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Dr. Paulo Moreira is Assistant Professor of Spanish & Portuguese at Yale University, and the author of Regionalism and Modernism in the Short Stories of William Faulkner, João Guimarães Rosa, and Juan Rulfo. Originally his dissertation at the University of California, Santa Barbara, Regionalism and Modernism in the Short Stories of William Faulkner, João Guimarães Rosa, and Juan Rulfo is now available in book form in Brazil. He is also currently translating a collection of William Faulkner's short stories into Portuguese.
In July I had the opportunity to skype with Dr. Moreira. I was in San Diego while he was in Belo Horizonte preparing to attend the 2011 BRASA Conference. This conversation, while presented here in fragments, lasted two hours, and covered a wide range of topics concerning João Guimarães Rosa. I would like to thank Dr. Moreira for his help & support.
Felipe Martinez: Dr. Moreira, I appreciate you taking the time to speak with me.
Paulo Moreira: It's my pleasure. I really love A Missing Book. It's very exciting to see something like it in English. You know that Guimarães Rosa is still mostly unknown in the United States, and it's difficult to find resources in English to share with other people. I attended a meeting last month at Yale where they discussed the idea of expanding the courses on canonized literature, which they call Directed Studies at Yale. They are thinking of expanding it to include Latin America, Asia, and Africa. At this meeting, I talked to people about Guimarães Rosa, and some there, who had never heard of Rosa, were really interested in learning more about him. Unfortunately, we don't have a really good translation of Grande Sertão: Veredas, but I was able to send them a couple of short stories, and they loved them. You know it's really all about having translations that are not only "good," but meaningful. That's why I'm so looking forward to having a new translation of Grande Sertão: Veredas.
FM: Well, you know that my first experience with Guimarães Rosa was with The Devil to Pay in the Backlands, and, while I know it may be a clunky translation, it's a beautiful book nonetheless. A brilliant story is still conveyed, and at the very least it's an effective translation—though incomplete.
PM: I have taught a class at Yale based on my book about Rulfo, Guimarães Rosa, and Faulkner, Modernismo Localista nas Américas: os contos de Guimarães Rosa, Faulkner and Rulfo, and I did ask my students to read the English translation. And I had to make photocopies of it, because, as you know, it's not easily available anymore. I had them read it because I do think it's effective, but I still strongly believe we need a new translation.
FM: I completely agree. When I began A Missing Book, it was because I read The Devil to Pay in the Backlands, and the first thing I thought was that more people needed to know the book. Later, I also realized that meant we would need a new translation. I entered it with the mind frame of 'I want people to be able to read this work. How do I do that?' I was very lucky to have the opportunity to connect with Professor David Treece.
PM: One of the stories I sent to my colleagues at Yale was David Treece's translation of "The Jaguar". I really think it's one of the best translations of Guimarães Rosa.
PM: Lets take Faulkner for example. Faulkner's been recently retranslated in Brazil. The publisher is very reputable, and they hired really good people to work with the novels of Faulkner. They're great editions, yet, if you read them in Portuguese, I'm sure you're not going to see the same Faulkner—of course. There are always issues that can be raised about the translation of someone who works with language on the level of Guimarães Rosa or Faulkner. I think it's an easy criticism when you take the original, and then you complain about certain features of the original that are not there. All translations work this way. As a translator, you have to negotiate, and you have to write something that is compelling, interesting, and exciting. If you read Guimarães Rosa's letters to his translators, he was telling them that they didn't have to follow to the original too closely. He said: 'write your own way. Find your own solutions. Don't worry too much about sticking to the original.' So, when I hear someone criticizing any translation for not being like the original, I stop listening. You know: that's the obvious thing! It's not the original. I've translated a couple of Faulkner's short stories for a very interesting website in Rio called Portal Literal ("Wash" and "Celeiro queimando"/"Burning Barn"), and I found, that as a translator, you have to make some very difficult decisions. You have to leave things out, and you have to bring things in. I think David Treece had to make some very tough choices in translating "The Jaguar". It's a very difficult story, and it's one of Guimarães Rosa's most complex works as far as language is concerned. I think Treece did a really, really good job. It's a really interesting story.
FM: I thought so too. I read Giovanni Ponteiro's translation before I found Treece's, and I have to say that while I loved Ponteiro's version, Treece's had something…just a bit more. In 1997, Ponteiros's translation was a step, and in 2001, Treece took another step towards providing the English-speaking world with a work we would have otherwise not known. For me, translation is a privilege. It's nothing to scoff at when you can't read the original in the first place. A glimpse of something other than what you see and know in your own language: it's amazing to me. And that's why I think The Devil to Pay in the Backlands was so important.
PM: Exactly. You know, I say to my friends who argue against translation: do you read Russian? They say No. And I say: what about Dostoyevsky, or Chekov, or any of the Great Russian writers that you only know from translations? Sure, you have to take the word of people who work with translations to know this is good, or this is bad, but ultimately, the translation is all you have. You are probably not going to learn Russian well enough to read Great Russian literature—and even if you do! Then there's German, there's Swedish, there's Italian, and Japanese and Chinese…you have to rely on translation. The same thing happens with semiotic translation, when someone adapts a book or short story to film. There's always the easy criticism which is oh, it didn't have this, or: it didn't have that, or: it wasn't the way I imagined this character to be…, and in my own experience, I think the best adaptations, which is a form of translation, are the ones that end up being great movies. Even if they are markedly different from the original version. I think an excellent example of this is the film Mutum. I think it's the best adaptation of a story by Guimarães Rosa, and it's an important story which has not been translated into English yet, "Campo Geral," also known as "Miguilim." I know there is a recent and beautiful translation of the story in Mexico, but it hasn't been translated into English. Anyway, it's a beautiful movie, the adaptation of this story. The film differs greatly from the story, however. The film is filled with silences. You don't have half of the words that are used in the story. But that doesn't take away from it. It's beautiful, and it is a true adaptation of Guimarães Rosa's work—like I said: the best. So, that being said, the very best translation of Grande Sertão: Veredas will not be perfect. And I think ten, twenty, a hundred years from the moment a new translation comes out, someone will hopefully be able to improve upon it. And that's the point, you build and improve upon the previous translation. So, the translation of De Onís and Taylor is not wasted work. It's something translators should build on. There are passages in The Devil to Pay in the Backlands that are good. Have you read Harriet De Onís's translation of Sagarana?
FM: I've read some of the stories.
PM: I think it's a very good translation. The work she did with Sagarana really captures the spirit of the book as a whole. I've read some of the letters exchanged between Guimarães Rosa and De Onís. She wasn't really fluent in Portuguese. And he wasn't very fluent in English. There's a very exciting debate in their correspondence where he is outside of his comfort zone, and he is trying to make suggestions to her, and she doesn't like the suggestions. There's a sort of tension there that makes for very interesting reading. With his German and Italian translators, he was much better at smoothing over their relationship. He loved to flatter his translators.
Cordisburgo/Brazil/The World/The Universe
PM: The tiny little town where Guimarães Rosa was born. Now, this is a great trip to make. The town really is small. It used to be on the railway line. The roads followed different paths then, so it's kind of lost in the middle of somewhere now. The people there really embraced Guimarães Rosa. So much so that they teach his stories to the children and teenagers of the town, who then memorize the stories by heart. These students will take visitors on walks through the surroundings and the students will recite entire short stories by Guimarães Rosa. Also there, you have the house where he was born and spent the first years of his life before he came to Belo Horizonte. Every July, as you know, they have a week of celebrations in honor of Guimarães Rosa. They invite people to give talks, they have music, theater, all kinds of great things during that week. The great thing: there's only one hotel in the town. So when that week comes, and so many people go to Cordisburgo to celebrate, the residents there turn their homes into bed & breakfasts, and open up their homes to visitors. It is definitely a great experience. I think going there gives one a new appreciation of Guimarães Rosa's work.
You know, in Brazil, there was a tendency for quite a few years to emphasize what people understood as "the universal appeal" of Guimarães Rosa. You have to understand that Guimarães Rosa, Faulkner & Rulfo published some of their most important works precisely in the moment when, in the United States, Mexico, and in Brazil, there was a general rejection to what people identified as "regionalist" or "rural" themes in literature. These three writers faced a lot of criticism. Some people were frankly upset with what Guimarães Rosa was writing about in the fifties. At a time when everyone was saying that the country was modernizing, and that it was the time for the great Brazilian Urban novel…all of a sudden Guimarães Rosa comes along—he writes great literature, and everybody recognizes this—but he's writing on rural themes that were considered out of fashion and out of tune with the country in its stage of development. So, for many years, the tone of many critics was to say that Guimarães Rosa's relationship to Minas Gerais was just the surface of his work, something superficial; that to understand the true value of his work, you had to pierce through this, apparently, regional "crust"—the real value being something "universal". In my book, I argue about this. It's a huge mistake that made people, for many years, trying to ignore or downplay the importance of region in the work of Guimarães Rosa. If you look at the way he wrote his stories, and the relationship that the stories have with the actual locations he was writing about, it's really interesting. Because it's far from a typical regionalist representation of the countryside. It takes liberties, it's freer, and it's wilder, and it mixes and shuffles precise cultural elements from different parts of the state.
The Jaguar
PM: In the free time I don't have, I'm writing a paper on "The Jaguar", because I think there are a lot of things people overlooked when they studied the story. First, Guimarães Rosa had first-hand contact with indigenous people in Brazil, especially in Minas Gerais, because he worked at the service for the protection of the indigenous people; and second, he wrote that story under the impact of the first case of a massacre of indigenous peoples in Brazil that was tried in court. It involved the Kraoh, the tribe around which the protagonist of "The Jaguar" grew up. The Kraohs are interesting in many ways, and Guimarães Rosa was obviously aware of many of their characteristics; and he played with them in the story in a very interesting and exciting way. First, the Kraohs were great jaguar hunters, and so they were hired in the nineteenth century by farmers to hunt jaguars. As the frontier was moving inland, the major farming was cattle farming, and the first concern they had was to get rid of the all the jaguars, which preyed on the cattle. But the Kraohs, after a while, were not only hired to kill jaguars, but also, sometimes, even other Indians. The second important thing about the Kraohs, unlike many other tribes in Brazil, was: they accepted outsiders into the tribe. If you notice in the story of the jaguar, the protagonist is not Kraoh, his mother is not a Kraoh, she's from another tribe, which is massacred, and so she is accepted into the Kraohs. —which all fits into the description of the behavior of the tribe in "The Jaguar".
Furthermore the Kraohs became famous in the fifties, shortly after the first indigenous massacre, when a member of the Kraohs had a vision: that in the near future, Indians would become whites and whites would become Indians. But that in order for that to happen, in order for the Kraohs to become white people, they had to forsake all their customs. And so the whole idea of rejecting indigenous identity is also a part of the psychology of the Kraohs. At the time Guimarães Rosa is writing "The Jaguar", about a man of mixed ethnic heritage—his father is white, his mother is indigenous—who is clearly torn between his allegiance to his totem, the jaguar, and his allegiance to white people who are bent on wiping out the jaguars. There's a sort of short circuit there, where instead of dejaguarizing the region, he stars to dehumanize the region by killing every human around.
Guimarães Rosa was obviously aware of all this, of the story, and he's playing with it in a very creative way. It's not a faithful representation of Kraohs, or the Kraoh culture, or the historical events related to the Kraohs, but a sort of free interpretation of all these things into one fiction. One of the key points in my book is that for Rulfo, Guimarães Rosa and Faulkner, Modernism—and I mean that here in the English sense—was very important, because it freed them from mimetic representation. It allowed them to see literary representation as interpretation, rather than as depiction of things the way they were. And it was the key moment when they were finally free to write about these places and be Modern.
PM: By writing about these local places, Rulfo, Guimarães Rosa and Faulkner were able to solve this false paradox—which was prevalent at the time they were writing—which was summed up in this statement: Latin America and the American South are condemned to write old-fashioned, realist literature, because Modernist literature is the expression of the big, urban, industrialized centers. In other words: if you weren't writing about Modern life, you weren't a Modernist. For this reason, a lot of people were expecting the great urban novel out of Mexico and Brazil. They expected the big urban novel because they thought it would be the expression of these countries' development, of the entry of these countries into full Modernity. William Faulkner is especially important for Rulfo, and, as another example, for Gabriel García Márquez, exactly because he shows that one could write about this little place in Mississippi, this marginal place in Mississippi. Mississippi is a marginal place in the south, and the south is a marginal place in the United States—marginal from both the cultural and the economic centers of the United States—and yet, Faulkner was able to write high Modernism based on this little region in northern Mississippi. I believe this was a source of liberation for Rulfo who grew up in the south of Jalisco, which is marginal to the state's capital, Guadalajara. He was tied to Jalisco, and Faulkner showed Rulfo that he could set his stories in this place and draw on his own knowledge to write fiction, great modern fiction based on that place. And I believe it was the same in the case of Guimarães Rosa too. He had this almost anthropological interest in everything from his region of Minas Gerais. For example, I found published in the literary supplement, Suplemento Literário Minas Gerais, one very interesting, unpretentious work about one short story, and not one of his well-known pieces, called "Mechéu". It's from the last book published in his lifetime, Tutaméia, and the story is more of a character sketch of a man called Mechéu. So in the Suplemento Literário, a man found a letter written by Guimarães Rosa to a cousin who lived near Cordisburgo, and in the letter, Guimarães Rosa asks about a guy he'd met on his cousin's farm, one Mechéu. The letter by Guimarães Rosa is in the form of a myriad of specific questions about Mechéu. Rosa asks things like: what kind of food did he eat? Did he curse? Did he go to church? Did he say blasphemous things? Very detailed questions.
This is a pattern in Guimarães Rosa's life.
Guimarães Rosa was a doctor, a diplomat, he would come back to the countryside and people would ask him if he wanted to meet the mayor, the poet of the city, the doctor, but he was always looking for the gypsies, the beggars, the prostitutes, the children! These were the people he was interested in, and they were the people he wrote about. A large majority of Guimarães Rosa's characters are beggars, the insane, travelling salesmen, prostitutes, gypsies. There are people in Itaguara who say "you know, Guimarães Rosa was really odd, because he would spend an amazing amount of time talking to gypsies." There was a gypsy camp nearby, and he would visit it every day and talk to them for hours. He was trying to learn their language, and people in the city thought it was really weird.
So, his cousin writes back a long letter in which he answers everything Guimarães Rosa had asked about Mechéu. It's interesting when you take the two letters and put them together with the story in Tutaméia, because you will find the incredible ways in which he used the real material to create stories. In fact, you will find whole paragraphs in the story "Mechéu" that were written by Rosa's cousin. It's interesting also to see in which ways he stays true to the real Mechéu, and the moments when he departs from the actual Mechéu to create his fictional character. It's something I'm very interested in, because it hasn't been fully explored. And why hasn't it been fully explored? Because critics in Brazil were always banging out the same message over and over again: Guimarães Rosa is universal, Guimarães Rosa is universal, Guimarães Rosa is worth reading because it holds the great truths of the human heart…and the great western tradition he follows. There are countless works by people tracing neo-platonic philosophy in his work…religious references in his work…things like that. You see the point of view in the fifties and sixties, and even into the seventies, was that you had to prove that Guimarães Rosa was worth being read all over the world, and that he had a great contribution to make to world literature. They really had to emphasize his western credentials, which I think was a mistake. And that's not to say that I mean he has not been influenced by Neo-Platonism, that he did not read and use it in his literature. What I'm trying to do is repeat the gesture that he made: to break with this dichotomy and work with both sources, to reject this idea that there is a clear-cut division between what is western and non-western. In the Americas, at least. In African American culture in the United States, for instance, we cannot identify precisely what is African and what is non-African. In this case you see a true fusion, and it becomes impossible to pinpoint what is western and what is non-western. Or, for example, Camara Cascudo, a famous scholar who studied folklore in the first half of the twentieth century in Brazil, points to the fact that sometimes people assumed that certain oral narratives were African, only to discover that they had been taken to Africa by the Portuguese (who might've gotten it from the Arabs), and then adopted and adapted by Africans, so: it was hard to tell whether the story came from Africans or the Portuguese. It's pointless to say that whatever comes from Africa is non-western.
William Faulkner, João Guimarães Rosa & Juan Rulfo
PM: All three writers, Faulkner, Guimarães Rosa and Rulfo, in a given moment in their careers, played with the self-image of the countryside, simple man, but they were all quite erudite. They were definitely aware of the avant-garde and high modernism. Faulkner read fluently in both English and French. In the case of Rulfo, among his papers, a review has been found of Faulkner's Absalom! Absalom!—IN ENGLISH! And I can tell you that Rulfo was one of the very, very few Latin Americans to read William Faulkner in English. The others, like Gabriel García Márquez, probably read Faulkner in French. And Rulfo, as far as reading was concerned, was amazingly erudite. He could sit down and talk to you about Swedish literature, Norwich literature, Russian literature, and he knew a lot about Brazilian literature. There's a very interesting Mexican writer named Daniel Sada – Sada died last year. If you read anything by Sada, I'm sure you're going to recognize Guimarães Rosa's influence. He won the very prestigious prize in 2008, the Herralde, and he writes both novels and short stories. I spoke with Sada myself. He had workshop classes with Juan Rulfo in the seventies, and he told me: 'Rulfo knew everything about Brazilian literature, and he told me that the best Latin American writer ever, was not Borges, was not García Márquez, was not Rulfo himself, but Guimarães Rosa.' The reason why Sada read Guimarães Rosa, and Clarice Lispector, along with a host of other writers from Brazil, was because Rulfo told him about these writers. Rulfo had a great amount of admiration for Brazilian literature, and for Guimarães Rosa in particular.
Not in this book, but in another book I'm currently writing, I talk about this fantastic trip that Guimarães Rosa and Juan Rulfo took together by bus from Mexico City to Guadalajara. It was a seventeen-hour bus ride, and it happened because Guimarães Rosa wrote to Rulfo telling him he was going to Mexico for an event full of dinners and talks, and he wanted just the two of them to do something. While doing research I found, among Guimarães Rosa's papers, a label from a pumpkin preserve Guimarães Rosa bought on that trip. It was a seventeen-hour bus ride from Mexico City to Guadalajara, with all the stops imaginable in between, and along the entire way they ate sweets and cheeses and talked about the Mexican countryside, which Rulfo knew all about, and exchanged stories about big criminals and horrible crimes in Minas Gerais and in Jalisco. They were good friends even though they only met two or three times, and Rulfo always talked about the high regard he held for Guimarães Rosa. José Maria Arguedas, in his diary, wrote about meeting Guimarães Rosa and Rulfo at those meetings of Latin American writers, and he writes about the kinship he felt with them, and the arrogance he felt in Vargas Llosa and Fuentes, for example. And maybe this was just Arguedas perception, but he felt that they were being slighted because they were not big shot, cosmopolitan writers in Europe. Juan Rulfo was a very shy man, and he was not keen on speaking in public, and that was sometimes interpreted as if Rulfo was a man with no culture, a man with no interests. Some people in Mexico would even insinuate that Rulfo would not have published anything if it were not for the help of certain individuals. When the Latin American Boom occurred in the sixties, Rulfo and Guimarães Rosa were there, but they never garnered the acclaim that Borges had. And I mention Borges in particular because Borges was, as Rulfo and Guimarães Rosa, older. They were not up-and-coming like Vargas Llosa, Fuentes, García Márquez, and Cortázar. They were older writers in Latin America who took advantage of the boom, and Borges was especially successful. There are many reasons for this, but I think a major one has to do with translation. And this has nothing to do with any kind of assessment of the quality of the work, but it is clear, at least to me, that Borges's works were more easily translatable than Rulfo's or those of Guimarães Rosa. For example, Hemingway was translated very well into Portuguese and Spanish right there and then, whereas Faulkner's work was horribly translated, because it was really hard for a translator to master English enough to really understand Faulkner, and then translate him to Portuguese or Spanish.
PM: Translating Rulfo and Guimarães Rosa, there is a real level of difficulty. It is really tough. You have to make choices. It's complicated. You have all of these cultural references and obviously you're going to have to come up with multiple solutions for translation. They're harder to translate. Anyone who wants to criticize the English translation of Grande Sertão: Veredas…you have to admit: it is a difficult work to translate. You're working with oral culture, playing with syntax, word formation, and if you're translating Grande Sertão: Veredas, you have to get out of your comfort zone. It can't be straight, plain English. You have to do something like Treece did in "The Jaguar". He made a decision and stuck with it, and it's good! Think about Faulkner, and his southern accents. Now try to translate that into Portuguese. What do you do with that accent? Do you pick a place in Brazil that sounds something like "southern" to Brazilians? What do you do with that? You have to do something with it; it's a good part of what Faulkner is! If you turn him into some sort of standard English, you're spoiling half the fun of reading Faulkner.
FM: How have translators in Brazil dealt with that?
PM: That's a tough question to answer. I think different books of Faulkner present their own challenges. Like if you take The Sound & The Fury, for example. If you compare it to Absalom! Absalom!, or Light in August, or even As I Lay Dying, it is less marked. It is less Southern. I mean, it's very Southern, but it's less Southern when you compare it to Absalom! Absalom!—for the translator to work with. In the sense that there is a kind of written language in the South that belongs to the educated class, and it has a certain mark. But it's different from the mark of illiterate people in the South. Then you have another kind of Southern English, that of the former slave. Faulkner works with all these variations of English. I can tell you it would be very easy for me, someone who has read The Sound & The Fury in English, to take The Sound & The Fury, as it's been translated by Paulo Henriques Britto, who is a great poet and a great translator, and to break into pieces and criticize it…well, could I do better? [laugh] I don't think so.
When I originally wrote my book, William Faulkner, João Guimarães Rosa, and Juan Rulfo, it was in the form of my dissertation, and I wrote it in English. When I got the chance to publish it in Brazil, in book form, I had to translate it into Portuguese. I did it myself. And one of the reasons I translated it myself was because…in English, I don't have to tell you where Mississippi is; I don't need to explain that the Mississippi River is different from Mississippi, the state. And in America, even if you're not very knowledgeable about Southern culture in the U.S., you probably know enough to get started. When I translated it into Portuguese, I had to slow down and explain certain things that might be considered obvious in English. It's the same thing on the side of Guimarães Rosa and the region. In English it's great to read about Minas Gerais, but in Portuguese it's kind of obvious. Nobody here needs to be told where Minas Gerais is. Everybody knows where Minas Gerais is, and everybody knows that there was a gold rush in Minas Gerais in the eighteenth century. These are things I can assume my Portuguese-reader knows. I think the translator of Guimarães Rosa or Faulkner, has to deal with this too. Moments where you have to be a bit explanatory, and other moments where you just have to let it go. These are tough choices. I think that if you were to get ten, top-notch translators, and ask them to work on Guimarães Rosa independently, on the first fifty pages of Grande Sertão: Veredas, you would get ten very, very different solutions. And it would be extremely hard for me to say which is the best or which is the second- or third-best. It's easy to tell a terrible translation from a good translation. It's extremely hard to tell, between two good translations, which one is best. Maybe one will handle some things better, and the other, other things better, but both can be good. Can there be one translation that combines what each does well? Maybe not.
FM: Right, because perhaps one sacrifices something that is key to the success of the other, and vice versa.
PM: Exactly. Can you not sacrifice anything? I don't think so.
FM: Translation denotes change.
PM: Right. If you didn't sacrifice anything at all, I don't know that what you would end up with could be better. And that's the problem I think we encounter when someone translates Guimarães Rosa into English. They need to be fluent in English, know it inside and out, and at the same time, have an intimate knowledge of Portuguese and Brazil, or work with someone from Brazil.
FM: Have you ever met Dr. Treece?
PM: No, I haven't yet.
FM: Well, he's from the U.K., but he has strong ties to Brazil. I believe he speaks Portuguese almost as well, if not just as well, as he speaks English; and not only that, he has connections with special resources like the Arquivo Guimarães Rosa at the University of São Paulo.
PM: Yes, exactly. This is the kind of experience and teamwork I'm talking about. Because if there's one thing I hear from Brazilians it's: "oh, you know, you're going to mess this up", or "that up"; or: "you're never going to be able to translate THIS little feature or detail of Grande Sertão: Veredas"…—I have to go back to the example of adaptations. Say you're going to adapt Shakespeare, and you have three forms of building a relationship with the Shakespeare you're going to adapt. One) you think of yourself as very, very small, and you think of Shakespeare as this humongous idol, and you become too respectful. Maybe you're very neat, and tight, and faithful in your adaptation, and you end up with a film that is really not all that interesting, or a film that is just OK. Which is fine, but if you make an OK film adaptation of Hamlet, which is an absolutely fantastic play, your adaptation cannot be called a success. Two) you think of yourself as BIGGER, and you feel you can have any freedom to do anything you want to do, and you run a lot of risks. Unless you're a kind of genius, you're going to mess up and produce something really bad. The ideal form is the third one: 3) is to prepare yourself to look at the work you're adapting or translating, in this case Shakespeare, with respect, but not too much respect. You have to look him in the eye. If there's too much respect, you start being too careful with things, wanting to ensure you don't "mess" with things, that you don't leave anything out, and the final product is not as good as it should be.
FM: The approach is especially important when the work you're translating is so wild to begin with. Looking back, it probably definitely would have been a huge mistake for Harriet de Onís and Taylor to attempt a 1-for-1 translation of Grande Sertão: Veredas. Just a mess. Like professor Piers Armstrong has been sure to point out: Harriet de Onís was a very accomplished translator, and The Devil to Pay in the Backlands was not indicative of inability, but rather the result of an adopted strategy.
PM: The issue here is you have to end up with a great book in the end. A book you read in English and say "wow, what a great book," just as someone who reads it in Portuguese would read it and say "wow, what a great book." If you look at the history of Grande Sertão: Veredas in Portuguese, you will find that the reception of the work has been less neat than many people think. In the beginning a lot of people disliked Grande Sertão: Veredas…a lot. A lot of people thought Grande Sertão: Veredas was too complicated, too hermetic, was just…crazy. Too crazy. Too difficult. People thought it was an elitist book, because they thought it to be a book that could only be understood by a reader with a certain level of erudition. And this is something we face. We have to face the fact that if you give The Sound and the Fury to a native English-speaker, but one who doesn't really read a lot, it's going to be very tough! But if you're someone who has been reading, maybe you read a lot in high school and went to college and trained yourself as a reader…well, it's still not going to be easy, but your chances of enjoying it will be much greater. It's the same with Grande Sertão: Veredas. It's not a book just anyone, especially someone who isn't a strong reader, can enjoy—in any language. I think if you look at the history of the translators in other language versions of Grande Sertão: Veredas, you will find they don't agree with each other. Like in the case of the Spanish, for example, which was recently retranslated and published in Argentina: the new translators criticized the first Spanish translator, Ángel Crespo, quite a bit. But I don't know. I read parts of both translations, and I think they're both good. They really thought Crespo's version was bad, but I think this is an exaggeration. As far as The Devil to Pay in the Backlands, look: I used The Devil to Pay in the Backlands in my class. I asked my students to read it. I said to myself: 'Ok, it's not the ideal translation, ok, there are problems there, BUT the book is there—actually it wasn't easy to get. I had to contact the publishers to let me use it—and I think my students would be better off reading it in that translation than never reading it at all. Am I going to re-imagine and retell them what Grande Sertão: Veredas is? Am I going to just give them the story in a nutshell? Of course not! The experience would be much, much worse than reading The Devil to Pay in the Backlands. The Devil to Pay in the Backlands is a valuable book in that it is the closest English-readers can come to reading Grande Sertão: Veredas. That is…until we get a new translation.


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IBM Model D Executive Typewriter
IBM Model D Executive Typewriter
- Description
- The IBM Model D electric typewriter was produced in the spring of 1967 in both a regular and executive versions. The Model D Executive featured proportional spacing originally introduced in IBM's Model B Executive typewriter. Instead of every character taking exactly the same space on the page, thin letters received narrower space, and wide letters got wider space. Other features of the Model D included a "control row" above the keyboard that allowed the user to adjust the margins, the tab settings, and the ribbon position.
- Originally founded in as the Computing-Tabulating-Recording Company in 1911, IBM began its venture into typewriter manufacturing with the acquisition of the Electromatic Typewriter Company in 1933. In 1935 IBM produced its first electric typewriter, the Model 01, which IBM considered a commercial success. IBM continued producing typewriters throughout the 20th century until 1990.
- Location
- Currently not on view
- maker
- International Business Machines Corporation
- location of prior holder
- United States: Maryland, Rockville
- Measurements
- typewriter: 9 1/4 in x 25 in x 16 in; 23.495 cm x 63.5 cm x 40.64 cm
- ID Number
- 1984.0499.01
- accession number
- 1984.0499
- catalog number
- 1984.0499.01
- Credit Line
- Mrs. Helen A. Hess
- See more items in
- Work and Industry: Mechanisms
- Typewriters
- Computers & Business Machines
- Data Source
- National Museum of American History
The Executive took time to adjust, but the material it produced brought a new sophistication to anything typed and printed.
Olive Schott
Thu, 2017-07-06 08:42

subset: commoncrawl


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Our customers are both commercial and DIY boaters and as such, both offer really cool insight into how TotalBoat is used and what people think. We want honest feedback and a fair shot up against our competition in all the major areas of use. And then, we really want pictures, stories and videos about your projects and how you've used TotalBoat, as well as your feedback. Show us your before and after, your trashed and repaired. Tell us about your experience working with our products and how they helped you get the job done so you can go boating. Because we all want to spend less time under the boat and more time enjoying it on the water.
Send stories, images, videos to firstname.lastname@example.com and be entered in a drawing for FREE TotalBoat swag and product every month. We love our TotalBoat product but it is nothing without you: the Customer, and your own projects big and small!
(Media submitted can be used in catalog, website and blog postings. Please include a photo caption and credit anas well as your email address. Thanks!)
Redoing the deck and cabin top of a Herreshoff Marlin sloop
Planking work at IYRS (Int'l Yacht Restoration School)
A fiberlgass and epoxy repair at McMillen yachts
Enticer coming out for the season. McMillen Yachts
Building a wake board. Sanding down the TotalFair fairing compound.
Grain surfboards sells their kits with TotalBoat Epoxy!
Epoxy on sweet wooden surfboard at GRAIN in Maine.


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Rick Pretty, FSA, MAAASenior Vice
President, Deputy Head of Life R&D
Rick leads a multi-disciplinary team in charge of strategic mortality R&D activities, including new data sources and underwriting, mortality research and global referrals for mortality risk.
He also drives innovation initiatives and expansion of the Velogica product into the fully underwritten and preferred market. Rick brings more than 25 years of actuarial and insurance industry leadership experience. He was most recently with TIAA as Senior Managing Director, Product Management & Chief Product Actuary, where, in addition to his actuarial team responsibilities, he was responsible for the management of TIAA's $250 billion book of fixed and stable value institutional products.
He holds a bachelor's degree in mathematics from Western Michigan University. He is a Fellow in the Society of Actuaries and Member of the American Academy of Actuaries.
Email Rick


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Hi All,
I got my BFP yesterday morning, only 2nd month trying, so I'm delighted. It took almost a year on my little girl. Just made appointment for GP on Wednesday morning. EEEkkkkkk
Hi bbsig! Congrats! I was at the gp on Friday...was the same as you but had to go with my little boy anyway! I would have been 5 weeks 2 days. It's showed up on her test (she had warned me beforehand that my clear blue would be more accurate!) And also mentioned that I was totally ok to fly up to 26 without it being confirmed by doc.(you can still fly after that but some airlines require a letter from doc). It's my 3rd so I knew this already but it's still nice to hear from professionals! It'll be great to get some peace of mind so you can enjoy your trip xx
Bbsigg I've always gone early to GP never felt silly. It'll be nice to have piece of mind before honeymoon. Enjoy
Hi ladies,First timer here ...still trying to process it all. I got two very definite positives with clear blue last Wednesday and Thursday (4th and 5th day late) ....made my gp appointment for tomorrow morning but looking at stuff online I feel I'm being silly booking in with gp so soon....they won't turn me away will they? We delayed our honeymoon from christmas and fly out thursday week (oops) so wanted to talk to gp about travel...anyone have any advice? Sorry all so new!
Hi all, got my bfp yesterday! A shock to the system is right say the least! I have a 14mth old and we tried for 2years before resorting to ivf. We started trying again in Jan and on our 2nd go we got pregnant naturally. I didn't expect it to happen so fast after last time, I honestly thought we would be going back to cfc at the end of year for another round of ivf.
I wouldn't bring him its not exciting. Check when ur big scan is so he can go to that. In my hospital its at booking at 12wks for dating and thats it if all is good. but in others its a 20wks for anomaly scan. Good luck first time is so exciting.
Hi greenmom...congrats!! It is alot to take in so don't worry, almost everyone feels overwhelmed...it'll turn to excitement in no time ;)
If you other half wants to go then by all means but to be honest the first GP visit involves very little...I think alot of people end up feeling let down by it! You'll have to give them a sample so they can do their own test. They might take your blood pressure. They'll fill you in on the combined care scheme and ask you what hospital etc and just talk to you about eating well and making sure to take folic acid. Its really just a confirmation of pregnancy moreso than anything else. Might be worth him going even to see that for himself so he doesn't feel left out?
If he's going with you then the hospital visits would have more going on and to be honest, my husband came to my first hospital visit on my first and we both agreed that he shouldn't come to anymore. He came with me to the "big" scan (around 22 weeks) and I booked a private one at about 10 weeks that he came to.
Hi girls,First pregnancy here and pretty over whelmed. We only said sure we'd start trying in Feb. and here I am. Booking the gp visit tomorrow but have done 2 clear blue tests at home and am noticing some symptoms. Hopefully the gp will fill us in on all that's to do re appointments and hospitals. Did any of you girls take partners to the first gp visit? I never though if it till hubby suggested he come too.
We got pregnant first time so shocked took ages on my other two!Going to wait until next week for GP im too lazy
Congrats to you both.. I didnt even think to book dr appt yet.. How far are you both? Just be careful that drs tests are not sensitive at all and you would want to be about 5 weeks ish for it to show a positive x
I got mine last Fri and first app this wed too! First month trying so we were shocked! Fourth baby for me but it's his first. I've three from a previous marriage. Congrats and good luck on wed x
www.RollerCoaster.ie - For the Ups & Downs of Pregnancy & Parenting
Copyright ©2000 - 2019 Rollercoaster.ie.
All content is copyright Rollercoaster.ie.
Reproduction of any part of the content in any form is prohibited.


text:
23 Feb 2018 21:39
Another sneak tactic is to rectify brand name image across the Web universe. Right here's how this works: when a customer wants to purchase your item, he may Google it prior to he decides to swipe his credit score card. He might determine not to buy your item if he arrives across any unfavorable mention. A SEO services Dublin crawls the WWW daily to determine out areas of concern. If any complicated issues come up, then these are addressed ASAP. This helps you maintain your on-line track record.As you can see, the more thought you place into wearing your wedding ceremony shoes the more comfortable they are likely to be on the working day. After all, you want to keep in mind it for the satisfaction and celebrations, not for how much your feet ached!You require to know what they strategy to do with your website. The reason this is one you want to know what you're investing your cash on and two you want to over see the whole operation. If they are carrying out unethical methods it's not your web site that gets penalized, it's yours so make sure that you can keep track of everything. You want to know issues like where they are submitting your link to and how many of your hyperlinks. If they use post advertising are they spun or authentic content. Issues like this make a difference so make certain that the business you select has moral SEO methods.It's certainly a great launch to be able to talk to a friend about something that is taking place in your lifestyle. Suppose you are in hazard of dropping your job, for instance. How would you really feel if you had to keep all these concerns and concerns to yourself, and you experienced no one to speak about them with? The probabilities are that you would feel even even worse as the days went by, even if you did ultimately keep your occupation.Results. You can scour the web for optimization tips and suggestions. 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The actuality is that SEO is most likely the most important element, but PPC and SEO can and should go hand in hand—at minimum for the first few months that your site is in procedure.I figured it best that I get a seo india to help me make certain I was creating the best possible advertising strategies I could. This was some thing that they were personally educated to be in a position to do, but I was not. Given these details, I understood that I was going to have to hire them in purchase to be particular that I do not mess something up. I got on the telephone with the very best company I could discover on-line and requested them what they would charge to help me out with a small electronic pr. I was pleased with the estimates that they were telling me, so I employed them correct on the place.Whichever way you choose to get into SEO, it will be the most important choice you will make with regards to your website. Much more traffic indicates much more potential clients, whilst much more clients imply much more profit. So go ahead and begin doing SEO. You surely gained't regret it.Quality of Team - Quality work of a SEO services Dublin is dependent on the team of experts it has. It is the workers of a business (designers, builders, SEO optimizers, etc.) who provide successful solutions to its clients. Therefore, verify the credentials and functions carried out by the group associates prior to choosing a business.Check the tasks done in the past by the business. Check for selection, market and toughness of the campaigns. You are advised to verify for the technique utilized by the business too seo india i.e. do they use ethical methods or black hat techniques. Usually select a business which uses ethical white hat techniques to promote web sites.You want your keywords to seem twice, perhaps three occasions, but you do not want to use it so a lot that it sounds clunky or unappealing to the reader. SEO Dublin Vancouver should by no means interfere with the quality of your web site's content.Usage of SEO Dublin in your business could show to be an motor for your company. It is going to drag your company to the peak of revenue margin. You just have to consider the first step and you'll get to the end. These solutions do a wonder for your company.


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The Ultimate Mediterranean Retreat
Replicating the style of a traditional Cypriot village, Anassa spills down the hillsides to the long beach and Mediterranean below. Its breathtaking position sets the stage for a story-like stay at the 166-room hotel, which has been updated with handmade furnishings by local artisans. Mediterranean gardens and the destination Thalassa Spa enhance the sense of tranquillity (a tiny chapel is perfect for exchanging vows). Yet there's no lack of adventure here — take a sailing lesson along the Akamas Peninsula, go rock climbing or quad biking, play championship golf, or head off on a jeep safari.
Hotel TipThe hotel fronts one of the most dazzling sunsets in the Mediterranean; a weekly beach barbecue — complete with live bouzouki and guitar — takes full advantage.
Virtuoso Preferred Supplier Since 01 Aug 2015
Virtuoso Amenities
For 2019:


text: Anyone find out why there is a AIM/MSN/WLM messenger in the G1's native app but not in the Nexus one? Or am I not looking the right place? (Just got it yesterday) Googling an answer to that will just return negative reviews, not answers. I left my unlocked iphone for this guy and I love it already.


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- Stylish brushed aluminium finish.- Four port USB 3.0 hub.- Plug and play.- Up to 5Gbps data transfer.- USB 3.0 port backwards compatible with USB 2.0.Application4 ports USB 3.0 HUBStandardsUSB 3.0 (USB 2.0 backwards compatible)Power ModeUSB poweredUSB PortsType A female USB 3.0 ports (downstream) ..
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Since we started the Club in 2013, there have been a number of people who have taken the trouble to record the entertainment photographically.
Numerous camera operators have sent us their images, and for that, we are very grateful. All we can hope for, is that the contributions keep coming.
The photographs linked to on the sub-menus are not always identified in detail; that is work for the future. Some of the authors' attributions are not correct, we know, and we are working to correct that. More will be added on a regular basis.
We must of course, say a big thank you to everyone who has, and will, contribute to our archive. In particular to John B Smith, who sent us most of the photos we have. Without his work in local clubs and at festivals, the record of Folk Music events would be sadly smaller.
The photos cover Atherstone Folk Club meetings, Concerts at The OSCA Centre in Atherstone, and get-togethers at The Larder, in Long Street, Atherstone.


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Breaking News Emails
After a weekend of uncertainty for the Kepler spacecraft, NASA let out a sigh of relief on Monday, saying that "the spacecraft reached a stable state with the communication antenna pointed toward Earth."
NASA posted a statement from mission manager Charlie Sobeck on Monday, saying that the "mission has cancelled the spacecraft emergency, returning the Deep Space Network ground communications to normal scheduling."
According to a press release posted on Friday, "during scheduled contact on Thursday, April 7, mission operations engineers discovered that the Kepler spacecraft was in Emergency Mode (EM)." Emergency Mode operates as a sort of hibernation for the spacecraft.
Kepler was launched on March 7, 2009, and is currently around 75 million miles away from Earth. It takes 13 minutes for a message to travel to the spacecraft and back.
Kepler technically finished its original mission in 2012, but because it was so successful the mission has been indefinitely extended so that Kepler can continue looking for astronomical objects. As of 2016, Kepler's extended mission "K2" has discovered over 1,000 exoplanets, including one very similar to Earth.
Newly discovered planet could be closest match to EarthJuly 24, 201500:29
This is the first malfunction for the space telescope, according to Sobeck. Currently, NASA is pursuing an investigation into what caused the event, "with a priority on returning the spacecraft to science operations."
"Once data is on the ground, the team will thoroughly assess all on-board systems to ensure the spacecraft is healthy enough to return to science mode and begin the K2 mission's microlensing observing campaign, called Campaign 9," Sobeck said.
This checkout is anticipated to continue through the week, according to NASA.


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Hello all. I've been very slack with my scrapping/blogging lately. I've been re-reading the 'Clan of the Cave Bear' series again (i first read it as a 14 year old!), the last book in the series came out last year and loved the books so much i wanted to familiarise myself with them again...
i did this entry for 'Scrap the Girls' jan comp, which was monochromatic themed.
Love the Bubblegum Hills range of Kaisercraft papers, so i went with orange. Also used lots of Prima, luuurve that breton vine, it's to die for! The chip birdcage is also Kaiser.
Seriously, who could resist that smile? She knows how to turn on the charm, especially when she wants something!
I'll be back tomorrow with my WW1 layout, the photos i took today were rubbish, although i managed to salvage this one somewhat... ugh i'm working on my photography skills, slowly but surely...
Thanks for stopping by!
Saturday, January 28, 2012
6 comments:
So PRETTY page, Erin!!!!!! Love the lovely pic! and the colors. Beautiful work! Hugs! :)ReplyDelete
Such a gorgeous page! Thanks for joining in at STG.ReplyDelete
Oh, I love this layout Erin! Beautiful pic and the orange looks great! Thanks for playing along at STG! :)ReplyDelete
Beautiful Ez!ReplyDelete
Very gorgeous layout! Love your colour choice with the vine, & such a beautiful pic! :)ReplyDelete
Beautiful page, what a gorgeous smile she has, thanks for joining in at STG. :)ReplyDelete
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Body acoustics involve both oscillations/structural vibrations (body parts, windows, etc.), as well as the sound radiating from these. Depending on the source, engine, rolling, wind or interfering noise is transferred and radiated in this way.
Depending on the requirements of the project at hand conventional accelerometers or state-of-the-art optical methods (e.g. laser-scanning vibrometers) are used to analyze body vibrations at FKFS. Both modal analysis to determine the basic vibrational modes as well as operational modal analysis (OMA) and transfer path analysis to investigate the respective conditions during operation can be carried out.


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Milestone PLM solutions is an independent supplier of CAD and Finite Element Analysis (FEA) solutions to industry.
Today, we are recognised internationally as a leading provider of CAD/FEA technology, offering solutions to companies in the US, UK and internationally.
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Your Product requirements are likely to evolve as you introduce new technology and products. To avoid uncertainties, you can benefit from a long term relationship with a company that seeks to offer products & services tailored to your latest needs.
- Flexibility in Software – you will be recommended the most appropriate software from a Milestone portfolio
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You will benefit from our best knowledge & a proven service with more than 50 clients.
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Your solution will not be constrained to a limited product range offered by a sole software supplier.
Instead, your requirements will be satisfied by selecting from a wide range of software, consulting &
training services, all supplied to the Quality Assurance standard.


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Asphalt Millings
Asphalt Millings in Rochester Hills, Bloomfield Hills, and Milford, MI
Asphalt Express LLC is excited to offer you RAP –recycled asphalt products. RAP is old asphalt that is ground into a consistency that is almost gravel texture material.
No delivery on Millings, installation only. Once you have chosen to use R.A.P. for your gravel or dirt driveways, private roads, and parking lots, R.A.P. will be more stable than basic gravel and is half the price of basic asphalt.
Producing a solid asphalt base with a smooth surface a RAP driveway is still an asphalt driveway, it is not a hot-mix asphalt driveway, but in most cases it will cost half the price and is more stable than most other types of gravel. If in the future you would like to have your driveway paved with a hot-mix, RAP does work as a good base.
Recycled asphalt products gives you the benefit of the doubt:
- Replace gravel driveways with RAP
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Teen Mom 2 star Chelsea Houska is almost as famous for her luxurious locks as she is for being on a reality TV show. Chels is a certified esthetician wo grew up with a hairdresser mom, so it's no wonder she likes to play around with her hair! But Chelsea recently ditched her extensions, and we can't take our eyes off the result!
Take a look at this photo she Tweeted on Thursday, March 5, and try not to let your jaw actually hit the floor.
Hair craziness ð���ð��¬ #noextensions #ginger pic.twitter.com/T15LoL0Rdh— Chelsea Houska (@ChelseaHouska) March 5, 2015
Her hair is that crazy awesome without any extensions giving it a boost? Holy moly -- it's just insanely gorgeous. It's obvious that the bright red isn't natural, but we're loving the color on Chelsea's otherwise natural look.
Since we're talking about her appearance, can we just take a minute to comment on Chelsea's beautiful face? She's always been beautiful, but recently she's been positively beaming from the inside.
More from The Stir: Chelsea Houska's Hot New Photo With Boyfriend Cole DeBoer Is ... Ooh La La!
Our spidey-senses tell us that her recent glow has a little something to do with her gem of a boyfriend, Cole DeBoer. Her stud of a man not only is easy on the eyes, but he seems to genuinely care about Chelsea and her daughter Aubree. He's basically about 10,000 steps up from her ex, Adam Lind, and we couldn't be happier for her!
More from The Stir: Chelsea Houska's Confession About Cole DeBoer Has Our Jaws on the Ground
What do you think of Chelsea's extension-less hair?
Image via Chelsea Houska/Instagram


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Back to the News Archive
There are spectacular action sequences in Universal's The Bourne Identity, starring Matt Damon, that made the largely male audience of critics cheer and impressed me as well, but what was the MPAA thinking when it rated this film PG-13 for "violence and some language"? This film was violent in graphic detail and the "some language" was "g--d-mn" repeated, along with other expletives, many times. It appears, more and more, since the MPAA followed FAB's lead in the use of content descriptions with its categories, it feels this makes it permissible to give films that clearly deserve "R" ratings a more mild classification. The film stops short in a romantic scene, only implying intimacy, which suggests the MPAA felt the violence and strong language,absent sex, was not enough to warrant the "Restricted" rating. It's interesting how the U.S. consistently sends the message that "doing what comes naturally" is scandalous and spraying someone with bullets is more acceptable. (Michele Williams)
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Joe, a freshman in high school, saw Kyle, a boy from his class walking home from school. It looked as if Kyle was carrying all of his books. Joe thought to himself, "Why would anyone bring home all his books on a Friday? He must really be a nerd." He had quite a weekend planned (parties and a football game with his friends Saturday afternoon), so he shrugged my shoulders and went on.
As Kyle was walking, Joe saw a group of boys running toward Kyle. They ran at him, knocking all his books out of his arms and tripping him so he landed in the dirt. His glasses went flying, and landed in the grass about ten feet from him. He looked up with this terrible sadness in his eyes.
Joe's heart went out to Kyle. So, he jogged over to him and as Kyle crawled around looking for his glasses, saw a tear in his eye. Joe handed him his glasses, and said, "Those guys are jerks. They really should get lives." Kyle looked at Joe and said, "Hey thanks!" There was a big smile on his face. It was one of those smiles that showed real gratitude. Hoe then helped Kyle pick up his books, and asked him where he lived.
As it turned out, he lived near Joe, who asked him why he had never seen him before. Kyle said that he had gone to private school before now. Joe, who would have never hung out with a private school student before, talked all way home, and carried Kyle's books. He turned out to be a pretty cool dude.
Joe asked Kyle if he wanted to play football on Saturday with him and his friends. He said yes, and they hung out all weekend and the more Joe got to know Kyle, the more he liked him. And his friends thought the same of him.
Monday morning came, and there was Kyle with the huge stack of books again. Joe stopped him and said, "Damn boy, you are gonna really build some serious muscles with this pile of books everyday!" Kyle just laughed and handed Joe half the books.
Over the next four years, Kyle and Joe became best friends. When they were seniors, they began to think about college. Kyle decided on Georgetown, and Joe was going to Duke, knowing that they would always be friends, and that the miles would never be a problem. Kyle was going to be a doctor, and Joe was going to study business on a football scholarship.
Kyle was valedictorian of the class and had to prepare a speech for graduation. Joe teased him all the time about being a nerd and was so glad it wasn't him having to get up there and speak.
Graduation day, Joe saw Kyle. He looked great. He was one of those guys that really found himself during high school. He filled out and actually looked good in glasses. He had more dates than Joe and all the girls loved him! Sometimes Joe was jealous.
This day was one of those days. Joe could see that Kyle was nervous about his speech. So, he smacked him on the back and said, "Hey, big guy, you'll be great!" Kyle looked at Joe with one of those looks (the really grateful one) and smiled. "Thanks," he said. As he started his speech, he cleared his throat, and began.
"Graduation is a time to thank those who helped you make it through those tough years. Your parents, your teachers, your siblings, maybe a coach...but mostly your friends. I am here to tell all of you that being a friend to someone is the best gift you can give them. I am going to tell you a story."
Joe just looked at his friend with disbelief as he told the story of the first day they met. He had planned to kill himself over the weekend. He talked of how he had cleaned out his locker so his Mum wouldn't have to do it later and was carrying his stuff home. He looked hard at Joe and gave him a little smile. "Thankfully, I was saved. My friend saved me from doing the unspeakable."
Joe heard the gasp go through the crowd as this handsome, popular boy told the audience all about his weakest moment. Joe saw Kyle's Mum and Dad looking at him and smiling that same grateful smile. Not until that moment did he realise it's depth.
Never underestimate the power of your actions. With one small gesture you can change a person's life. For better or for worse. The cosmos puts us all in each other's lives to impact one another in some way. Look for love in others. Friends are angels who lift us to our feet when our wings have trouble remembering how to fly.
About Shantiji
Shanti Gowans is the globally recognised author and founder of Shanti Yoga™, Meditation and Ayurveda for the self, family and community.
Shantiji has brought the concepts and practices of a healthy body and a still mind to thousands of Australians through her Yoga and Meditation programs on national television... Read more about Shantiji's biography
Travel with Shanti & Peter Gowans this November for a trip of a lifetime.


text: The Downtown Eastside SRO Collaborative Society is working to improve habitability, safety and prevent renovictions in SRO hotels in Vancouver Coast Salish Territories. We organize in the privately-owned SROs by bringing tenants together to file complaints for safety and management conditions at the Residential Tenancy Branch and to support City Inspectors' efforts, where possible, to bring buildings up to code. Having focused for 2 years on the 'worst of the worst' privately-owned SROs, we are expand- ing our work to include the Powell Street Historic Japanese Canadian Neighbourhood (Paueru Gai/パウエル街).


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Sunday, August 11
in the garden | a short video
3 thoughts:
No one else has left a message so I will.ReplyDelete
What to start with?
Your video is beautiful Lotus! The music a little sharp when it changes but it too is a GREAT choice!
What are the sweet delicacies? They look scrumptious :D
I love the use of the reflexion of your i-Phone.
It's also lovely to see you using your notebook. You clearly enjoy it considering the many pages you have written on.
All the best for the week ahead, Zahra.
oh, sorry i just now got the chance to watch this. LOTUS, nOOO, you can't make something this beautiful! i'm actually so inspired by this, i love the way you started the music by "playing" it on your iPhone/iPod. and the reflections in the screen? perfect! ugh, and the notebook bit was so emotional to me. please, please, don't set the bar so high for the rest of us! how can anyone top this video?ReplyDelete
- Anonymous16 August 2013 at 10:51
Only got a chance to play the video just now. Really great! Looks like you dug up some archive footage too!ReplyDelete
I'm really impressed how you keep expressing yourself in many ways (private words-journal, videos, published words, pictures) as if not one could contain all the vivid life bubbling inside.
I'm definitively a fan.


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Fats contain 9kcals per gram, whereas protein and carbohydrates contain almost half of that. Therefore, it is easier to gain weight from eating fats. However, even eating proteins and carbohydrates in excess of your caloric expenditure will cause weight gain.
2. Truth: Limiting fat is healthy.
For a diet to be healthy, the body needs a certain (and limited) amount of fat. Fats have many benefits; as they are necessary in the absorption of fat-soluble vitamins A, D, E and K, while essential fatty acids (i.e. Omega 3s and 6s) create numerous healthy effects in the body, such as lower levels of cholesterol, protect against inflammation and prevent cardiovascular disease. These fatty acids are found in salmon, tuna, walnuts, flaxseeds, soya nuts, and olive and canola oil. American dietary guidelines recommend that 30% of total calories come from fat, so in a 2000kcal diet this equals 67 grams of fat.
3. Myth: Food that has a lot of fat is also packed with cholesterol.
Foods that are high in fat are often low in cholesterol. Cholesterol is not found in vegetable fats, but in animal fats such as in eggs, beef and chicken. Cholesterol is important for maintaining intestinal health, but too much may increase blood cholesterol.
4. Myth: A low fat diet is always best.
Low-fat or fat-free products often contain more added sugar in order to compensate for the lost palatability, which can make these products equal or higher in caloric content than their original counterparts. Eating too much saturated and total fat in a diet can increase cholesterol and triglycerides, but so can eating too much added sugar and calories. Thus, in some cases, the original version might be the better choice, so always compare the caloric content, especially because fats provide satiety and very low fat diets make it difficult to achieve a feeling of fullness after a long time.
Nada Jawahery is the Registered Dietician at Royal Bahrain Hospital and is a member of, and licensed by, the American Dietetics Association. For more information call 17246832 or email: email@example.com


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This day of production and pleasure divides into 5 parts;
I) Finding a metal plate sized 40x40 cm.
II) Challenging the idea of dust-voids,
III) Dining at Natasha's
IV) Urbanizing the 'light weight indicator of potential space shaped by the wind' (formerly know as the Windicator)
V) Editing at Bethnal Green, Barnet House
After yesterdays metal plate hunt, tile harvest and lessons i physics (described by Magnus), our hunt for a proper sized metal plate continues in the area around Brick Lane. London seems to be a mecca of steel and yet steel seems to be quite a difficult material to acquire. Finally a back yard near Brick Lane shows promising signs. With the help of a helpful guard we manage to get away with a 100x70 cm metal plate and get it cut into 40x40 cm for the cost of 6 Carlsberg at a MC repair shop. This success is a vitamin injection to the group.
A new dust canon was made during yesterdays preparation. Filled with 6 kg of self raising flour from the local store, it is pulled up 10 m in a solitaire tree in the park behind the Wandsworth Common St. All most wind still, the flour exposed to gravity creates a falling dust column which quickly turns into a huge dust cloud as the particles hits the ground and covers the grass with a potential self raising doug.
The experiment is later done in another environment between three 20m trees. This time pulled up more than 12 m the flour creates tremendous clouds filtered by the leafs as it is carried away by the wind. All team members on site filming the performance.
Splendid again Carlos. gaspaccio, meatballs and rice, salad, water, beers and coffee for the whole team: £50
As a part of the idea of indicating, is the idea of changing environments. By this we will change the perception of the immaterial space and the public will become a part of the story. Children's bedtime postponed as the 36m2 sheet hovers above expensive cars and frames the view of £100.000 villas.
As we arrive at Barnet Grove, Bethnal Green; red wine in blue bags, its obvious that postproduction in late hours is quite often more post than production. 3 photos are chosen for the publication as early bedders will get up early in the morning to print them. The rest of the crowd will rest and arrive at the gallery full powers with expectations hovering above the platform.
fredag den 27. august 2010
(im)material spatiality - Day 6
Abonner på: Kommentarer til indlægget (Atom)


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Program Manager, eLearning Design
Hosptial for Sick Children
Toronto, Ontario, Canada
About Me:
Passionate about technology, design, and education. With over 15 years of experience interaction design, I aim to help SickKids educators to achieve and promote new degrees of learning by instructing them on best practices in eLearning design. My goal is to promote interaction design as a craft which can maximize impact on individual, team, and business performance.
"Leverage design to make things easy to use and easy to understand"
Committee Role – Administrative Director
I had the privilege of becoming a member of the eACH committee four years ago after joining the Hospital for Sick Children. It was a honour and pleasure joining the well-established committee that thrives on teamwork, co-operation and professionalism. My role as director has been made easier by our dedicated members whose shared vision is one of advancing the quality of healthcare through learning & technology.
Follow Me


text:
Integrated Bookkeeping & Tax
Tax Preparation
Personal & Small Businesses needing bookkeping, payroll and income tax preparation services.
We are a personalized financial services company dedicated to saving our clients money while performing a variety of functions. With over 25 years in the bookkeeping, payroll & tax business, we provide a customized level of service designed to meet your needs and your budget.


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Marie Southard Ospina
Writer & Plus Size Blogger
We talked to writer and plus size blogger Marie Southard Ospina aka @mariesouthardospina about fashion, body pos terminology, and the deconstructing ideas of beauty.
Laura Jane: To start, I wanted to ask you how you've come to love your body the way you do now.
Marie: It started before I was really aware of the terms fat acceptance or body positivity. It started just from exiting toxic environments. In 2011, I physically removed myself from the States, where I was struggling for various reasons. I moved to Madrid then to Prague on a study abroad program, one that I was really lucky to be able to be involved in. It was during my time in Spain that I was presented, for the first time in my whole life, with fat women who were just dressing like everybody else and who were living life very loudly and authentically. I observed these women live in ways that I didn't believe to be viable while living in a fat body, particularly if you were a fat woman.
It got me questioning a lot of things: why couldn't I wear the mini skirt or the body con dress or the clothing I knew that I wanted to wear? I analyzed why I felt restricted and really thought about the socio-cultural reasons as well as the reasons in my personal life. A lot happened that term—I met my partner who is still my partner now, who was also incredibly fat positive and body positive without knowing these terms. He was one of the first people in my life to make me really question where all of these insecurities and all of this hatred was coming from. Through my relationship with him, I started seeking out plus size content on the web and getting more familiarized with plus sized fashion blogging in particular. Through that, I found more radical kinds of body pos politics that were even more revolutionary to me, like ideas of health at every size. It was really life changing, that year of being abroad and all the people that I was meeting. The fellow fat women I was meeting weren't women who had that much self hate, or any at all. That was entirely different from my life in the States where, yes, I had fat friends but we were all so very critical of ourselves. We were all struggling with a myriad of mental health issues because we just felt like we couldn't live unless we changed, not unless we shrunk. I was lucky enough to meet a lot of people who helped me interrogate not only my own internalized fatphobia but also everyone else's.
Upon coming back to the States a year later, I was really worried about losing touch with this new outlook that I had been presented with because I was going to be back in New York, which hadn't been very healthy for me. I was going to be in close proximity to relatives who probably contributed to some of that detrimental negative body talk through my teens and childhood. This was when I decided to start a personal blog. I had to make one for a school project so I thought I'll do something on being plus size. The blog was a combination of plus size fashion posts as well as more kind of radical fat positive dialogue. That really spiraled into having freelance work in that same category and then boomed into more feminist and intersectional feminist media online. I've been really lucky in that I've gotten approached from sites since 2012 to write for them about these things that have since grown incredibly important to me and that really changed my life.
LJ: Can you tell me a little bit about writing about plus size fashion. I'm interested in what you really like about it and also what are some themes you feel like either your community or yourself are really interested in breaking down in terms of what fat bodies are "allowed" to wear?
M: Part of me has always really loved fashion. On a conceptual level, I was really interested in clothes and I would casually pick up fashion magazines as a teenager. But, the way that I interpreted fashion was definitely as this thing that wasn't really for me. A combination of that understanding would've been partly my own feelings of negative self doubt and poor body image but also there just weren't a whole lot of clothes available for people my size and larger at the time. There still aren't, but it's certainly better than it was in the early 2000s.
The reason I loved fashion is that it seemed like a tool for self expression in the most day-to-day sense. It was a thing that people around me seemed to be utilizing to say something about themselves and I couldn't really do that. So it was pretty crucial when I started discovering fellow plus size women online and finding stores. Plus size bloggers, like Nicolette Mason, certainly opened my eyes to the fact that things were changing, albeit in small increments. I started looking through my wardrobe and asking myself what things were in there because they sparked joy in me versus what things were in there because I was utilizing them as a way to hide or try to appear smaller or "flatter my figure". Slowly, I saved money and started buying things that were more me and getting rid of the things that weren't. That was when my style began developing and I found myself really interested in pieces that were rule breaking. So many fashion magazines and so much media was telling me that I wasn't supposed to wear them, things like crop tops or horizontal stripes or spaghetti straps or any skirt that wasn't an A-line. My style became confrontational in the sense that it got me noticed on the street—it definitely attracted fat phobic rhetoric and that made it very empowering. I found the more scandalously I dressed, the more it felt like I was making people confront their prejudices. They wouldn't have a problem with those outfits if they were on a thin person—and their response is a reflection on them and cultural norms and not on me.
Fashion has definitely been a huge tool on the reclamation of my body and my bodily autonomy. I am a walking billboard for this idea that I don't need to change before I can start living my life in the ways that I want. I think that's huge. Not every plus size blogger in the world has political motives, nor should they have to, but I think any one of them who is breaking fashion "rules" and who are wearing things that we are taught not to associate with fat bodies are doing something radical. The amount of bloggers that are around now is infinitely higher than it was five years ago and I think that is a reflection on the impact that all these conversations are having. People are quick to trivialize fashion but I really think it can have a place in political activism, particularly in size acceptance.
And there is still so far to go with plus fashion. The options we have are better but if you compare them to the straight size market, it's still really just a drop in the ocean. For sizes 26 and up, it is even worse.
LJ: I'm curious to talk to you about your thoughts on terminology. Can you differentiate your views on the difference between fat acceptance and body positivity and plus size.
M: So when I started blogging 2012 or so, body positivity was still a very niche term. It wasn't something I was seeing in Cosmo or Teen Vogue, it was by and large used by people who were already fat activists. Body positivity still has a lot of value for a lot of people. But I think the political nature of it has dwindled. The kind of celebration it offers, of saying all bodies are good bodies, may not feel as radical to people who are at the forefront of size acceptance activism. Yes, all bodies are good bodies but not all bodies are treated as good bodies by society at large and the bodies that aren't treated that way are the ones that we should be focusing on representing and on giving a voice to. I think this is largely because the focus of body positivity isn't on the marginalized bodies anymore. Often times, the beauty that is being celebrated in body positivity still fits into aspirational tropes of acceptability in one way or another. That is how, unfortunately, we end up just redefining beauty rather than deconstructing it. Hourglass small fats are being very represented right now by the mainstream and that's great for some people but it's really not helping most visibly fat humans who have no accessibility to healthcare because they keep getting denied or for people who can't maneuver so many public spaces because they were not built to accommodate larger bodies. That is where things start to feel a little less radical for me.
Fat acceptance is where I personally identify most these days. That is where there is still a fight for improved tolerance of fat bodies: the healthcare system, the fact that size discrimination is legally pardonable in the workforce, and the increased likelihood of conviction when you're fat. There is so much that fat phobia affects and I think fat acceptance is analyzing these things and fighting for improved conditions. Fat acceptance focuses on highlighting the bodies that we still don't see nearly enough of and that are not being catered to.
As a fat woman who was introduced to work in radical body politics through the term "plus size"—in particular the bloggers and activists who readily reclaimed it—I have no personal qualms with it. Until every single brand in the world makes all sizes, and until every single body type is represented in every aspect of media—and I'm unsure this will happen in our current cultural climate–typing in "plus size" into Google is how I find my clothes. It's how I discover whether a brand caters to me or not, before wasting the time and funds needed to get to an actual brick and mortar store. It's also how I connect to empowered fat women doing magical work online. "Plus size" is only an insult if you believe that larger bodies are inherently inferior.
As a result, I do have some qualms with the belittlement and rejection of the term, which unfortunately seems to come most often from smaller fats or barely-plus people who feel it further others them from straight size crowds, or straight size-only opportunities. It is worth noting that the discrimination visibly fat people face is a lot more toxic and detrimental than simply feeling othered. The negative reaction to the term plus size also often seems to come from some folks who, just as one example, model plus size clothing and subsequently build their careers and income in direct correlation to fat people buying the clothing they're modeling. But who, still, don't seem to want to be associated with said fat people. In my opinion, that's where a lot of the disillusionment with mainstream plus size modeling comes from.
LJ: What is something you would like to see more of in the fat acceptance/body positivity community?
M: I think a huge thing that would be great to see and could contribute to the positive rhetoric online is slightly less of a focus on fashion. I would like to see more of a focus on all the other forms of oppression that come with being fat. We are talking about healthcare being denied to fat people or here in UK there are hospitals that can turn down fat pregnant women whose BMI is over a certain level, even if there's absolutely nothing wrong with the woman or the baby. I just had an article come out in Bustle that speaks about precisely this. I spoke to 17 different women and femmes who are fat about ways that their bodies are directly targeted and discriminated against every single day. I really think those conversations need to be had more. I think for a lot of people their clothing options, or lack thereof, are nowhere near as immediately pressing as the fact that they can't get a doctor to see them for chronic pain or who can't look behind their weight and diagnose actual illnesses. I hope to see more of that.
The value of having fellow empowered radical fat women in my life has been indescribable.
LJ: I want to go back to your comment on deconstructing ideas of beauty, A lot of mainstream companies, instead of rethinking beauty standards in general, have just widen them slightly more so that more people are included but still leaves out a lot of people. Have you thought about how the beauty standard could be deconstructed, especially in a capitalist society? Do you think it's possible?
M: It's such a tricky thing because when we talk about fat acceptance or any derivative of body positivity, such a huge focus is on trying to prove that all bodies are beautiful and that there is this kind of inherent prettiness to everyone. And in doing this, in a way, we inadvertently contribute to the idea that textbook beauty, as defined by the mainstream or otherwise, is very important. We are not talking so much about how beauty is subjective and how everyone interprets it differently and that maybe there is no beauty that can be defined. So many people are still trying to prove that they're beautiful. I get why—because when you're told all along that you're not beautiful and then you finally feel like you are, that is definitely something worth celebrating. But, I worry that when we do, it still translates to some readers or audiences as though beauty is still the most important thing about a person. And then you get some people thinking, I still have to be beautiful in some ways, so maybe if I'm fat I could wear a lot of makeup or if I'm fat, I can be really hyper feminine and nobody will care that I'm fat because I'm making up for it in this other department. I struggle with the word beauty but at the same time I've definitely written stuff about feeling beautiful and the importance that that has had in my life after many years of not feeling that way. So I don't know, it's such a tricky one.
I think something that can help is more and more unretouched images of people and more and more images of relatable bodies. I think we need to see people who you see yourself in: people with stretch marks, people with cellulite, people with acne, people with wrinkles, people of every skin tone in the world, and people with disabilities. I think seeing them and inundating your media intake with those bodies can play an irrevocable role in the analysis of what beauty can be. I'd love to see more bare faces in my media intake, people of all shapes and colors with no makeup, because I think people are forgetting what humans look like without makeup. I love makeup, but I have also made a kind of personal vow to myself of trying to get more comfortable without it. I also just want to relearn what my face looks like, to relearn that I'm alright to just have my face as it is with my dark circles under my eyes and my acne and my spots. It's alright.
LJ: This is a good segue—I wanted to ask you about social media. Part of the body pos project is to explore people's approach to presentation, particularly in social media. I'm curious what being on social media has been like for you. Has it been an exploration of how you share your identity or something separate and more business-like?
M: Social media has been incredibly helpful in allowing me to connect with other fat women and in introducing me to some of the people who are now my closest friends. These are the people who I can look up to and the people I want my kid to know when she's older. These are the people who I think are really helping change these destructive ideals of beauty and worth. But social media has also been very difficult to navigate as someone who struggles with anxiety and mental health. When you're a blogger or a writer or on some kind of public platform, it is expected that you maintain these sites and these profiles. It is expected that you engage and that you project all of yourself onto them. I struggle with wanting to keep some semblance of my life off of the internet. I struggle to interact with trolls and I struggle sometimes to let their BS slide. It's tricky to maintain it but I'm also very thankful for the connections that it's brought me and I don't think that I would know women like Ushshi who you interviewed or Melissa Fabello or Ragini of Curious Fancy without social media. The value of having fellow empowered radical fat women in my life has been indescribable. I had quite a lot of fat friends growing up. I think we all gravitated towards each other because our bodies were othered. We had this thing in common that could bring us together, but we were all self-hating. We were all very encouraging of each other's diets—often crash diets—and generally unhealthy habits. It's hard when you're struggling with body hate and everybody around is too because you all feed off each other. Social media helped me come into contact with people who have bodies like mine but just didn't have any self hate; who, if anything, helped me deconstruct these really toxic notions further. Social media is incredible for that.
LJ: That's the beauty of it, even though there are definitely things that are hard and problematic—it's just such a connector.
M: Particularly in marginalized groups. I think it's a really great way to meet people who are experiencing oppression in the way that you are. And you can meet people who realize that's not the fault of themselves but rather of the socio-cultural norms that dictate as much.
I think a huge thing that would be great to see and could contribute to the positive rhetoric online is slightly less of a focus on fashion. I would like to see more of a focus on all the other forms of oppression that come with being fat.
LJ: I wanted to ask you how your identity as a Colombian American woman plays into the intersectionality of also being a fat woman? I could image these might not feel like separate things but I'm curious how being a person of color and a fat person impact your identity?
M: When I was struggling with an eating disorder and was just really hating my body, that was largely because of the Colombian side of beauty standards. Thinness is still definitely coveted, particularly for women, with the additional expectation of "curves in the right places." The beauty standard is flat tummy, thick thighs, big breasts, big butt, but no jiggly bits or visible cellulite. In the States, when I was growing up, the beauty standard was to be very petite all around, very thin, very waifish. I felt like I had to cater to both standards but my body would just never do it. It seemed very clear that losing weight was the thing both cultures really wanted me to do, but when I did that, I lost all the curves that the Colombian side really wanted me to have. With the flat tummy came the flat ass and came the disappearance of my chest. I got this, "Well, you look like a boy now and this is too far" from Colombian relatives who'd been really fat shaming in the past. It was just a no-win situation. I think trying to cater to both identities in that regard was never very helpful for me at all.
What I still really struggle with is navigating being an unapologetic fat person in Colombian spaces more than in U.S. or British ones. I think fat positivity hasn't really hit there yet. I mean, the word feminism is still very new. At the same time, it makes me extra grateful for Latinx plus size and fat activists who are doing their thing online because I feel like the level of weight-based marginalization in Latinx communities is somewhat worse than in the States and begins seriously affecting people lower down on the size spectrum. A size U.S 10, for example, is already at risk of severe fat shaming there. Unfortunately, I don't spend enough time in Colombia to be able to write for Colombian sites or try to change it from a media perspective.
LJ: I've been thinking about what is at the root cause of some of this fatphobia and it seems like so much of it is caused from women's inherent worth being tied to their appearance. Do you think deconstructing beauty is possible without first dismantling a patriarchal society?
M: I think combatting size discrimination and championing for truly inclusive body positivity isn't possible without dismantling patriarchal values upheld by so much of our culture. In part, it's undoubtedly those patriarchal values that have taught women and femmes that their bodies are the most important and interesting things about them. These are the values that frame a "worthy" body as one that subscribes to a very limited aesthetic that, in reality, few people are simply born with and maintain with little to no effort. This is, perhaps, why I don't have high hopes that I'll see fat acceptance hit the mainstream, at least not in my lifetime. Indie media, indie retail, bloggers, and activists are certainly doing remarkable championing of diversity and making strides — and making a difference in the day-to-day lives of a lot of people. But in order for their work and methods of representation to truly infiltrate all aspects of life, we'd need to do away with toxic rhetoric and "norms" surrounding diet culture and women's roles in society and the multi-billion dollar weight loss industry that further conditions women and femmes to believe that life can only be fulfilled in a small pant size. All of this is hard work, if not impossible work. So for the time being, I'll continue to rely on alternative media and the activist community for my inclusive representation, and not glossy publications or primetime TV.
This interview has been edited and condensed.
Plus size, body pos or fat acceptance? What terms do you prefer? Tweet us at @bodyposproject for this or other thoughts on this interview!
Related Interviews


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For a long time now we've been suffering from the waiting for a website link on our facebook feeds to load. Now tho, Facebook released their groundbreaking solution: 'Instant Articles'. The loading speed increased as much as 10 times.
You must've seen these videos where 3d cartoon versions of people on internet dance around or perform some fun moves. I'll tell you more about it here.
You can now call via WhatsApp she said… Let's call each other she said… There are a few tweaks about WhatsApp voice calls.
Consider MusicGIF's (or #GIFSound) as a form of digital age art. At its basics, Music GIFs is a looping piece of video (GIFs or Cinemagraphs) with looping sound which can be part of a song or any other audio.
These days almost anyone can become an instagrammer, but whether to become a Pro Instagrammer depends solely on each one's effort. Just as it is in life.
There are tons of apps for Instagrammers to edit photos and videos. Here are the ones I use most of the times.


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'I believe that everybody can be a change maker. We are here to make a difference. I would love to help you to take care of your mental and emotional fitness. By working from the place of peace and clarity, you will naturally make outstanding decisions with a profoundly positive impact on yourself, your family, your businesses and the whole world.'
Gosia Gorna
Gosia Gorna is a successful transformational coach and trainer who works with clients from across the world. One of the most remarkable coaches in the UK today, Gosia uses intuitive insight and a range of highly effective techniques to bring about a profound transformation in people's lives.
In the past 20 years she has assisted over 5000 people to make outstanding decisions in their lives by helping them to clear their fears and use their intuition with confidence.
Working with her brings clarity and comfort in times of confusion as, using the power of the heart and the mind, she turns seemingly insurmountable difficulties into the seeds of a more positive and life-altering journey.
Her passion is helping people discover what makes them unique and helping them regain power over their own life so they can achieve their goals and life's purpose. Often this involves recognising and releasing emotional and mental blocks – making the impossible possible. By helping her clients to let go of fear, trust their inner wisdom and achieve clarity about the choices they make and their life's direction, she sets them firmly on the road to fulfilling their dreams and aspirations.
Highly practical and geared towards producing fast results and solutions, Gosia's work is delivered in a gentle and deeply inspiring manner.
Gosia works with change makers who want to make a difference in the world.
You can find further details about Gosia's work and courses at www.gosiagorna.com.
From Fear to Brilliance
Gosia is also the author of the book FROM FEAR TO BRILLIANCE which is going to be published in 2013. She has created a powerful, simple and highly effective fear release technique. The purpose of it is to access our natural state of brilliance and clarity, so we can make a bigger difference in the world.
Qualifications and experience
Gosia is a qualified practitioner in neuro-linguistic programming, time-line therapy, thought field therapy (TFT), hypnotherapy and life coaching. She holds a Diploma in Life Coaching from Newcastle College accredited by NCFE and a Certificate of Coaching Skills accredited by ICF.
Gosia has worked with numerous high profile clients, including business leaders, visionaries and celebrities in the world of music, film, theatre and fashion. Her work has featured on TV, radio and in various newspapers and magazines, including the internationally renowned business newspaper the Financial Times, as well as the Evening Standard and Here's Health.
She is the former President of Toastmasters International public speaking and leadership club in London. She also works for a breast cancer charity that delivers a range of free complimentary treatments, support and therapies for people affected by breast cancer.
Some of Gosia's most popular seminars include:
- The Year I Would Love to Have
- How to Use Your Heart to Shift Your Life
- Intuition Masterclass