily and too beautifully did with nightingales and west winds." The leaf is a symbol of his mortality and his aloneness.
In both Homer and Tate, the leaf image, with its implications of death, is combined and contrasted with a scene of heroism in warfare. In Homer, Glaucus, even as he sees these implications, suggests by his very conduct that through heroism man can redeem himself if only partially and tragically. Tate, looking back on the history of his own nation with the traditionally epic view, finds that in the present there is not even the possibility of tragic redemption. Thus, his departure from Homer is as important as his echo of him, for the very contrast between the two poets' use of the leaf image suggests the theme of Tate's poem.
Tate's last use of a classical allusion in the "Ode" is an entirely ironical one. The jaguar, he tells us, is substituted for Narcissus. Of course, Narcissus by his very absence is immensely important. Replaced by the jaguar, the destructive and self-devouring elements of the Narcissus figure are made explicit. As the "jaguar leaps" we see the lovely boy Narcissus for what he really is. In giving solipsism this concrete form, Tate reveals its ugliness and brutality, and he adds a dimension to the myth he adapts.
"Ode to the Confederate Dead" cannot be understood without the framework of the classical world. Here, as in "The Mediterranean" and "Aeneas at Washington," Tate speaks of the present only in relation to the past, and his view of the past is the epic view, heroic, exalted, the poet's past rather than the historian's.
from "Allen Tate's Use of Classical Literature." The Centennial Review (1960)
Alan Shucard, Fred Moramarco, and William Sullivan
Tate's greatest achievement in dramatizing our loss of faith in and our passion for heroism is best exemplified in his famous "Ode to the Confederate Dead." Often revised over a ten-year period, it became an emblem of modernist pessimism. Tate's intent in this poem is to dramatize the clash between solipsism, which he defines in "Narcissus as Narcisscus" as "a philosophical doctrine which says that we create the world in the act of perceiving it," and "active faith," a collective faith "not private, romantic illusion" in the nobility of the human spirit as manifested in its chivalrous public deeds. The conflict arises in the mind of a solitary man at the gate of a Confederate graveyard on a late autumn afternoon, and it remains an internal debate between past and present, between objective and subjective realities, between faith and grim resignation and defeat.
Initially the speaker can only envision this late afternoon autumn graveyard scene filled with its whirring, wind-driven leaves as a "casual sacrament" of death, whose music sounds "the rumour of mortality." As Tate states in the Narcissus essay, the speaker is barely able to proclaim the traditional praise for the physical and historical continuance of the Confederate dead and their sacrifices: "these memories grow / From the inexhaustible bodies that are not/ Dead, but feed the grass row after rich row." Caught in his own naturalistic vision of existence, the speaker presents images illustrating the ravages of time, eventually ending the first strophe with his blind crab image of the "Locked-in ego," signifying his inability to move beyond his solipsism and reconnect himself with the objective world: "You shift your sea space blindly / Heaving, turning like the blind crab." Tate in the Narcissus essay explains that the crab has mobility and energy but "no direction and no purposeful world to use it in." Lacking a sense of purpose, the speaker begins the first of his naturalistic refrains that speak to the failure of imagination and human insight: "Dazed by the wind / only the wind / The leaves flying plunge."
The countertheme of active faith is advanced in the next strophe as the speaker momentarily recovers and is able to imagine the blowing leaves as heroic charging soldiers, who
. . . know the unimportant shrift of death
And praise the vision
And praise the arrogant circumstance
Of those who fall
Rank upon rank, hurried beyond decision--
Here by the sagging gate, stopped by the wall.
These heroes of an "immoderate past," however, cannot become a permanent part of the modernist vision or poem. The speaker's awareness of mortality, his naturalistic views, ensure "they will not last" and "that the salt of their blood / Stiffens the saltier oblivion of the sea." Nor can the modernist celebrate the perpetual cycle of existence, a central theme of romantic poets. "We shall say only the leaves / Flying, plunge and expire" for "Night is the beginning and the end." Separated from both society and nature, we can engage only in "mute speculation," abstraction, and narcissism; thus "the jaguar leaps / For his own image." Our knowledge has been "Carried to the heart"; it has destroyed our relationship to life itself, and our most hopeful prospect is that "The ravenous grave" may become our theme, for it is "the grave who counts us all!"
Traditionally an ode publicly celebrates, in stately and exalted lyrical verse, an aspect of human existence; Tate's ode is not celebrative, public, or exalted. It is a pessimistic, solitary, and, given its form and theme, grimly ironic dramatization of the modernist temper. At times its imagery is quite private and its allusions and arguments overly complex; however, it remains one of the most representative and compelling poems of the twentieth-century wasteland.
From Modern American Poetry, 1865-1950. Amherst: University of Massachusetts Press, 1989. Copyright © 1989 by G..K. Hall & Co.
Richard Gray
The distance between Tate and Ransom is measured with particular force in Tate's most famous poem, 'Ode to the Confederate Dead'. In some ways, 'Ode' operates within the same series of assumptions as 'Antique Harvesters'. It, too, is a profoundly traditionalist poem which attempts to create a myth, an ideal version of the past, as a corrective to the present. It, too, is a poem that dramatises the mythologising process, the creation of an idea, a complex of possibilities, out of historical fact. The narrator, a man who characterises the modern failure to live according to principle (or what Tate, in his essay on his own work, calls 'active faith'), stands by the monuments raised to those killed fighting for the South during the Civil War; and as he describes their lives, or rather what he imagines their lives to have been, the description is transmuted into celebration. The past is reinvented, just as place, landscape is in 'Antique Harvesters'; the soldiers being remembered are transformed into an heroic alternative to the plight of the person remembering them. That is the drama of the poem, accounting for the poignancy of lines like the following:
Turn your eyes to the immoderate past,
Turn to the inscrutable infantry rising
Demons out of the earth - they will not last.
Stonewall, Stonewall, and the sunken fields of hemp,
Shiloh, Antietam, Malvern Hill, Bull Run,
Lost in that orient of the thick-and-fast
You will curse the setting sun.
Cursing only the leaves crying
Like an old man in a storm
You hear the shout, the crazy hemlocks point
With troubled fingers to the silence which
Smothers you, a mummy, in time.
And yet these lines suggest how unlike Ransom Tate is, even while he appears to echo him. The voice of 'Antique Harvesters' is the voice of all Ransom's poems: accomplished, witty, serene - the voice of someone who can, apparently, fathom and perform his nature. The voice of 'Ode' is, by contrast, uncertain, feverish, disoriented - the voice of the 'locked-in ego' as Tate puts it elsewhere, of a man unable to liberate himself from a sense of his own impotence and fragmentation. The narrator of Ransom's poem remains triumphantly detached: sometimes helping to gauge the failure of his subjects and sometimes, as in 'Antique Harvesters', helping to endow his subjects' achievements with articulate shape. The narrator of the 'Ode" however, is like the narrator of most of Tate's poetry: a person obsessed with his failure to attain unity of being, whose introversions, tortured idiom, clotted imagery, and convoluted syntax register what Tate has called 'the modern squirrel cage of our sensibility, the extreme introspection of our time.'
For all its nervous intensity, though, 'Ode to the Confederate Dead' does not degenerate into hysteria: a measure of control is retained, so as to give dramatic force to the narrator's feelings of isolation and waste. Tate remains a traditionalist in this respect, too, that his poems are tightly organised; his narrators may disperse their energies, scattering themselves piecemeal, but he tries to ensure that his poetic forms never do. 'Ode' is, in fact, structured according to classical precepts, with a Strophe (establishing the themes of the poem), an Anti-strophe (answering the themes of the Strophe), and an Epode (gathering up the opposing themes). In addition, it is carefully arranged into verse paragraphs, separated by a refrain that provides (to use Tate's phrase) 'occasions of assimilation'; it demonstrates a cunning use of rhyme; and there is a dominant metre of iambic pentameter with varying six, four, and three stressed lines. The result is a constant tension between texture and structure: the language, packed and disruptive, the multiple levels of allusion and bitter ironies of feeling, are barely kept in control by the formal patterns of the verse. Like the narrator who turns his eyes to the immoderate past, the poet seems to be trying to will himself into a discipline, to force upon himself the rigours of an inherited form; and on this level, at least, the level of manner rather than matter, the pursuit of traditionalism is not entirely unsuccessful.
From American Poetry of the Twentieth Century. Copyright © 1990 by Longman Gourp UK Limited.
William Pratt
In his most famous poem, "Ode to the Confederate Dead," Tate pays his tribute to the historical South, those kinsmen who had fought bravely to defend their land and had been honorably defeated, but in so doing he does not draw closer to them; rather, he finds himself farther from them after meditating on their graves, for the heroic failure has been translated into the "verdurous anonymity" of death, and the speaker feels conscious of his own morbidity in trying to memorialize them. He is trapped more than ever in his mind, with "mute speculation, the patient curse / that stones the eyes," and subconsciously thinks of the image of the jaguar leaping "For his own image in a jungle pool, his victim"Narcissus come to life in an image of suicide, as the speaker tries but fails to find objective reality in the past. The end of Tates "Ode" is as complete an image of isolation as can be found in modern poetry, as the speaker leaves the Confederate cemetery behind him, with its "shut gate and . . . decomposing wall" and thinks of his own death in the shape of a "gentle serpent, green in the mulberry bush, . . . Sentinel of the grave who counts us all!"
Tate's alienation is even more final and desolate than Davidson's, and though Tate wrote somewhat more hopeful poems later, the "Ode" still stands at the center of his work, like Eliots Waste Land, a masterpiece that could not be transcended and that dominates his achievement as a poet.
from Singing the Chaos: Madness and Wisdom in Modern Poetry. Copyright © 1996 by the Curators of the University of Missouri
Robert S. Dupree
. . . two polaritiesdeath and the selfare the tensional basis for the kind of conflict between deterministic pessimism and radical solipsism Tate depicts in "Ode to the Confederate Dead." The first stanza shows a natural order that is dominated by the closed system of "the seasonal eternity of death." The whole passage is a picture of a world with a kind of Spenglerian destiny that ignores the presence of man. There are suggestions of a system of rewards and punishments, such as might make up some mythical order of justice, but nature offers only the salvation that comes with total effacement. What is lacking is any sense of individual continuity that might break out of the terrible cycle. The stone memorials placed over the graves "yield their names" with "strict impunity." Their loss of memory will go unpunished and uncorrected. The wind shows no signs of "recollection"the poet puns on the scattering effect of wind on the leaves in the "riven troughs" as well as the mindless energy of its whirr. The leaves themselves are "splayed," never again to be made whole; they are part of nature's "casual sacrament," an accidental rather than an intentional communion. (The word "casual" suggests the "fall" of the leaves by association with Latin casus.) The falling leaves have long been images of human mortality, from Homer, Virgil, and Dante to Shelley; but these leaves also take on the imagined quality of damned beings. Part of the whole of things, they lose all individuality as they are "driven . . . to their election in the vast breath." Like "The Subway," "Ode to the Confederate Dead" is a grim parody of traditional religious ideas of salvation tinged with overtones of predestinarian determinism.
If death dominates the first stanza, the self is prominent in the second. The protagonist of the poem attempts to breakout of the terror of this organic cycle by thinking "of the autumns that have' come and gone," but memory itself takes on the quality of the grass that feeds analogically on the dead bodies. The alternative to the closed temporal system that he views resides in some sort of spatial suspension, represented in part by the sculptured angels on the tombs. There is surely a suggestion in this passage of what Tate was later to call "the angelic imagination," an ability to penetrate into the essence of things without recourse to their sensual manifestations. The "brute curiosity of an angel's stare," which like the Gorgon's turns those who look on it to stone, is trapped in decaying matter, the "uncomfortable" statue assaulted by "the humors of the year." The split between body and mind is embodied in the art of the grave sculptor's angels as much as in the sensibility of the protagonist. Like the falling leaves, he too is "plunged to a heavier world below," a kind of mental hell in which, like Dante's damned shades, he exerts directionless and purposeless energies. (Tate's description of Phelps Putnam's heroes also comes to mind.)
The grim wit of Tate's languagethe multiple shadings of words like "impunity," "recollection," "sacrament," "scrutiny," "rumor," "inexhaustible," "zeal," or "brute"gives these first two stanzas an astonishing compactness and power. Their dense network of analogies denies poetically the assertion in the following refrain that the protagonist is seeing nothing more than fall leaves. What he knows that nature does not know is history and the pattern of things that comes through the memory as man's refusal to submit to mere despair. For unlike the fallen leaves, man continues to believe that he has a future.
You who have waited for the angry resolution
Of those desires that should be yours tomorrow,
ou know the unimportant shrift of death
And praise the vision
And praise the arrogant circumstance
Of those who fall
Rank upon rank, hurried beyond decision
Here by the sagging gate, stopped by the wall.
"Ambitious November" is answered by the arrogance of man himself; he will rush to his death without waiting for his place in the natural cycle of decay. It is this "immoderate past" that makes man "inscrutable," in answer to the mindless but "fierce scrutiny" of the sky. Though man cannot possess the stony detachment of the angelic self depicted on the statues, he does have a strange demonic energy that pulls him out of the earth. He knows the empty paradoxes of the mindthe puzzles of "muted Zeno and Parmenides" as they contemplate the nature of time and being. But he also knows the "twilight certainty of an animal." If Zeno's paradox would never allow the arrow to hit the target, death's efficacy in drawing all things to their destruction is indubitable. The struggle between self and death has reached an equilibrium in the protagonist's thoughts.
The late autumnal season of the poem and the setting sun that dominates its main scenes are traditional symbols of history and death. (Besides his correlation of the seasons and stages of historical growth and decay, Spengler's titleliterally "Sunset of the West"offers an obvious parallel.) What history provides is a memory of "that orient of the thick-and-fast" where action begins; but since the protagonist has been reduced to paralysis, "stopped by the wall" (death) and the "angel's stare" (self), he can only hover over the decaying transition point of the "sagging gate," the threshold of initiation into another life or state. Sight and sound, like time and space, are confused in him:
You hear the shout, the crazy hemlocks point
With troubled fingers to the silence which
Smothers you, a mummy, in time.
The mummy is a particularly interesting image, since it can stand both for the ineffectiveness of a man wrapped in his embalming shroud and for the limited immortality of the body. Like the "old man in a storm," it is surrounded by the ravages of time yet remains a captive of space. Outside of time, like the mummy, the self has no freedom. This section of the poem is brought to a close by the image of the "hound bitch," a reminder of the ancient action of the hunt. She should be a symbol of vitality; now, however, she too is the quarry of death, lying "in a musty cellar. " The end of the hunt is another manifestation of that loss of heroic energy which once drove the soldiers to their graves. The soldiers and the hound bitch live for the event and decay once the event is concluded. Still, their fate is better than the mummylike existence in time that has rendered the protagonist immobile.
What remains for modern man is that blank oneness of the universe which dissolves all into a "malignant purity" and a salty "oblivion" (examples of Tate's startling use of oxymoron). There is a radical shift, however, in the sixth stanza, and Tate himself has spoken of it as the beginning of the second main division of the poem, in "Narcissus as Narcissus." The progression is evidenced by the metrical movement, as he points out, but also by a shift in the pronoun from "you" to "we." Tate's final question to Spengler, "How shall we set about restoring the values that have been lost?" is already posed in this poem. The poet asks it of the young man who stands by the gate. For it is at this point that one becomes aware of some sort of community standing behind the protagonist, those "who count our days and bowl Our heads with a commemorial woe" during the public ceremonies offered for the dead. The ritualistic gestures are still carried on, though perhaps as a "grim felicity" that is a distinct decline from heroic action. What has changed in the perception the poem offers, however, is the image of nature: Before, nature was the inhuman cycle of a world without past or future. Now there is the suggestion of something in nature that recalls man's heroic energies:
In a tangle of willows without light
The singular screech-owl's tight
Invisible lyric seeds the mind
With the furious murmur of their chivalry.
This is an image different from the "brute curiosity" of the angel's stare and the mere sound of the wind. In the darkness where space has vanished, there is an aural suggestion of an energy with more direction than that of the "blind crab." It is crucial to see what has occurred in this and the following stanza.
The question that has been asked"what shall we say of the bones?"is answered in the refrain"We shall say only the leaves / Flying, plunge and expire." Those who merely go through the motions of the ritual of "grim felicity" can see nothing more than that "Night is the beginning and the end." They cannot speak because there is nothing to speak about. Birth and death are but "the ends of distraction," and between them is the "mute speculation" of Zeno and Parmenides and the angel's gorgonic stare, that "patient curse / That stones the eyes." The toothless dog is replaced by the energetic jaguar who "leaps / For his own image in a jungle pool, his victim." The cycle of nature has been replaced by the solipsistic self. The "mute speculation" is part of the "jungle pool" (a play on the Latin word for mirror, speculum, is hidden in the phrase). Vision and space, the counting of days, abstract stare, the setting sun, all these Spengler-like images are part of the symbolic paralysis that must be rejected for an acceptance of the aural and temporal dimensions of the memory, the understanding, and the will. The critical question is transformed at the end of the poem in a phrase that has become famous:
What shall we say who have knowledge
Carried to the heart? Shall we take the act
To the grave? Shall we, more hopeful, set up the grave
In the house? The ravenous grave?
This solution is the one Spengler seems to embrace, for his impressive array of organically growing and dying cultures adds up to nothing more than worship of the grave. By giving no final meaning to human history, Spengler falsifies his own premises. If human memory serves only as a means of collecting man's actions around the central fact of death, then human history has no significance at all. In Spengler the West has indeed begun to set up the grave in its own house.
The protagonist in "Ode to the Confederate Dead" stands between two communities, the city of the living and the city of the dead; but he does not know how to bring them together in any meaningful fashion. He has the kind of intuitive knowledge that has been "carried to the heart," but he is also haunted by the specter of abstract rationalism"muted Zeno and Parmenides," who, like the jaguar, stare into the "cold pool" of a method that removes them from life and action. He never enters the cemetery; the gate remains shut to him at the end. He cannot participate in the kind of space occupied by the dead, and he is himself smothered in time. He is typical of the modern man in his mummylike condition. The only kind of immortality the modern mind can grasp is one that is a stopping of the natural cycle, an immobilization of all life processes.
The poem ends, as Tate emphasizes in his essay, with an image that complements the owl, that of the serpent. Like the ouroborosthat ancient figure of the snake biting its tailit is a symbol of the relation of time to eternity. Equally significant is the command to the protagonist to leave the "shut gate and the decomposing wall." For he is not the poet, this man at the gate, but the skeptical historian who meditates on the past of Western civilization as though he were looking at a graveyard. The gate and the wall separate the living from the dead, but the two important "sounds" in the poemthe screech-owl's call and the rioting "tongue" of the "gentle serpent"are appeals to some kind of life. That life is not the simple organic cycle of nature but something beyond it. As the figure of the serpent makes plain, it is the life of myth, of speech through the imagination that is neither mutely paralyzed like the mummy nor rendered as a meaningless noise in the buffeting of the leaves. By yielding to time and participating in the past through memory, man can at least survive through the makeshift devices of his secular imagination, even in a declining civilization. Nevertheless, "Ode to the Confederate Dead" does not offer, as Tate explains in his essay, a "practical solution . . . for the edification of moralists," but it does imply that such a solution is possible. As Tate goes on to say, "To those who may identify the man at the gate with the author of the poem I would say: He differs from the author in not accepting a 'practical solution,' for the author's personal dilemma is perhaps not quite so exclusive as that of the meditating man." It is the exclusive character of the dilemma that makes it difficult to resolve, for the alternative of science or religion at least offers the promise of a practical solution to the problem of acting in an alien universe. Unless the man at the gate can learn to see the choice between a nature dominated by mortality and a self locked in solipsism as a false presentation of alternatives, he cannot act in any decisive way.
from Allen Tate and the Augustinian Imagination: A Study of Poetry. Copyright © 1983 by Louisiana State UP.
Thomas A. Underwood
The Tates' poverty was so extreme that Allen's twenty-seventh birthday passed in November without celebration. He was depressed and dissatisfied with New York City. Yet it was in this state of mindand to some degree because of itthat he conceived and wrote his most famous, and perhaps his finest, poem, Ode to the Confederate Dead. By Christmas of 1926, he had completed a first draft of the poem, originally titled ELEGY for the Confederate Dead. The earliest version began:
Row after row with strict impunity
The headstones barter their names to the element,
The wind whirrs without recollection;
In the riven troughs broken leaves
Pile up, of nature the casual sacrament
Against the sinkage of death,
While in uncertainty of their election,
Of their business in the vast breath,
They sought the rumor of mortality.
"Figure to yourself a man stopping at the gate of a Confederate graveyard on a late autumn afternoon," Tate explained many years later. "The leaves are falling; his first impressions bring him the 'rumor of mortality.'" But the poem, Tate added, was not simply about the modern Southerner's difficulty in coming to terms with his own traditions and bringing them back to life. It was, he said, "'about' solipsism or Narcissism, or any other ism that denotes the failure of the human personality to function properly in nature and society." Although set in the South, the poem's larger theme was "the cut-off-ness of the modern 'intellectual man ' from the world." Such a man, who was obviously Tate, was trapped between a need for religious faith and the reality of the "fragmentary cosmos" surrounding him.
In an article Tate thought "the best" ever written about him, critic Lillian Feder observed that the Ode, rich in allusions to the ancients, must be interpreted within "the framework of the classical world." Tate's poetry, she observed, "speaks of the present only in relation to the past, and his view of the past is the epic view, heroic, exalted, the poet's past rather than the historian's." For Tate, the Ode not only explored these complex views of the present but marked the beginning of the twelve-year period recognized by many scholars as the era in which he was absorbed by Southern culture and the history of his own family. Indeed, he told Davidson that writing the poem had been so wrenching for him personally that it dredged "up a whole stream of associations and memories, suppressed, at least on the emotional plane, since my childhood." Years later he still believed he had let go emotionally "only once: in the Ode." In the first published version of the poem, later to be revised considerably, he asked
What shall we say who have knowledge
Carried to the heart? Shall we take the act
To the grave? Shall we, more hopeful, set up the grave
In the house? The ravenous grave?
Leave now
The turnstile and the decomposing wall:
The gentle serpent, green in the mulberry bush,
Riots with his tongue through the hush
See him what he knowshe knows it all!
In time, the final line would become "Sentinel of the grave who counts us all!"
Tate's Southern friends were mystified. Davidson admired the poem, but was annoyed at his friend for reducing the grand themes of Southern history to "personal poetry." "Your Elegy," he observed, "is not for the Confederate dead, but for your own dead emotion." It did not appear to Davidson that the poem had much to do with Confederate soldiers. "Where, O Allen Tate," he asked, "are the dead? You have buried them completely out of sightwith them yourself and me." Even Robert Penn Warren referred to the poem as "the Confederate morgue piece." Yet after the Fugitives examined the Ode more closely, they abandoned their early reservations. They came to agree with subsequent critics who placed the Ode among the major poems of the century. It would be reprinted countless times.
from Allen Tate: Orphan of the South. Princeton UP.
Return to Allen Tate


text:
Media Digest (11/23/2012) Reuters, WSJ, NYT, FT, Bloomberg
Wal-Mart Stores Inc. (NYSE: WMT) India suspends some employees as it begins a bribery investigation. (Reuters)
PMI data for Europe drops to 2009 lows. (Reuters)
S&P confirms its AA+ rating of France but voices concern about the country's deficit. (Reuters)
Research In Motion Ltd. (NASDAQ: RIMM) shares rise as investors anticipate the release of new products. (Reuters)
Samsung gets a court order to allow it to review deals of an IP suit settlement between Apple Inc. (NASDAQ: AAPL) and HTC. (Reuters)
Germany may buy EADS shares from France. (Reuters)
EU leaders disagree over how a regionwide budget might work. (WSJ)
A number of companies and government officials want people with visas who create start-ups to stay in the United States. (WSJ)
Fed President John Williams says the central bank is nowhere near its limit to buy bonds. (WSJ)
Japan's car makers roll out plans to regain business lost in China because of tensions between the two nations. (WSJ)
Ford Motor Co. (NYSE: F) plans to expand its dealership network in China. (WSJ)
China stops filling its strategic oil reserves. (FT)
Citigroup Inc. (NYSE: C) will close half of its branches in Greece. (Bloomberg)
Alcatel-Lucent S.A. (NYSE: ALU) is in finance talks with Goldman Sachs Group Inc. (NYSE: GS). (Bloomberg)
Douglas A. McIntyre
Filed under: 24/7 Wall St. Wire, Press Digest Tagged: AAPL, ALU, C, F, GS, RIMM, WMT

subset: commoncrawl


text:
Note: Supplemental materials are not guaranteed with Rental or Used book purchases.
Purchase Benefits
What is included with this book?
|p. xi
|p. xiii
|p. xix
|Introduction: The Child-Centered Approach, Student and Practitioner Approaches to Learning, and Our Approach to Teaching
|p. 1
|CCPT in Context: Key Concepts From Child Development and Principles of Human Change
|p. 23
|The Ideal Therapist Qualities: Deep Empathy, Unconditional Positive Regard, and Genuineness
|p. 49
|The Eight Principles in Child-Centered Play Therapy
|p. 71
|Preparing Your Setting for Providing Child-Centered Play Therapy
|p. 89
|The Two Core Therapist Skills: Tracking and Empathic Responding
|p. 107
|Creating an Optimum Environment for Therapy Through Structuring and Limit Setting
|p. 131
|Responding to Questions, Requests for Help, and Commands
|p. 167
|Role-Play: The Therapeutic Value of Taking Part in Dramatic or Pretend Play During Child-Centered Play Therapy Sessions
|p. 195
|Recognizing Stages: Understanding the Therapy Process and Evaluating Children's Internal Progress
|p. 225
|Helping Parents, Teachers, and Principals Understand and Support the Child's Work in Play Therapy
|p. 255
|Goals, Treatment Planning, Reporting, and Evaluating Progress
|p. 293
|Filial Therapy: Involving Parents and Caregivers in Child-Centered Play Sessions with Their Children
|p. 315
|Helping Children Capitalize on Gains Made in CCPT
|p. 335
|Reaching Diverse Clients with the Child-Centered Approach
|p. 347
|Legal and Ethical Issues From a Child-Centered Perspective
|p. 367
|Your Ongoing Development
|p. 383
|Skills Support Resources
|p. 395
|Special Reference List for Chapter Opening Quotes
|p. 409
|p. 413
|Name Index
|p. 423
|Subject Index
|p. 427
|Table of Contents provided by Ingram. All Rights Reserved.


text:
How to Step Up and Play in the Outdoor Industry
The Outdoor Industries Women's Coalition Portland State University Chapter is a new organization on campus that is excited to be partnering with awesome women from the local athletic and outdoor community. Please join us for our first event next Thursday, Feb 13 to hear from HR professionals from Yakima Racks, Gerber Gear, and adidas on their careers, company culture, and what it takes to be successful in the A&O Industry. This event is free and open to everyone!
4:30-5:30 p.m.


text:
Law School Discussion
Applying to Law School => Law School Admissions => Topic started by: dnis913lv on August 14, 2012, 03:31:11 PM
My chances
Post by:
August 14, 2012, 03:31:11 PM
I know these boards are flooded with posts like these, but I am in a tight position right now.
Long story short -- I currently have a 2.5 GPA with 2 semesters left (hopefully I can get up to a 2.75+, maybe extend for a 3rd semester to get above the 3.0 hump). The reasoning for my low GPA is that I worked a 40+ hour a week job in a managerial position at a major hotel to help support my family. After 2007 we were severely affected, and I had no other option but to work to pay for my own college. Financially speaking, I am doing well, and in fact, may be able to expense my first year of law school out of pocket (depending on the school of course).
I live in Las Vegas, and ideally would love to practice law in Las Vegas. I am eye balling Boyd School of Law (UNLV), but I am open to other schools (Syracuse, Nova, Marquette, UC Irvine etc..). I understand that I may have to look at certain t3 or t4 schools but I was wondering what my shots are at Boyd, or any top 100 law schools, by providing my addendum. I have very strong work experience (which is the reason my GPA was affected), and my GPA in classes that are 3/400 level is well over a 3.6+. In addition, is there anything I can or should do to leverage my GPA (take easy classes, pick up another major?)
Any insight would be greatly appreciated.
Re: My chances
Post by:
Maintain FL 350
August 14, 2012, 04:41:02 PM
Without an LSAT score it's nearly impossible to handicap your chances at a given school. Law school admissions is a numbers game, and your GPA/LSAT profile will pretty much determine where you'll get win. Factors like work experience, grade trend and distribution, biographical factors, etc are all "soft" factors. They will only come into play if you are on the borderline of admit/not admit, if at all. The vast majority of applicants are simply admitted based on numbers.
Assuming that you can raise your GPA to 2.75 (3.0 seems like a stretch with only three semesters left), I think you'd need something like a 160-165 to have a good shot at UNLV/Marquette/Syracuse, and 155-160 (maybe even lower) for Nova. Although UC Irvine is new, it's admissions criteria are high. You'd probably have to score 170+, and even then your GPA might keep you out.
If you haven't taken the LSAT yet, start preparing now. A high score will not only give you a better shot at admission, but may even get you some scholarships. Even with a low GPA an LSAT of around 165 would probably get you some scholarship offers at T3-T4s. Something to consider if you have a family.
One last thing:
if you want to practice in LV, look at local schools. Going to school in Milwaukee or Florida is not conducive to obtaining internships in LV, or making connections that will help you land a job after law school. The job market is tight, and you'll need to gain some experience in the area in which you intend to practice. It's much easier to obtain that kind of experience if you're already in the region. Along with UNLV, you might want to check out Arizona, Utah, and California schools too.
Re: My chances
Post by:
August 14, 2012, 08:44:39 PM
Before I say anything realize that I or anyone else posting on this board or others are nothing more than anonymous internet posters whose advice should be taken with a heavy grain of salt. However, I have gone through law school so I can offer some advice to you.
First and foremost it appears you are making the all to common 0L mistake of putting heavy emphasis on law school rankings. Remember that U.S. News is nothing more than a for profit, unregulated magazine offering an opinion. The top 100 change every single year for example I graduated law school 5 years ago and my school was in the 70's when I started it has been tier 3 and last year was in the 11 way tie for 84th place. When I go into court the judge doesn't look up the law school rankings and make million dollar decisions based on the magazine. Instead it is me versus the other attorney and I have never heard an attorney name their law school in open court or put in a brief, memo, etc. When your outside of the law school bubble getting results for your clients are what matters not some unregulated, for profit magazine offering an opinion
To further my point U.S. News ranks more than law schools Albequre is the best place to live according to them. http://money.usnews.com/money/personal-finance/real-estate/articles/2009/06/08/best-places-to-live-2009 (for your reference) .
Then by 2032 you the best places to live will be South and North Dakota and of the major factors in this is the availability of dental visits, I am not making this up. http://money.usnews.com/money/blogs/the-best-life/2012/08/07/here-are-the-best-places-to-livein-2032 (for your reference) .
I doubt you will move your family, quit your job, etc to move to North Dakota, South Dakota, or Albuquerque based on the rankings cited above and law school is no different. So please when making the life altering choice of the city you will spend three years of YOUR life in, spend 100,000 of YOUR money, and obtain YOUR legal education don't let some magazine make the decision for you.
With that said your GPA is going to be a bar to get into almost any ABA school unless you do extremely well on the LSAT. In your scenario UNLV would probably be the best option if Las Vegas is where you want to live. The reality is whatever city you attend law school in is likely where you will spend the rest of your life. If you spend three years of your life in Milwaukee you will likely end up there. Reason being you will have an apartment, make friends, enter into a relationship etc while in Milwaukee this will be hard to leave.
I have had a long day so sorry if this post is a little incoherent I apologize, but please use your common sense when applying law school don't make a life altering decision based on a magazine. However, I am nothing more than an anonymous internet poster so maybe I am wrong, but you better get to South Dakota by 2032 if your going to let U.S. News run your life.
Re: My chances
Post by:
August 15, 2012, 12:28:52 AM
Haha, thank you for your insight.
I am looking at New York schools as well, as I grew up in New York and have many friends and family out there. I understand my GPA is going to be my biggest downfall, and I am hoping I can come strong with a good LSAT score, and a strong addendum explaining my situation. Obviously UNLV is my #1 pick. Thankfuly, I built a strong connection with a professor who used to teach at Boyd, and is going to write me a letter of recommendation.
Would picking up another major be beneficial if I know that second major will be able to bounce my GPA up?
I feel positive in my ability with the LSAT. I have been doing very well with take home exams, and I'm hoping with the next year and a half that I'll dedicating to study, I'll be able to top 160. Nova is mostly my fall back, last option. I have a cousin who lives in that general area of Florida. I'll be looking into Arizona, and California schools as well. ASU is an option that comes up regularly, and I know there's a good amount of California schools I can look at.
If anybody as any insight they can toss my way, I would greatly appreciate it.
Re: My chances
Post by:
August 15, 2012, 02:34:50 AM
Try again, without the snark.
Re: My chances
Post by:
August 15, 2012, 08:33:54 AM
If your still in undergrad the best thing to do is take some fluff courses if possible. I received A's in flag football, volleyball, sports & film, and some other courses and that counts towards your UGPA. The substance of your numbers don't matter much all that matters is the number itself. A 4.0 in basket weaving will help your chances more than a 3.2 in molecular biology at the vast majority of schools.
I would recommend extending undergrad and throwing in some easy courses to boost your GPA. GPAs can be easily manipulated in undergrad and doing so can get you scholarship money in law school, get you in the school you want, etc.
As for the second major I don't know how that would work that might take to long. Instead add some electives maybe go part-time to lighten the load and get A's. If you have steady employment while in undergrad you might as well boost the GPA. There is no need to rush law school is not going anywhere.
Again I could be 100% wrong in everything I said as could any anonymous internet poster, but the above is my advice. Good luck to you.
Re: My chances
Post by:
Maintain FL 350
August 15, 2012, 09:15:16 AM
Quote from: dnis913lv on August 15, 2012, 12:28:52 AM
If anybody as any insight they can toss my way, I would greatly appreciate it.
Maintain your grades and boost them if possible (Legend's advice here is very good), but make the LSAT your singular focus. In your case I really think the LSAT will be the dispositive factor. A high LSAT can overcome a low GPA, but not the other way around. If you can score high , you'll be a splitter (like I was), and soft factors like an addendum or letter of recommendation may be taken into account. However, if you have a lower LSAT score, you'll probably be auto-rejected and those things won't even get read.
Do everything you can to max out that score. Start seriously studying now, take timed practice exams, and take the time to understand why you got certain answers right or wrong. The LSAT is a standardized test, and you can definitely improve your score by understanding what the testmakers are looking for. The more you practice, the more you'll see predictable patterns and you'll be able to anticipate the answer.
Lastly, if you are confronted with the choice of going to a local (CA, AZ, NV) T3-T4 vs. an out-of the-region T2, don't make your decision based on rankings alone. A student at Phoenix or Whittier, for example, might very well have better internship/clerkship opportunities in Las Vegas than a student from Syracuse who has to fly across the country to compete with local talent.
Good Luck!
Re: My chances
Post by:
August 15, 2012, 10:46:27 AM
I was wait listed at UNLV with a 160/3.3 and a four year full-time career. The firm I work for has an office in Vegas.
Boyd has a lot of financial backing and they are on the rise.
Vegas is an interesting market though. The are so many little firms and attorney jobs pop up on craigslist all the time. There are also a lot of good jobs in the Carson City area as well. I think you have a decent chance at Boyd if you kill the LSAT. If your score is under 163 or so, you will probably need to refocus on lower ranked schools.
Keep the Southern Cali schools and Gonzaga in mind. It also might not be a bad idea to look into some crappy eastern schools like Washburn, Akron, etc. They have low tuition, easy in-state rules, and they offer a lot of good scholarships.
Re: My chances
Post by:
August 15, 2012, 02:00:44 PM
Thank you for the insight. This will help me narrow my search for law schools to New York (where I'm from originally, and wouldn't mind going back to), Las Vegas, California and Arizona.
I will delay my graduation by a little bit, in order to raise my GPA up a couple of points to better my chances. I'm still employed and the money I make, the less loans I need.
The question is: Does law school care about my work experience? Is having managerial experience in a major hotel/resort in Las Vegas going to make any impressions? The real reason I say this is.. I could easily go to Valet, and make 65k+ a year, work less hours and be in a much less stressful position. If, however, work experience is important and looked at, I might as well stay with where I am at.
Re: My chances
Post by:
August 15, 2012, 02:07:52 PM
In my narrow experience, nobody really cares about your work experience unless it is directly related to the job you are applying for. A law school may be impressed by novel achievements or by specialized schooling.
UNLV could be a different story if you worked for a former student turned big-wig or something.
Re: My chances
Post by:
Maintain FL 350
August 15, 2012, 03:20:17 PM
As I said before, work experience (especially non-legal) will be a soft factor at best. If you are on the cusp it may help push you into the "admit" category. The main point, though, is that you need to be numerically competitive in order for the soft factors to count. I had nearly ten years of legal and scientific career experience when I applied. My resume was many magnitudes stronger than the average 22 year old applicant who worked at Quizno's for a semester. Nonetheless, my offers of admission and denials were totally predictable based on GPA/LSAT alone.
A high (or low) LSAT score will make your resume almost irrelevant. I know that's not especially encouraging, but it seems to be true.
Re: My chances
Post by:
August 15, 2012, 03:50:11 PM
This may be a bit of a rant, but nonetheless.
The LSAT drives everything. It's crap, but it's true. Law School Rankings matter, because law school rankings play a significant factor in both the incoming class and the interest of employers. Schools understand this, so they play the rankings game.
Here is how the ranking is calculated: http://www.usnews.com/education/best-graduate-schools/top-law-schools/articles/2012/03/12/methodology-law-school-rankings
As you can probably see, the ranking system is incestuous. Employers hire from the school with the best students, the best students go to the school with the best employment prospects, and the schools that pump out the most prestigious lawyers get the best peer assessment.
As rankings go up, students and employers are attracted to the school. But its pretty clear that what everyone wants are the best students (not necessarily the best-trained students) Because the scores are relatively tight between #25 and #75, every point matters, and admissions offices have little immediate incentive to bring in someone with a good career. They'll use those "soft" factors as a tiebreaker, but they will almost always choose a 163/3.6 with a job at quiznos over a 158/3.1 with an impressive management career.
I think the main reason why is that employers and schools are terrible at evaluating experience. Resume's, recommendations, and references are so unreliable and almost always inflated. Work ethic changes over time as well. Virtually all of the decision makers go for the "hard" factors because they are easier to evaluate and they have an impact on rankings.
Re: My chances
Post by:
August 16, 2012, 03:03:04 PM
Good thing I go to UNLV... Where I can take classes like Old World Wines, New World Wines, Beers and Spirits... And it counts as upper division electives. I really do appreciate everyone's insight in this conversation!
Simple Machines


text:
An educational conference on Smith-Magenis Syndrome (SMS) was held on Sept 21-24, 2000 at the Key Bridge Marriott, Arlington, VA. The conference was co-sponsored by the National Human Genome Research Institute (NHGRI) and the National Institutes of Health (NIH) Office of Rare Diseases (ORD), in conjunction with the parents' support group Parents and Researchers Interested in Smith-Magenis Syndrome (PRISMS ).
The conference series brought together parents, researchers and professionals caring for persons with SMS to exchange information, ideas, scientific data and family experiences. Attendees heard from medical experts, geneticists,and parents about the latest information on the medical, social, developmental and behavioral aspects of SMS, as well as current research efforts into the cause, management and effective treatment of SMS. The format of invited speakers and a series of smaller, more hands-on workshops was designed to maximize the exchange of information between parents and professionals from a variety of specialties.
Additional information is available through PRISMS:
Parents & Researchers Interested in Smith-Magenis Syndrome (PRISMS)
76 S. New Boston Road
Francestown, NH 03043
Phone:(603) 547-8384
E-mail: firstname.lastname@example.com
Prisms Web Site: www.prisms.org/
SMS Research Roundtable: September 21, 2000
Immediately preceding the educational conference, PRISMS Professional Advisory Board convened a small SMS Research Roundtable discussion between basic scientists and clinicians to share, review and discuss current findings and plans for needed future research on SMS. Since SMS is a multi-system disorder, the involvement of a multidisciplinary team of collaborating researchers is essential to understanding its unique physical, developmental and neurobehavioral characteristics.
Ann C.M. Smith, M.A., D.Sc.(hon)
Chair, PRISMS Professional Advisory Board NHGRI/Office of Clinical Liaison
Phone: (301) 402-2011
E-mail: firstname.lastname@example.com
Last Reviewed: December 27, 2012


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SMDH: My Baby Is Black [1960's Film Trailer]
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Study Supports Restricted Diet for Kids With ADHD
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LONDON – Children with attention-deficit hyperactivity disorder (ADHD) should be fed a special diet to help their caregivers determine whether certain foods are making their condition worse, Dutch scientists said on Friday.
In a study of 100 children with ADHD, one of the world's most common child mental disorders, scientists from Radboud University and the ADHD Research Center in the Netherlands found that a restricted diet led to significant improvements in the symptoms of some ADHD sufferers.
"Dietary intervention should be considered in all children with ADHD, provided parents are willing to follow a diagnostic restricted elimination diet for a five-week period, and provided expert supervision is available," the scientists said in their study in The Lancet medical journal.
ADHD is estimated to affect around 3 to 5 percent of children worldwide. Children with ADHD are excessively restless, impulsive and distracted, and often have difficulties at home and in school. There is no cure, but the symptoms can be kept in check by a combination of drugs and behavioral therapy.
Previous studies have suggested that in some children, ADHD might be an allergic or hypersensitivity disorder that could be triggered by any type of food that can cause allergic reactions.
In this study, children aged four to eight years diagnosed with ADHD were divided into two groups and given either an elimination diet or a general healthy diet for five weeks.
Jan Buitelaar of Radboud University, who led the study, said in a telephone interview that the elimination diet was restricted to rice, water, white meat such as turkey, and some fruits and vegetables that are generally considered as unlikely to cause allergies.
Foods such as wheat, tomatoes, oranges, eggs and dairy products were kept out of the diet as they are often linked with allergies or food intolerances.
After five weeks, children who reacted well to the restricted diet went into a second phase in which different groups of foods were gradually added to their diet and their symptoms monitored to see if they worsened. The foods were different for each child, based on blood results.
In the first phase, 64 percent of children in the diet group had significant improvements in their ADHD symptoms, Buitelaar said, and showed a decrease in "oppositional defiant disorder symptoms" such as challenging behavior.
External experts commenting on the research said it offered "excellent evidence" that dietary changes might be very beneficial for some children with ADHD, but they questioned whether it would be cost-effective in time and resources.
"We need to know more about how expensive the intervention is, how motivated parents need to be to make it work, and how easy it is for parents to get their ADHD child to stick to the diet," said David Daley, professor of psychological intervention and behavior change at Britain's Nottingham University.
Professor Jim Stevenson of Southampton University said it was good for parents to explore alternative treatment options.
"Many parents are reluctant to use a drug treatment and it is important that alternatives such as the few foods approach can be shown to be effective," he said.


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Kailua's pristine beaches and strong trade winds make it an excellent destination for swimming, sailing, kite-flying, or just relaxing and enjoying the view. If you are planning a trip to Kailua for your next vacation, why not try renting your very own vacation home instead of staying at a hotel? There are cozy rental condos perfect for a romantic beach getaway, luxurious beachfront houses spacious enough for the whole family, and everything in between. With the amazing assortment of vacation rentals in Kailua, there is sure to be a perfect rental for any budget or need. Vacation rentals provide a truly one-of-a-kind experience when traveling to Kailua, with all the privacy and space of your own home away from home.
Kailua Beach Park is one of the major destinations in the area, and has the unique distinction of being two separate and very different beaches divided by a small area. Both Kailua and Lanikai beaches attract swimmers, surfers, and boaters alike due to their soft white sand, beautiful waters, and postcard views of the two islands in the distance. After you hit the beach, how about a shopping trip to Kailua Farmer's Market for some fresh food, or Mu'umu'u Heaven for some unique island wear? Barbie lovers rejoice; Kailua is home to the Hawaii Loves Barbie Dolls Museum, a private collection that is free to check out if you make an appointment in advance. No matter how you decide to spend your time in Kailua, at the end of the day staying at your very own vacation rental will make your trip even more special.
From flying kites at the beach to enjoying the Barbie Dolls museum, there is plenty to do in Kailua that children will love. With vacation rentals, it is easy to bring along the entire family without worrying about renting extra hotel rooms. Your rental condo, villa, or beachfront home will have enough space for everyone. For large groups, it is the more comfortable and economical choice, and children will feel more secure knowing they are staying in a place that feels like home.


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Alphabird is a vertically integrated audience development company that guarantees targeted, engaged audiences for online video on a performance basis. Alphabird was an early pioneer in the distribution of Click-To-Play video content and ha...
Evidon gives businesses an easy, standard way of providing evidence of compliance with industry guidelines, and consumers more transparency into and control over how their information is used online
Ghostery is leading in Top 10K Sites, Top 100K Sites and Top 1M Sites.
In terms of market share, Alphabird is clearly lagging behind, losing to Ghostery in all segments.
Ghostery has better usage coverage in more websites categories. Including Arts & Entertainment, Finance, Autos & Vehicles, TV & Video and 54 other categories.
Alphabird is leading in Humor.
Ghostery is leading in most countries, including United States, Russia, Canada, Brazil and 36 other countries.
Alphabird hasn't got a lead over Ghostery in any country.


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LAKELAND | A Bartow lawyer was arrested on numerous drug-related charges Wednesday night, according to the Polk County Sheriff's Office.
LAKELAND | A Bartow lawyer was arrested on numerous drug-related charges Wednesday night, according to the Polk County Sheriff's Office.
William Evans Jr., 56, of 260 W. Van Fleet Drive in Bartow, was charged with manufacture of methamphetamine, possession of listed chemicals, using a residence to manufacture methamphetamine, possession of methamphetamine, possession of marijuana, possession of drug paraphernalia, maintaining a vehicle for drug use and violation of probation, records show.
It's not the first time Evans has been arrested for methamphetamine.
In 1996, Evans was arrested in a narcotics investigation, according to records, for his role in the distribution of methamphetamine.
More recently, Evans had been on probation following an disorderly conduct charge, Polk sheriff's records show.
At the time of his arrest Wednesday, Evans was already under investigation by the Sheriff's Office High Intensity Drug Trafficking Area Task Force.
He was arrested after he struck a deer on State Road 60 on Sunday night.
While at the scene of the crash Sunday, a task force detective asked if he could search Evans' vehicle, reports said. Evans refused the search, despite a consent order that was part of the conditions of his probation.
Detectives eventually arrested Evans on the violation of probation charge and searched the car, finding a baggie of methamphetamine and glass pipe, according to reports.
Several days later, detectives received a search warrant for Evans' home, reports said. While there, detectives found multiple pipes with methamphetamine residue, baggies of finished methamphetamine, marijuana and materials for making methamphetamine.
[ Jeremy Maready can be reached at 863-802-7592. ]


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Newsosaur: Get Ready for the Internet of Everything
By: Alan D. Mutter
What do smart smoke detectors, interactive underwear and electronic toll tags have in common?
They, and a growing number of sensors in myriad places, are linked to the Internet, creating vast new sources of real-time and individualized data that can be sliced and diced in ways that, for good or evil, will change information consumption and commerce—and roil the media business all over again.
By most accounts, the Internet of Everything, Everywhere, All the Time and Almost Everyone is coming soon.
The number of Internet-connected sensors on inanimate devices (like milk-expiration apps in refrigerators) and living creatures (like ovulation monitors implanted in cows) is expected to quintuple to 50 billion by 2020, according to Cisco Systems, one of the many companies counting on the next turn of technology to help sell all sorts of new hardware for homes and business.
Sensors that passively record the air quality in your home, your heart rate at the gym and the moment you cross the Tappan Zee Bridge will capture an unprecedentedly "holistic picture" of your behavior and your environment, says Shawn G. DuBravac, the chief economist of the Consumer Electronics Association.
"While one sensor might tell us something we want to know, multiple sensors deployed in conjunction might be able to tell us something previously unobserved," writes DuBravac in a whitepaper at http://tinyurl.com/sensorwp. "Recommendations derived from these sensor arrays can become more than the sum of their parts."
Although the brewing tsunami of holistic information may be valuable to individuals and businesses, it also could turn out to be invasive and creepy. Only time will tell.
But Google left little doubt that ubiquitous tracking is on the way when it purchased a company called Nest for a nifty $3.2 billion in the opening days of the year. Nest makes Internet-connected thermostats and smoke detectors that continuously monitor the environment in your home to turn down the heat if you sleep late on Sunday or ping your smartphone when the toast burns. One appealing feature of the $130 smoke detector is that it can be silenced by a flick on your phone or a wave of your arm.
While the price Google paid for Nest represents less than 6 percent of the ample cash in its coffers, the transaction raised eyebrows—and some hackles—because it was another step in the tech giant's growing ability to meticulously monitor our movements.
Google already has the capability to learn the location of our smartphones, the pattern of our searches, the contents of our emails, the engagements on our calendars, the names in our address books, our activity on Google+, the media we consume and a good deal about how we shop and spend our money (as mobile payment technology rolls out, Google will know even more).
With the acquisition of Nest and the additional home-security products (baby monitors, burglar alarms, electronic door locks, etc.) that undoubtedly are on its roadmap, Google will have the theoretical capability—which it so far says it will not use—to seamlessly monitor your activities while you are in the comfort of your home. If and when Google perfects the self-driving car, the company also will be able to track your movements when you are on the go.
Although everyone loves the idea of a smoke detector that can be silenced without fetching a ladder, the Internet of Everything means our lives will be monitored, measured, managed and potentially manipulated in ways we cannot fully appreciate today.
We already are well into the early days of data-driven content presentation and consumption:
- When you search "weather" on Google, Bing or Yahoo, you get the forecast for your precise location.
- After you select a few songs to launch a custom Pandora channel, the site learns from your ongoing behavior the sort of music you like.
- Based on the movies you put on your watch list, Netflix suggests additional programs you might want to see.
Going further, Amazon long since has mastered the art of using data capture and predictive analytics to make the cash register ring. As you contemplate buying a book or power drill at Amazon, the site skillfully points you to additional products that "customers like you" have bought. The recommendations are almost always spot on.
The good news is that the Internet of Everything creates new opportunities for media companies and the marketers who buy advertising from them. The bad news is that it creates new threats for media companies and their advertisers. The challenge is figuring out which is which.
Although the full implications and opportunities of the Internet of Everything remain to be revealed, it needs to be on everyone's personal and professional radar. Ladies and gentlemen, start your sensors.
Alan D. Mutter is a former newspaper editor who became a Silicon Valley CEO. Today he advises media companies about technology and tech compnies about media. He blogs at Reflections of a Newsosaur (www.newsosaur.blogspot.com).


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Onkyo TX-NR5007 A/V Receiver
Some critics say hip-hop is dead. If they're right, then Kanye West and Li'l Wayne should get into the A/V receiver business. The two industries bear striking similarities. Hip-hop artists maximize sales by loading up their albums with guest performances. Audio manufacturers maximize sales by loading up their receivers with guest technologies.
Onkyo's top-of-the-line receiver, the TX-NR5007, illustrates my point. It's only the second receiver I've seen that outputs all 11 channels of sound needed for a complete Audyssey DSX surround sound setup. It's certified by THX and the Imaging Science Foundation (ISF). It includes Dolby Volume and Pro Logic IIz height-channel processing. It upconverts video using HQV Reon-VX processing. It streams from the Pandora, Rhapsody, and Sirius Internet music services — and from computers on your home network.
But just as you can't make a great hip-hop record merely by tacking on a vocal from T-Pain, you can't make a great receiver with outside technology alone. Fortunately, Onkyo packed the TX-NR5007 with plenty of its own good stuff, starting with nine analog amplifiers, each rated at 145 watts continuous, plus two independently adjustable subwoofer outputs. (You need to add a separate stereo amp to get full 11-channel DSX.) If you don't want to run a full DSX setup, you can bridge two of the unused amp channels to double the power into your front left and right speakers. You can also use the extra amps to biamplify the front speakers, powering the woofer and midrange/tweeter sections separately, or to power stereo speakers in one or two other rooms.
Onkyo provides seven HDMI inputs, with an extra one in front — more than even Jay-Z's home theater would probably require. There's a phono input for a turntable, and front and rear USB inputs. A multipin jack accommodates two optional modules: the $159 UP-HT1 HD Radio tuner and the $109 UP-A1 iPod dock. It's the rare home theater aficionado who won't find every jack they need on the back of the TX-NR5007.
As I scanned the 15 logos on the TX-NR5007's front panel, then flipped through the manual, I got the impression I was in for a long installation, with a zillion minor parameters to be addressed and a high likelihood that I'd miss some important adjustment lurking in an out-of-the-way menu. But the TX-NR5007 surprised me at every turn. Operations that sounded difficult in the manual turned out to be completely intuitive.
When you first start up the receiver, it practically forces you to go through the Audyssey auto-calibration process, which uses a supplied microphone and a series of test tones to evaluate your speaker system and your room. The process then calculates the channel levels and delays, the subwoofer-crossover frequency for each speaker, and an equalization curve for each speaker. Except for minor miscalculation of a couple of crossover frequencies, the auto-calibration worked perfectly.
Other setup functions were quick and easy. Even setting up the universal remote proved simple. An onscreen menu for remote control setup guides you though the process. Choose the device and the brand, and then the receiver transmits the proper codes to the remote. In less than 5 minutes, I had the remote programmed to control my LG Blu-ray Disc player and Samsung digital TV tuner.
The networking setup also proved far simpler than the Onkyo's manual suggested. After I plugged in an Ethernet cable from my home network, I found that the Internet radio feature was ready to go. In seconds, I was listening to a richly accented commentator dish international news on BBC 4. Using Pandora required only that I enter my user name and password through an onscreen keyboard; almost instantly, I was listening to a channel focused on the works of Indian percussionist Zakir Hussain.
When I tried to stream music from my laptop through the network, it turned out I had something set wrong on my computer — but the receiver's onscreen menu suggested a fix. After I changed one network setting on the computer, a computer icon appeared on my TV screen. A few clicks of the remote delivered "What I Say" from Miles Davis's Live-Evil — and a moment of elation as I heard this classic track expanded to huge, 9.2-channel sound courtesy of Audyssey DSX. Switching to other tracks was simple, except for one annoyance: The onscreen display shows the tracks in alphabetical order, not in the order they appear on the album.


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Hard Reset and Factory Reset of ZTE Imperial II
Before you try the factory reset or hard reset on your device, make sure that you have backup your important files. Restoring the default settings or factory reset your device will delete all your existing files and will go back to its initial state.
>>> On your device touch on Home.
>>> Go to Apps, then Settings.
>>> Select on Backup and reset.
>>> Choose Factory data reset.
>>> Touch on Reset phone. If you also want to remove all data saved to an installed micro SD, just tick the Erase SD card check box before touching Reset phone.
>>> And lastly touch on Erase everything and just follow the prompt to complete the factory reset.
Follow the onscreen instructions to set up your phone again after the reset.
Hard Reset:
>>> Press and hold on the Power button and Volume Up at the same time for a few seconds.
Hard Reset and Factory Reset of ZTE Imperial II Reviewed by Chris Abalo on 5:44:00 PM Rating:


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3:00 am
MI-5 "A Chance for Peace" Al-Qaeda's number three person offers to negotiate with Harry at a private meeting - the location of a bomb set to detonate that day in exchange for a public pardon for two Al-Qaeda prisoners. The Home Secretary resists, Russia tosses in a new problem for MI-5, and a mole stirs the pot.G
4:00 am
Hustle Albert decides it is time for a break as he leaves for time in his favorite casinos. "Liability" Finch, an old friend of Ash's, shows up wanting help with a Van Gogh he has acquired. Mickey tells him it is too risky. The Head of Customs appears with his own proposal that puts the team in a very tight spot, so Sean tries to take matters into his own hands.G
5:00 am
Survival: Lives in the Balance "The Plant That Cures Malaria (Uganda)" Too late to save his daughter, who died from contracting malaria, Clovis learns that the Artemisia plant can be cultivated on his farm in Uganda. A chemical extracted from Artemisia is the main ingredient of a drug that can cure malaria in the early stages of the disease. Clovis organizes other farmers into a cooperative to grow the plant only to run into a new company policy that may stand in the way of their efforts.G
6:00 am
Mister Rogers' Neighborhood "Electric Cars & A Boy In An Electric Wheelchair" Mister Rogers visits a garage where electric cars are being made. In the Neighborhood of Make-Believe, Handyman Negri organizes a search for Prince Tuesday and the unhappy Prince is finally found. D
6:30 am
Curious George "George Makes A Stand/Curious George Sees The Light" George sells lemonade to buy a soccer ball and causes problems when he adjusts a traffic light.G
7:00 am
Wild Kratts "Secrets of the Spider's Web" When the creature adventuring Kratt Brothers take a nasty tumble, the Wild Kratts sets off on a mission to find and recreate one of the greatest of all biotech engineering secrets. Spider silk. D
7:30 am
Peep and the Big Wide World/Pocoyo "Quack Quack/One Duck Too Many" There's only one way to get rid of an obnoxious duck, and that's to build her a new pond - to her exact specifications, of course. Megan Mullally guest-stars as Quack (#2.) Pocoyo: Elly on Ice - Elly finds ice-skating frustrating, but succeeds with encouragement and practice. D
8:00 am
Cat in the Hat Knows A Lot About That! "Wrapper's Delight/Dive Swim Scoop" Wrappers Delight - Sally and Nick are trying to wrap a present for their moms. But they're having problems. Why meeting Cat's good friend Gina the Giraffe Weevil, will help! Gina shows them how she uses leaves to wrap her eggs to protect them while she waits for them to hatch. D
8:30 am
Angelina Ballerina: The Next Steps "Angelina and Roquefort's Rhythmic Ghost/Angelina's Lunch Table" Angelina and Roquefort's Rhythmic Ghost - When Gracie hears a mysterious tapping in Roquefort Hall, she is afraid that the place is haunted. But soon Gracie, Angelina, Vici, and AZ are inspired to tap and hip hop to the sound, building on the rhythmic pattern each time they dance. With a little help from Ms. Mimi, they learn the truth about the "ghost" of Roquefort Hall! Angelina's Lunch Table - All of Angelina's friends are dying for her individual attention. D
9:00 am
Bob the Builder "The Big Dino Dig Special (Pt. 3)" Muck's Track to Trouble - Today's job is to build a railway that will travel around the Dinosaur Fun Park. Scoop, Muck and Scratch are asked to dig out the route, and lay the track. Muck hits a rock that is large and oddly fin-shaped, which forces him to build a rickety bridge over it! A test run begins and as soon as the train is on its way, the rickety bridge begins to crumble! Faced with disaster, Muck swallows his pride and asks for help from the others. D
9:30 am
Barney & Friends "The Shrinking Blankey and the Awful Tooth" The Shrinking Blankey: Baby Bop's blankey seems to be getting smaller; she's convinced it's shrinking. But Barney shows her that, actually, SHE is growing. She is not sure she likes this idea at first, but Barney soon helps her see that growing and changing are very good things! Educational theme: Growing. D
10:00 am
Wishbone "Golden Retrieved" This live-action program follows the exploits of Wishbone the dog and his human friends, Joe, David and Samantha through their adventures in their hometown of Oakdale. Wishbone's everyday experiences trigger his imagination and he finds himself in scenes from classic works of literature. In this episode, Joe forgets Wishbone, when nothing seems more important than a new mountain bike. D
10:30 am
WordWorld "Pl-Pl-Plane/Mail Mix Up" Pl-Pl-Plane: Frog and the Bug Band are headed to have some fun on the beach, but not everything goes as Frog had planned. Frog loses the letters "PL" from his plane and must search through the jungle to find them. After some crazy jungle adventures (including a run-in with a giant Frog-kissing plant), Frog realizes that fun doesn't always have to be planned! Mail Mix Up: Duck offers to help Kangaroo deliver letters to his WordFriends, but he forgets Kangaroo's instructions and delivers the wrong letters to everyone. D
11:00 am
BBC Newsnight NULL
11:30 am
Consuelo Mack WealthTrack "Dirty Words of Finance" Guest: Cliff Asness, Managing and Founding Principal, AQR Capital Management. This week's "Consuelo Mack WealthTrack," features a rare interview with "Financial Thought Leader" Cliff Asness of AQR Capital Management, a global investment management firm which runs hedge funds, mutual funds and a diversified collection of investment strategies. Asness discusses the three "dirty words" of finance and how investors can get back to "clean" investing principles. D
12:00 pm
To The Contrary with Bonnie Erbe Women of Color in the USA; UN Women Ad Campaign Exposes International Sexism; Behind the Headlines: Governor Mary Fallin of Oklahoma, Chair of the National Governor's Association. PANELISTS: Delegate Eleanor Holmes Norton (D-DC), Spike the Watercooler Founder Marjorie Clifton, The Heritage Foundation's Jennifer Marshall, Red Alert Politics Editor Francesca Chambers. D
12:30 pm
McLaughlin Group NULL
1:00 pm
Painting and Travel with Roger & Sarah Bansemer "The Red Dairy Barn - Part 2" Roger and Sarah Bansemer visit the foothills of the Blue Ridge mountains in Tennessee. Roger uses acrylics to finish the painting of the red dairy barn and Sarah explores the farm, silos and outbuildings. D
1:30 pm
Sewing with Nancy "Fearless Quilting Finishes, Part 3" Are your stashed quilts "in a bind?" Overcome the fear of applying binding with Nancy's easy methods. Learn how to cut and apply traditional binding and binding for unique shapes (curves, hexagons, and more) including effortless mitered corners. Plus, Nancy shares ideas for using prepackaged binding with perfect results. D
2:00 pm
Quilting Arts "Mixed Bag" Quilting has many variations, themes and ideas - it's hard to define it just one way. First, Barbara Schneider has a lesson on digital cloth printing. Begin with a photograph and software and end up with custom cloth. D
2:30 pm
Hometime "Creekside Home Dried In" See the last few steps needed to get things dried in, including a lot of glass from top to bottom. D
3:00 pm
Woodsmith Shop "Rustic Step-Back Cupboard" Simple construction takes center stage as the editors of Woodsmith magazine build a rustic, step-back cupboard. D
3:30 pm
This Old House "Jersey Shore Rebuilds 2013: Getting to Work" Kevin gets a look at decimated Mantoloking, New Jersey with Chris Nelson in a beach rescue vehicle. The Bay Head home's new first floor is framed, four feet in the air. Helical pull-down micro-pile technology literally screws the Point Pleasant house in place, as timber piles are driven into the ground for Rita's new modular home. D
4:00 pm
Ask This Old House "Replacing a Kitchen Faucet with a Hands-Free Model/Installing a Channel Drain to Divert Rainwater" Richard replaces a leaking kitchen faucet with a new hands-free model. Kevin explains rechargeable batteries. Roger installs a channel drain in a driveway to divert rainwater. D
4:30 pm
Growing a Greener World "Waterwise Gardening (San Diego, CA)" We explore how gardeners can maximize their garden's beauty while still minimizing their water usage using time tested and the latest watering technology. D
5:00 pm
Dialogue "Historian Nathaniel Philbrick" Host Marcia Franklin talks with the author about his book Bunker Hill: A City, a Siege, a Revolution. They also discuss his earlier book In the Heart of the Sea: The Tragedy of the Whaleship Essex, which tells the true story behind Herman Melville's Moby-Dick.G
5:30 pm
6:00 pm
PBS NewsHour Weekend On Sunday we report from Hawaii, where a battle has erupted in Kauai between residents who claim they are getting sick and large companies developing genetically modified seeds. That, and the weekend's news, online and on-air. D
6:29 pm
British Antiques Roadshow "Retrospective 2" Previous unscreened finds from recent locations include a book of police records found in a dumpster that expose a plot to poison Prime Minister Lloyd George, and the largest Faberge egg seen on the program.G
7:00 pm
Outdoor Idaho "Home on the Range" The real heyday of the American cowboy has come and gone; but in Idaho, the hard-scrabble hero of so many of our nation's legends can still be found, riding the range on the West's public lands. It seems there will always be a place for cowboys, wherever there are cattle to be rounded up and wild horses to be tamed, and wherever there are people who love the cowboy lifestyle. As cowboy poet Rudy Gonzales reminds us, "People want to be cowboys!"G
7:30 pm
Oregon Field Guide "Sneaker Waves, Glacier Caves, Frank Moore" Dangerous sneaker waves injure and kill people every year. The program examines what steps people can take to be safe at the beach.G
8:01 pm
Father Brown "The Hammer of God" When an ungodly man is murdered at the unveiling of a new church clock, Father Brown must find the killer before an innocent woman is sent to the gallows.G
9:00 pm
Masterpiece Classic "The Paradise, Part Three" Miss Audrey falls ill and Moray must appoint one of the girls as her substitute, intensifying the rivalry between Denise and Clara. Meanwhile Katherine enjoys the affections of new suitor Peter Adler, but is still conflicted about her lingering feelings for Moray. Part 3 of 7G
10:00 pm
Masterpiece Classic "Downton Abbey (S2 E2)" Downton Abbey becomes a convalescent home for wounded soldiers to ease overcrowding at the hospital. O'Brien is shocked to find Isobel Crawley giving most of the orders and suggests Thomas might aide Cora, now relegated to the background. Violet tries her best to undo Matthew's engagement to Lavinia while remaining convinced there is more to Lavinia's relationship with Sir Richard than meets the eye. Part 2 of 7G
11:00 pm
New Tricks "Body of Evidence" When the body of missing computer expert Martin Longthorn, who worked for the Metropolitan Police, turns up in the morgue of a teaching hospital under a false name and address, the UCOS team members find themselves drawn into the unfamiliar world of online hacktivists.G


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Dwyane Wade's home court advantage
Style News Wire | 9/19/2012, 9:13 p.m.
Miami Heat star Dwyane Wade says he felt numb as a child when he watched his mother inject herself with heroin.
"My mom didn't know I had seen her shoot up," he said.
Jolinda Wade managed to overcome her addiction. But her son's new book, "A Father First: How My Life Became Bigger Than Basketball," offers his perspective on her drug use for the first time.
His mother says that seeing the story through her son's eyes was emotional for her.
The book jumps from Wade's tumultuous childhood with his sister on the south side of Chicago to his more recent past, when the 30-year-old NBA star was awarded joint custody of his two sons after a bitter court battle with his ex-wife.
He credits his older sister, Tragil, with helping shield him from the trauma of his mother's addiction. She took 10-year-old Dwyane to live with his father, Dwyane Wade Sr., in Robbins, Illinois, away from the drug deals and police raids he had grown accustomed to.
"My father stepped up," Wade said. "I'm successful today because my father stepped up."
Wade's talent also helped him emerge from his turbulent early life to become one of professional basketball's most prominent players. After leading the Marquette University Golden Eagles to the Final Four, he entered the NBA as the No. 5 draft pick in 2003. Now a guard for the Miami Heat, he has helped his team win two NBA championships.
But his mother's transformation is arguably more remarkable than her son's. Jolinda Wade, 57, is now a pastor in Chicago -- and drug-free. She runs the church New Creation Binding and Loosing Ministries and the community center Barrier Breakdown Transformed, which caters to people in need.
The community center serves as a safe haven for children affected by Chicago's teacher strike.
"I'm able to give people hope," she said.
One of the most poignant parts of her son's book comes when he tells his mother that she's still his favorite girl -- even when she is in the throes of her addiction.
Now, Wade said, "We have a great relationship." She has eight grandchildren ranging in age from 1 to 21, including Wade's sons, Zaire, 10, and Zion, 5.
That mom appeal is helping diversify Wade's fan base. At a recent book signing at the public library in downtown Atlanta, there was a strong contingent of women amid a sea of young men and boys clad in Miami Heat jerseys.
Alice Doanes, who just celebrated her 71st birthday in August, was one of them. She is a mother, a grandmother, a retired teacher and an ardent Wade fan. She stood in the line that wrapped around the block, clutching her copy of "A Father First," hoping to get her picture taken with the NBA star. "I always admired him, because he looked like a clean-cut guy."
She had a long wait ahead of her: Fans said they had been standing in line for several hours.
Wade can count his favorite girl among the book's fans. Even with its candid account of his childhood, Jolinda Wade said, "I love the book."