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'Sports Illustrated' Model Kate Bock Flaunts Legs For Days In White...
'SPORTS ILLUSTRATED' MODEL KATE BOCK FLAUNTS LEGS FOR DAYS IN WHITE SWIMSUIT
Kate Bock is wowing her Instagram fans this weekend. On Sunday, October 20, the Sports Illustrated swimsuit model took to the popular social media app to share a morning update in which she flaunts her enviable legs, and her followers are here for it. The photo shows Bock is posing indoors in front of a window somewhere in Los Angeles, California, as she indicated via the geotag included with her post. The Canadian bombshell is wearing a white...
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337 WINTER 2021-22, Reviews
10 February 2022, 9:00 am CET
Jasper Johns "Mind/Mirror" Whitney Museum of American Art / New York, and Philadelphia Museum of Art by Aaron Bogart
by Aaron Bogart February 10, 2022
Jasper Johns, "Mind/Mirror". Exhibition view at Philadelphia Museum of Art, 2021. Photography by Joseph Hu. Courtesy of Philadelphia Museum of Art. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Over the course of nearly seven decades, Jasper Johns has produced some of the most iconic art in America and influenced countless artists and movements — notably Pop Art. From his early paintings of flags and targets of the 1950s and '60s, to his later Usuyuki series from the 1970s and '80s that makes use of colorful cross-hatching, his has been an art that insinuates itself coolly within both art history and the popular imagination. Now, across two museums — the Philadelphia Museum of Art and the Whitney Museum of American Art in New York — Johns's contemporary cachet is being tested through the display of sixty-five years' worth of work.
Jasper Johns, Flag, 1954-55. Encaustic, oil, and collage on fabric mounted on wood. 3 panels, 104,8 x 154,3 cm. Courtesy of The Museum of Modern Art, New York. Gift of Philip Johnson in honor of Alfred H. Barr, Jr. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, Perilous Night, 1982. Encaustic on canvas with objects. 170,8 x 244,2 cm. Courtesy of National Gallery of Art, Washington, DC; and Robert and Jane Meyerhoff Collection. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, Corpse and Mirror II, 1974-75. Oil and sand on canvas. 4 panels, 146,4 x 191,1 cm. Courtesy of the artist. © Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), New York, NY.
Jasper Johns, Flashlight, 1960. Bronze and glass. 121,1 x 19,7 x 10,8 cm. Ed. no. 2/3. Courtesy of the artist. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, Untitled, 2014. Unique etching on Arches Cover white paper mounted on Arches Cover white paper support. Six plates, 110,05 × 201,9 cm. Photography by Jerry Thompson. Courtesy of the artist. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, Untitled, 1972. Oil, encaustic, and collage on canvas with objects. Four panels, 182,9 × 488,3 cm overall. Courtesy of Museum Ludwig, Cologne. Donation Ludwig, 1976. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, 5 Postcards, 2011. From left to right: encaustic on canvas, 91,4 x 61 cm; oil on canvas, 91,4 x 68,6 cm; oil on canvas, 91,4 x 64,6 cm; oil and graphite on canvas, 91,4 x 68,6; and encaustic on canvas, 91,4 x 61 cm. Courtesy of Philadelphia Museum of Art; promised gift of Keith L. and Katherine Sachs. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Cumulatively, the shows are composed of more than 550 paintings, drawings, prints, and sculptures, as well as numerous photographs and personal objects—like Johns's copy of Marcel Duchamp's The Green Box (at the Whitney). Together, the exhibitions offer viewers an unprecedented opportunity to discover the depths of one artist's oeuvre —not an easy task given the number of works in these shows — if they make it to both museums. The works have been placed in ten different thematic sections by the curators, Scott Rothkopf (in New York) and Carlos Basualdo (in Philadelphia), with sub-themes at each museum. "Flags and Maps," for example, falls under the "First Motifs" section toward the beginning of the Whitney's exhibition, and contains some of Johns's most well-known, iconic works: Three Flags (1958), an encaustic on canvas work of three American flags, each on top of the other; Flagon Orange Field (1957), an encaustic on canvas painting of an American flag set against an orange backdrop; both flank Map (1961), a large (roughly two by three meter) oil painting of a map of the United States with the names of the states, like "Georgia," where Johns was born in 1930, stenciled in the relevant location on the map. Done in hues of orange, blue, and red, the composition looks like an abstract painting from a distance, gaining more precision the closer you get, only to have the map's accuracy frustrated by the vigorous, inexact application of paint. Johns here, and in many other works, mirrors a visual approach to everyday objects like maps and workaday symbols like numbers: they cross our visual field, but we don't focus on them long enough to make out their details — when's the last time you noticed the font of a numeral? In Philadelphia's "First Motifs" section, subtitled "Numbers," the focus is on another recurring subject in Johns's work. This section of the show in Philadelphia is more intimate than its related room at the Whitney, with smaller works on paper, including Figure2 from 1963, a graphite wash and charcoal work. Here, the numeral 2, outlined in dark charcoal, blends into the grayish graphite wash, fading in and out of view with a change in perspective.
Jasper Johns, 0 through 9, 1965. Charcoal and graphite pencil on paper. 76,2 x 57,2 cm. Courtesy of Kirsten and Alex Klabin. © 2'21 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, Untitled, 1998. Intaglio. 56,5 x 37,5 cm. Courtesy of Private Collection. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, Jubilee, 1959. Oil and collage on canvas. 152,4 x 111,8 cm. Courtesy of Private collection. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, Souvenir 2, 1964. Oil, charcoal, and collage on canvas with objects. 73 x 53,3 cm. Courtesy of Barbara and Richard S. Lane. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, 0 through 9, 1960. Oil on canvas. 184,2 x 137,2 cm. Courtesy of Private collection. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, Fool's House, 1961-62. Oil, Sculp-metal, and charcoal on canvas with objects. 182,9 x 91,4 cm. Courtesy of Private collection. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Jasper Johns, Untitled, 2018. Encaustic on canvas. 198,1 x 152,4 cm. Courtesy of Glenstone Museum, Potomac. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Across both locations, the themes Rothkopf and Basualdo have focused on interplay with one another, showing Johns's diverse yet circumscribed pattern use: maps, flags, targets, numbers, and a smattering of Mona Lisa images and brooms about does it. The commonness of these symbols and objects lends itself to a reading of impersonality, of heady distance. I'm not sure this is the right way to read Johns's early work, however: while it is true that the motifs that recur in Johns's work are prevalent in our everyday lives and don't typically have any "personal" or special qualities to them — a map is a map — the manner of making clearly shows the artist's hand. In Three Flags, for example, the encaustic material encases each brush stroke, fixing it for time like a private archive. It's not until work from the 1970s and '80s, however, that we really see what many viewers might consider a personal side to the work. His Spring (1986) and Winter (1986) in each museum's "Doubles and Reflections" section (within the "Mind/Mirror" area) parallel each other, offering a (presumably) male figure set against a background filled with an exploding star/leaf design, canvas frame shapes, and forms from some of Johns's other works, like the pattern from his Usuyuki series, as well as other well-known images. The duck-rabbit occurs in Winter, while Rubin's vase appears in Spring, each playing off the doubling theme of the section as well as Johns's use of duality (spring/fall, summer/winter) in the titles of the series.
Some of these same symbols can be found in Johns's work until the mid-2000s, at which point, then in his eighties, he turns to portraying skeletons. Death is a likely theme for anyone in their eighties, and with death comes rebirth, of a sort anyway. If there is a scion of American postwar art who has passed the test of contemporaneity for each epoch they have been a part of, it is Johns, who now, at ninety-one, lives anew with each artistic reiteration.
Aaron Bogart
I WANT YOU TO SHOW ME (BAGLIO ANTICO MIX). A conversation with Adam Farah
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"Wearing your heart on your sleeve shows courage" – or so goes my psychotherapist's favourite dictum. And though bravery is…
Transformative Potential of Social Spaces. A Conversation with Akeem Smith
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New York, October 2021

redpajama_set_name: RedPajamaCommonCrawl


Alberto Zezza, Calogero Carletto, John L. Fiedler, et al.
This special issue of Food Policy focuses on survey design choices and how they influence the quality and availability of data collected in household consumption and expenditure surveys (HCES). The 13 articles (from studies in Africa, Asia, North America, and Latin America) offer practical insights into for national statistical offices and survey practitioners worldwide, and provide policymakers with a better understanding of poverty, food security, and nutrition for effective policy design.


One of the first steps to working with your genealogy DNA test matches is to realize that their genealogy interest won't be the same as yours. In fact their interest probably won't be. They might not be as obsessed with genealogical detail as you. They might not be interested in tracing ancestors "across the pond." They might not be interested in "digging up all the dirt" they can. They might not want to shared 3.2 million images of genealogical records with you. Take it slow.
Your first real goal is to determine how the person is related–that helps you analyze other matches.
Your second goal is to see if they have any pictures of other family documents–that helps you get more information.
← Was that Age an Estimate?


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Category Archives: Patton
Patton-the Death of a Legend
Posted on December 21, 2017 by dirkdeklein under History, Patton, World War 2
Although he was a highly controversial character there are two things that no one can deny.1. He was a hero,2. he was and is a legend.
The commander of the U.S. Third Army, General George S. Patton, Jr., took no great pleasure in the end of the war in Europe; he already knew that despite his lobbying of many influential figures in Washington, D.C., he had no hope of being reassigned to the Pacific Theater to command combat troops there. As he put it to his III Corps commander, Maj. Gen. James Van Fleet, "There is already a star [MacArthur] in that theater and you can only have one star in a show.
Patton was also depressed because he knew there would be a rapid reduction in the strength of the U.S. Army in Europe, and he believed this was inviting disaster.
Patton always had a fighting and competitive spirit, already as a young man.This was even evident in the sports he played.
In 1912 he competed at the Stockholm Summer Olympic games in the fencing event, but he didn't win a medal.
On December 8, 1945, Patton's chief of staff, Major General Hobart Gay, invited him on a pheasant hunting trip near Speyer to lift his spirits. Observing derelict cars along the side of the road, Patton said, "How awful war is. Think of the waste." Moments later his car collided with an American army truck at low speed.
Gay and others were only slightly injured, but Patton hit his head on the glass partition in the back seat. He began bleeding from a gash to the head and complained that he was paralyzed and having trouble breathing. Taken to a hospital in Heidelberg, Patton was discovered to have a compression fracture and dislocation of the cervical third and fourth vertebrae, resulting in a broken neck and cervical spinal cord injury that rendered him paralyzed from the neck down. He spent most of the next 12 days in spinal traction to decrease spinal pressure. All non-medical visitors, except for Patton's wife, who had flown from the U.S., were forbidden. Patton, who had been told he had no chance to ever again ride a horse or resume normal life, at one point commented, "This is a hell of a way to die." He died in his sleep of pulmonary edema and congestive heart failure at about 18:00 on December 21, 1945.Patton was buried at the Luxembourg American Cemetery and Memorial in the Hamm district of Luxembourg City, alongside wartime casualties of the Third Army, per his request to "be buried with his men
You hear me, you gutless bastard? You're going back to the front.
Posted on August 3, 2017 by dirkdeklein under History, Patton, World War 2
On Aug. 3, 1943, Lt. Gen. George S. Patton slapped a soldier who was hospitalized for psychoneurosis, accusing him of cowardice. The incident nearly ended Patton's career..
Lt. Gen. George S. Patton, commander of the Seventh U.S. Army, visited a military hospital in Sicily on Aug. 3, 1943. He traveled past the beds of wounded soldiers, asking them about their injuries. Coming to the bed of a soldier who lacked visible signs of injury, Patton inquired about his health.
The soldier, 18-year-old Pvt. Charles H. Kuhl, had been tentatively diagnosed as having a case of psychoneurosis. He told Patton that he couldn't mentally handle the battle lines. "It's my nerves," he said. "I can hear the shells come over but I can't hear them burst."
Enraged, Patton slapped Kuhl across the face and called him a coward.
(scene from the movie "Patton" about the incident)
As Patton left the tent, he heard Kuhl crying and turned back, striking the soldier again and ordering him to leave the infirmary tent. It later emerged that Kuhl had malaria and a high fever.
Patton demanded that Kuhl be sent back to the front, adding, "You hear me, you gutless bastard? You're going back to the front."
Patton was heard by a war correspondent angrily denying the reality of shell shock, claiming that the condition was "an invention of the Jews."
A week later, in a far less publicized incident, Patton slapped Pvt. Paul G. Bennet, who had been hospitalized for his "nerves." News of both incidents reached Gen. Dwight Eisenhower, who on Aug. 17 sent a letter to Patton reprimanding him.
"I am well aware of the necessity for hardness and toughness on the battle field. … But this does not excuse brutality, abuse of the 'sick,' nor exhibition of uncontrollable temper in front of subordinates," Eisenhower wrote.
Eisenhower ordered Patton to apologize to the men, but, feeling that he was too valuable a leader to lose, allowed to retain his command. Months later, on Nov. 21, radio broadcaster Drew Pearson revealed to U.S. audiences that Patton had slapped Kuhl. Many members of Congress and the press called for Patton's removal from command, and outrage over the alleged "cover-up" was also widespread.
The Senate delayed Patton's confirmation as major general and Eisenhower relieved him of his command of the Seventh Army. He would go on to serve as a decoy during the invasion of Normandy and be given command of the Third Army, which he brilliantly led in an Allied victory in the Battle of the Bulge.
Posted on November 11, 2016 by dirkdeklein under Academy Awards, History, Patton, World War 2, World War I
At his 131st birthday it is a good time at the controversial historical figure who has meant so much to so many.
One of the most complicated military men of all time, General George Smith Patton, Jr. was born November 11, 1885 in San Gabriel, California.He believed in reincarnation, and believed himself to have been a military leader killed in action in Napoleon's army, or a Roman legionary .He was known for carrying pistols with ivory handles and his intemperate manner, and is regarded as one of the most successful United States field commanders of any war. He continually strove to train his troops to the highest standard of excellence.
Born November 11, 1885, in San Gabriel, California, as a young boy, George Patton set his sights on becoming a war hero. During his childhood, he heard countless stories of his ancestors' victories in the American Revolution and Civil War. Striving to follow in their footsteps, he enrolled in Virginia Military Institute in 1904. A year later, he attended the U.S. Military Academy at West Point, graduating on June 11, 1909. In 1910 he married Beatrice Ayer, a childhood friend.
In 1912 Patton competed in the Pentathlon at the Stockholm Olympics. He did well in the fencing portion and placed fifth overall. In 1913 he was ordered to the post of Master of the Sword at the Mounted Service School in Kansas, where he taught swordsmanship while also attending as a student. Despite his grace with a sword, Patton had a reputation for being an accident prone young man. Some even speculate that his explosive temper and incessant cursing were the result of a skull injury in his 20s.
He participated in the 1912 Olympic modern pentathlon, where he placed fifth. After the Olympics, Patton studied fencing in France, and designed the M1913 Cavalry Saber, more commonly known as the "Patton Sword".
Patton first saw combat during the Pancho Villa Expedition in 1916, taking part in America's first military action using motor vehicles.Under command of commander John J. Pershing
He later joined the newly formed United States Tank Corps of the American Expeditionary Forces and saw action in World War I, commanding the U.S. tank school in France before being wounded while leading tanks into combat near the end of the war.
Impressed by Patton's determination, Pershing promoted him to Captain and asked him to command his Headquarters Troop upon their return from Mexico.
With the onset of World War I in 1914, tanks were not being widely used. In 1917, however, Patton became the first member of the newly established United States Tank Corps, where he served until the Corps were abolished in 1920. He took full command of the Corps, directing ideas, procedures and even the design of their uniforms. Along with the British tankers, he and his men achieved victory at Cambrai, France, during the world's first major tank battle in 1917.Where he drove a Renault FT light tank.
Using his first-hand knowledge of tanks, Patton organized the American tank school in Bourg, France and trained the first 500 American tankers. He had 345 tanks by the time he took the brigade into the Meuse-Argonne Operation in September 1918.
When they entered into battle, Patton had worked out a plan where he could be in the front lines maintaining communications with his rear command post by means of pigeons and a group of runners. Patton continually exposed himself to gunfire and was shot once in the leg while he was directing the tanks. His actions during that battle earned him the Distinguished Service Cross for Heroism, one of the many medals he would collect during his lifetime.
An outspoken advocate for tanks, Patton saw them as the future of modern combat. Congress, however, was not willing to appropriate funds to build a large armored force. Even so, Patton studied, wrote extensively and carried out experiments to improve radio communications between tanks. He also helped invent the co-axial tank mount for cannons and machine guns.
Patton left France for New York City on March 2, 1919. After the war he was assigned to Camp Meade, Maryland, and reverted to his permanent rank of captain on June 30, 1920, though he was promoted to major again the next day.
Patton was given temporary duty in Washington D.C. that year to serve on a committee writing a manual on tank operations. During this time he developed a belief that tanks should be used not as infantry support, but rather as an independent fighting force. Patton supported the M1919 tank design created by J. Walter Christie, a project which was shelved due to financial considerations.While on duty in Washington, D.C., in 1919, Patton met Dwight D. Eisenhower, who would play an enormous role in Patton's future career.
During and following Patton's assignment in Hawaii, he and Eisenhower corresponded frequently. Patton sent Eisenhower notes and assistance to help him graduate from the General Staff College.With Christie, Eisenhower, and a handful of other officers, Patton pushed for more development of armored warfare in the interwar era. These thoughts resonated with Secretary of War Dwight Davis, but the limited military budget and prevalence of already-established Infantry and Cavalry branches meant the U.S. would not develop its armored corps much until 1940.
On September 30, 1920, Patton relinquished command of the 304th Tank Brigade and was reassigned to Fort Myer as commander of 3rd Squadron, 3rd Cavalry.
Loathing duty as a peacetime staff officer, he spent much time writing technical papers and giving speeches on his combat experiences at the General Staff College.
Patton was made G-3 of the Hawaiian Division for several months, before being transferred in May 1927 to the Office of the Chief of Cavalry in Washington, D.C., where he began to develop the concepts of mechanized warfare. A short-lived experiment to merge infantry, cavalry and artillery into a combined arms force was cancelled after U.S. Congress removed funding. Patton left this office in 1931, returned to Massachusetts and attended the Army War College, becoming a "Distinguished Graduate" in June 1932.
In July 1932, Patton was executive officer of the 3rd Cavalry, which was ordered to Washington by Army Chief of Staff General Douglas MacArthur.
Patton took command of the 600 troops of the 3rd Cavalry, and on July 28, MacArthur ordered Patton's troops to advance on protesting veterans known as the "Bonus Army" with tear gas and bayonets. Patton was dissatisfied with MacArthur's conduct, as he recognized the legitimacy of the veterans' complaints and had himself earlier refused to issue the order to employ armed force to disperse the veterans. Patton later stated that, though he found the duty "most distasteful", he also felt that putting the marchers down prevented an insurrection and saved lives and property. He personally led the 3rd Cavalry down Pennsylvania Avenue, dispersing the protesters.Patton also encountered his former orderly as one of the marchers and forcibly ordered him away, fearing such a meeting might make the headlines.
Patton was promoted to lieutenant colonel in the regular Army on March 1, 1934, and was transferred to the Hawaiian Division in early 1935 to serve as G-2. Patton followed the growing hostility and conquest aspirations, of the militant Japanese leadership. He wrote a plan to intern the Japanese living in the islands in the event of an attack, as a result of the atrocities carried out by Japanese on the Chinese in the Sino-Japanese war. In 1937, he wrote a paper with the title "Surprise" which predicted, with what D'Este termed "chilling accuracy", a surprise attack by the Japanese on Hawaii. Depressed at the lack of prospects for new conflict, Patton took to drinking heavily and began a brief affair with his 21-year-old niece by marriage, Jean Gordon.
Patton continued playing polo and sailing in this time. After sailing back to Los Angeles for extended leave in 1937, he was kicked by a horse and fractured his leg. Patton developed phlebitis from the injury, which nearly killed him. The incident almost forced Patton out of active service, but a six-month administrative assignment in the Academic Department at the Cavalry School at Fort Riley helped him to recover.Patton was promoted to colonel on July 24, 1938 and given command of the 5th Cavalry at Fort Clark, Texas, for six months, a post he relished, but he was reassigned to Fort Myer again in December as commander of the 3rd Cavalry. There, he met Army Chief of Staff George C. Marshall, who was so impressed with him that Marshall considered Patton a prime candidate for promotion to general. In peacetime, though, he would remain a colonel to remain eligible to command a regiment.
When the German Blitzkrieg began on Europe, Patton finally convinced Congress that the United States needed a more powerful armored striking force. With the formation of the Armored Force in 1940, he was transferred to the Second Armored Division at Fort Benning, Georgia and named Commanding General on April 11, 1941. Two months later, Patton appeared on the cover of Life magazine. Also during this time, Patton began giving his famous "Blood and Guts" speeches in an amphitheater he had built to accommodate the entire division.
The United States officially entered World War II in December 1941, after the attack on Pearl Harbor. By November 8, 1942, Patton was commanding the Western Task Force, the only all-American force landing for Operation Torch, the Allied invasion of North Africa. After succeeding there, Patton commanded the Seventh Army during the invasion of Sicily in July 1943, and in conjunction with the British Eighth Army restored Sicily to its citizens.
Patton commanded the Seventh Army until 1944, when he was given command of the Third Army in France. Patton and his troops dashed across Europe after the battle of Normandy and exploited German weaknesses with great success, covering the 600 miles across France, Belgium, Luxembourg, Germany, Austria and Czechoslovakia. When the Third Army liberated the Buchenwald concentration camp, Patton slowed his pace. He instituted a policy, later adopted by other commanders, of making local German civilians tour the camps. By the time WWII was over, the Third Army had liberated or conquered 81,522 square miles of territory.
In October 1945, Patton assumed command of the Fifteenth Army in American-occupied Germany.
On December 8, 1945, Patton's chief of staff, Major General Hobart Gay, invited him on a pheasant hunting trip near Speyer to lift his spirits.
Observing derelict cars along the side of the road, Patton said, "How awful war is. Think of the waste." Moments later his car collided with an American army truck at low speed.
Gay and others were only slightly injured, but Patton hit his head on the glass partition in the back seat. He began bleeding from a gash to the head and complained that he was paralyzed and having trouble breathing. Taken to a hospital in Heidelberg, Patton was discovered to have a compression fracture and dislocation of the cervical third and fourth vertebrae, resulting in a broken neck and cervical spinal cord injury that rendered him paralyzed from the neck down. He spent most of the next 12 days in spinal traction to decrease spinal pressure. All non-medical visitors, except for Patton's wife, who had flown from the U.S., were forbidden. Patton, who had been told he had no chance to ever again ride a horse or resume normal life, at one point commented, "This is a hell of a way to die." He died in his sleep of pulmonary edema and congestive heart failure at about 18:00 on December 21, 1945.Patton was buried at the Luxembourg American Cemetery and Memorial in the Hamm district of Luxembourg City, alongside wartime casualties of the Third Army.
Remembered for his fierce determination and ability to lead soldiers, Patton is now considered one of the greatest military figures in history. The 1970 film, "Patton," starring George C. Scott in the title role, provoked renewed interest in Patton. The movie won seven Academy Awards, including Best Actor and Best Picture, and immortalized General George Smith Patton, Jr. as one of the world's most intriguing military men.


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Home » Posts tagged "Mark Udall"
Tag Archives: Mark Udall
Langley Papers: Will Udall leak the CIA torture report?
By Bill Humphrey November 17, 2014 - 7:29 am November 17, 2014 Arsenal Pulse
Sen. Mark Udall (D-CO) is an outgoing member of the Senate Intelligence Committee, which has prepared a 6,300 page study on CIA torture. The CIA has blocked it from publication. Should he follow the Vietnam-era lead of then Sen. Mike Gravel (D-AK) — who famously read the suppressed "Pentagon Papers" on the Vietnam War into the Senate's public record to force their release — and (legally) leak the torture report, perhaps along with other state secrets on surveillance abuses that he has access to? Conor Friedersdorf (among others) definitely thinks Udall should:
Using the speech or debate privilege to reveal abuses could be costly for a sitting Senator, who'd risk being stripped of his or her clearance to see classified information or even expelled from the Senate for violating the legislative chamber's rules. Udall is a lame duck anyway, so his calculus is simpler. He need only ask himself what is right: What fulfills his obligations to his constituents, his country, and the oath of office he took to support and defend the Constitution? Preserving his ability to fight for civil liberties another day is no longer an option.
Tagged CIA, Mark Udall, Mike Gravel, torture
In retrospect, Ken Buck (and Cory Gardner) held the key to it all
By Bill Humphrey November 5, 2014 - 12:55 am November 5, 2014 Arsenal Analysis
Back in February, I wrote a lengthy post seriously questioning an article in The Atlantic that suggested Colorado was the harbinger of the year to come for Democrats, as failed and notably abrasive 2010 Republican nominee Ken Buck agreed to drop out of the Senate race there in favor of Congressman Cory Gardner, the more moderate and affable establishment pick. That article basically asserted that this proved that Republicans had gotten their act together on the Senate side after major flubs cost them Senate control in 2010 and 2012.
Tonight, Ken Buck is a Congressman-elect in Gardner's old seat (the only part I predicted correctly) and Cory Gardner is a Senator-elect, having defeated Sen. Udall in a race that I wasn't even seriously putting on the map until this summer. It looks like Republicans will end up winning more than they need (possibly quite a bit more — it's been a bad night) to capture the Senate, but they've definitely crossed the line at this point. And Gardner was a major factor in that, both dismantling what could have been an easy hold for Democrats with somebody like Buck running again and ensuring that Republicans had extra paths to victory while Democrats had extra states to defend. Gardner becoming the clear favorite in the last month basically made it obvious that Democrats were going to lose at least seven seats for sure (the fallback magic number to flip control even if Republicans choked in Kansas), almost certainly one or two more, and quite possibly more beyond that. In the end, when all is said and done (after Alaska comes in and after Louisiana's runoff, if they don't beat expectations at this point), Democrats are about to have lost 9 Senate seats and won none.
Even with recruits like Scott Brown proving to be duds (New Hampshire) or "offbeat" Joni Ernst beating expectations (Iowa), getting people like Ken Buck to step aside in Colorado and nominating non-fringe candidates via primary in places like North Carolina are a big reason why Republicans had a pretty easy time winning the Senate tonight. And they also very nearly won a surprise bonus seat in Virginia by nominating Ed Gillespie, a moderate Beltway Republican with extensive fundraising capabilities, to challenge Sen. Mark Warner even when it looked for much of the year like Warner might be re-elected by double digits (and not the 0.5% margin he's currently on track to win). That's definitely not what I was expecting in February when I wrote (in the same post) "…Virginia Republicans getting behind Ed Gillespie won't prove much of anything since the Democrats will still win handily there."
Which is not to say any of these winners are genuinely moderate. But they certainly talk the talk convincingly enough to not giftwrap unforced errors to embattled Democrats all over the place for a third cycle in a row.
This was always a tough year for Senate Dems with a very strong GOP advantage built in from early on in 2014, but it was not clear it would be a lock as things developed. In the end, though, Ken Buck and Cory Gardner making a smooth switcheroo in Colorado back in February was one of the major tipping points after all for Senate control. I sure didn't see that coming. Maybe in 2015 I'll stick to picking out minor global news stories before they become huge headlines, because I did pretty well on that front this year.
Tagged 2014 US elections, Colorado, Cory Gardner, Ken Buck, Mark Udall, Republicans, US Senate
Colorado: The return of Ken Buck
By Bill Humphrey January 21, 2014 - 9:31 pm January 22, 2014 Arsenal Analysis
Hey, will you look at that: Failed 2010 Republican Senate nominee for Colorado, Ken Buck, is back again to seek the state's other seat in 2014. He's off to a very strong start with a puzzling (yet, predictably offensive) comparison between a woman's pregnancy and his experience battling cancer, as a way to express his opposition to a woman having a say in her personal health.
Yes, I am pro-life. While I understand a woman wants to be in control of her body — it's certainly the feeling that I had when I was a cancer patient, I wanted to be in control of the decisions that were made concerning my body — there is another fundamental issue at stake. And that's the life of the unborn child.
This dismissive attitude toward women's decision-making abilities is absolutely in line with his past views from the 2010 cycle. It also reminds us of his "prosecutor's discretion" decision not to charge a rapist on the horrid "grounds" that the survivor, who had been asleep, must have just made a bad call and regretted it, even though the rapist also admitted lack of consent. (More on that here.)
That all added up to Women's Voices Women Vote Action Fund dropping over $800k in Colorado to run this ad in October 2010…
If Ken Buck wins the GOP nomination in Colorado, that's probably for the best from a Democratic perspective, given that anti-woman comments like this latest cancer comparison were what helped him lose an easy race to an unelected no-name appointee. Here's the text from my 11/3/10 post at Starboard Broadside:
Against the odds, Sen. Michael Bennet (D-Col., appointed 2009) has pulled off an upset to win his bid for a six-year term against DA Ken Buck, the tea-party favorite who had led the former Denver Public Schools superintendent for months in the polling. The Associated Press has called the race for Bennet with 97.2% of the vote reported, as Bennet leads by 15,444 votes. Buck has not conceded yet.
Bennet began pulling even in recent weeks as more revelations about Buck's views on rape, abortion, and women came to light. Bennet's hard-hitting response combined with independent expenditures against Buck by women's groups helped derail Buck's campaign. This was a critical hold for Democrats, as in nearby Nevada, where Harry Reid also won a major upset to retain his seat. On a night where the Democrats lost Obama's old seat in Illinois, it would have been yet another embarrassment for the President to lose Colorado, since Bennet only occupies the seat because President Obama appointed Sen. Ken Salazar (D) to serve as Interior Secretary in his administration.
This time, if nominated again, Buck would be up against an elected incumbent with very high name recognition — Senator Mark Udall.
Oh, and I haven't even gotten into Ken Buck's views on education. But I guess I have to end this post somewhere before it just becomes an exercise in telling someone about that nightmare you had last night.
Tagged 2010 US elections, 2014 US elections, abortion, Colorado, Ken Buck, Mark Udall, Michael Bennet, rape culture, US Senate


This podcast episode provides advice, tips, and insights on family office marketing and public relations. In the past there were not that many multi-family offices, but there are more and more every day. To learn more about Family Office Public Relations please visit us at FamilyOfficesGroup.com or check out our books Family Offices: Investing Capital for the Ultra-Affluent or The Single Family Offices.


Bantams boss Phil Parkinson has made two changes to his side for this Sunday's F.A Cup tie with Dartford at the Coral Windows Stadium.
Sunderland loanee Jordan Pickford remains ineligible to City for this competition, meaning Ben Williams will start in goal, while Filipe Morais is also recalled after recovering from a recent shoulder problem.
Andy Halliday, who had been suffered with illness earlier this week, moves down to the bench as a result of Morais' inclusion.


Summary: WHEN SILENCE IS ALL THAT'S LEFT, CAN THE TRUTH FINALLY BE HEARD?
I finished the second book in the series, Crescendo, about two years ago so it took me a little while to get myself back on track with the story. There was one thing I'd forgotten that I quickly picked back up on though. And that is how annoying Nora is. She always complains about everything and the whole time I was reading I was just waiting for her to go off again. Aside from that slight annoyance I really enjoyed the book.
Not only did I appreciate the sarcasm that is not often found in books but I also really enjoyed the romance of the story.Patch is not your average love interest but he's one of my favorite characters. Honestly he's probably the only character I like. The others are either sketchy, weird, annoying or have some other bad trait. Maybe it's just me, but Patch makes the book what it is. He is not only romantic and loving but he also adds darkness and mystery to the book.
Silence was filled with action that had me bouncing my leg with anxiety. While this book is paranormal I don't think the genre is the reason I enjoyed it. I haven't been in a paranormal-book-reading mood as of late so I was more focused on the relationship part of the story instead of the whole fallen angel thing that I just wasn't into. I've been feeling burnt out on series lately, preferring to read about many different characters rather than the same over and over. Even though I liked the book, I think I would've enjoyed it more had I read it at a different point in time.
I would recommend this book to both guys and girls and especially those who enjoy Twilight by Stephenie Meyers. I think anyone who reads this would agree that this is the fallen angel version of Twilight.


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Wislawa Szymborska: Transcending the Obvious with Thought
by Hayden Saunier
ell all the truth but tell it slant," that conspiratorial whisper from Emily Dickinson, packed with the idea of truth's plurality and the punch of the word slant, is a useful quotation with which to begin a discussion of the poetry of Wislawa Szymborska. However, I believe my initial question upon first reading this poet: "Is this a nice Polish woman or an extra-terrestrial?" is a good start too. Both the Dickinson quote and my initial question address a predominant, unmistakable feature of Szymborska's poems: the slanted angles and multiple points of view with which she approaches her subjects. The Dickinson quote, like many a Szymborska poem, is both straightforward and subversive. It recognizes subversion as most effective when performed quietly; messages are passed along covertly and fewer people get hurt, although that might not have been precisely what Dickinson had in mind. My initial question, like many a Szymborska poem, is essentially a joke based on juxtaposition, but that should recommend it, not dismiss it. Comedy works when it is based in reality: the comic mask doesn't wear a smile; it's the mask of tragedy with the corners of its mouth forced upward. To this collage of an introduction, and Ms. Szymborska is a collagist, let's allow Ms. Szymborska a moment to chime in with her own quotation: Montaigne's adage, "See how many ends this stick has!" which she calls "an unsurpassable model of the writer's craft and a constant encouragement to transcend the obvious with thought" (Krynski & Maguire 3).
To transcend the obvious with thought. That may well be what this poet is up to. She certainly challenges the fundamental ways we have been taught to think about ourselves and the world. Whether writing from the perspective of a small rodent, a god, an uptight lecturer, an extra-terrestrial, or from her perspective as a single and singular human being, Szymborska balances a clear, cold eye and an inhuman distance, often measured in light years, with lightness, wit and a compassion for all things human. Hers is a poetry of subtle shifts of perspective, but as with subtle shifts in plate tectonics-- the reverberations can add up to something very large indeed. Her subject, for the most part, is human beings and our position--or their position--depending on her point of view, both real and imagined, in the world.
Our usual approach in a discussion of a poet is to take a look at her personal biography for clues to how she has arrived at her point of view, her themes, her subjects, her voice. Here, Szymborska again plays a joke on us, the joke of modesty. She is not very interested in letting us know. Most biographical sketches include the same few details: Wislawa Szymborska was born in 1923 in Bnin, Poland, moved to Krakow with her family at the age of eight and has lived there ever since. She attended the Jagellonian University in Krakow between 1945 and 1948, studied Polish Literature and Sociology and published her first poem in 1945 and her first two collections of poetry in 1952 and 1954. From 1953-1981 she worked as poetry editor and as a columnist for a literary weekly magazine, "Zycie Literackie." This seems a bare outline, but even those of us with the vaguest sense of world history can come up with a background landscape for her that includes World War II, Nazi occupation, the Warsaw uprising, death camps, genocide, Russian partitionment, socialism, the Solidarity trade union movement, up to the current parliamentary democracy headed by a former communist. As background, this history answers some questions about why she might adopt a hefty ironic distance from the goings-on of man, and why she argues, albeit obliquely, always in favor of the privacy and primacy of the mind and the singularity of the individual.
"I prefer not to speak of my poems, and if I have to, then at no great length" (Krynski 6), she remarked in an early and rare interview. She has refused to ally herself with any literary school or division, identifying herself as a poet "who does not wish to declare allegiance to any single theme or any single mode of expression for matters that are of importance to her" (7).
Krynski and Maquire note that Szymborska's first collection was ready to be published in 1948, but the consolidation of power by the Communists and pressure for literature to support the new themes of building socialism cancelled its publication and led her to take "steps to revise her entire manner of writing." (4). "Later, Szymborska in effect repudiated this entire volume by not including a single poem from it in her collected works of 1970"(4). Only two poems from her second collection were included in that collected works. Adam Zagajewski suggests that her mature work's "wonderful warm skepticism--an entire, fully developed humanistic weltanschauung" was probably developed through her early experience endorsing socialist realism, "out of conviction, as she later commented" (187) and her later disillusionment.
Szymborska was awarded the Nobel Prize for Literature in 1996 for "poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality" (Nobel prize). Her work has been translated into English by many, with Clare Cavanaugh and Stanislaw Baranczak translating her most recent English editions. As with any translation, versions vary, and we who have no knowledge of the particular language must trust to those who do to judge their success or failure--but Szymborska seems to write in a clear, unadorned voice, bent on communicating an idea or a thought, not an emotion or a state of being, and her ideas feel as though they have been distilled from her experience well before or perhaps through the act of writing. David Barber writes in an essay in The Atlantic Monthly, "One might. . .conjecture that her work loses less than most in the leap from one language to another because in a sense it has already been translated-- its emotional intensity transmuted into a lexicon of swift and supple fluency, its cerebral complication made to seem effortlessly offhand." The differing shadings in different translations, with a notable few exceptions, seem often more a matter of style than substance. "Even in her own language, Szymborska must be something of a will o' the wisp, infinitely adept at eluding the routine statement and overt sentiment, always managing to dance just beyond the reach of simple comprehension" (Barber).
Szymborska's poetry is dark, ironic, witty, playful, grim and often all at once. "More at ease with metaphysical speculation than with the raw materials of emotion and experience" (Barber), it is not surprising that she is also an essayist--having created her own form of book review/essay, translated into English by Clare Cavanagh and collected in a book entitled, Nonrequired Reading. Her poetry often walks a delicate line between poem and essay; borders and divisions do not appear to be of much use to Szymborska.
"O the leaky boundaries of man-made states!" exclaims "Psalm," a poem in which the plants, clouds, animals, and even the stars are subverting the will of humans, "Isn't that a privet on the far bank/smuggling its hundred-thousandth leaf across the river?" Here Szymborska applies a voice of mock outrage-- "Not to mention the fog's reprehensible drifting!/And dust blowing all over the steppes/as if they hadn't been partitioned!" The catalogue of chaotic, rebellious misbehaviors of the natural world surrounding human boundaries is heightened by this voice of propriety and pedantry and allows the poet to cheekily egg on the natural chaos, even as she upbraids it for misbehavior. The poem's close, after all the fun, is quick and cold: "Only what is human can be truly foreign./The rest is mixed vegetation, subversive moles, and wind."
Szymborska employs and plays with voice in varied and often theatrical ways. "View with a Grain of Sand," the title poem from the collection released after her Nobel prize win, is characteristic of many of her techniques and one of her predominant modes of voice--the "we." It is a collective, human "we," what Edward Hirsch calls the voice of a "wry moralist."(106)
We call it a grain of sand,
but it calls itself neither grain nor sand.
It does just fine without a name,
whether general, particular,
incorrect, or apt.
The voice is calm, reasonable, educated, unemotional and wry. The poem begins with a factual statement and immediately argues against it, "we call it a grain of sand/but it calls itself neither grain nor sand." She then follows a logical progression of considerations of the view, the sand, the window, the lake. As she considers these objects in all their objectivity, she is, in fact, exposing the subjects ("we") in all our subjectivity. She pursues this through negatives: what the objects are not defines their very being. The names and descriptions that "we" use to define them have no bearing on them; "we," the namers and definers, are pushed further and further out of the picture, out of the view, until, in the final line of the poem, we, in fact, don't exist. The poem ends on the final word: inhuman. She calls into question not only how we, as humans, think and perceive, but our position as part of the view at all. There's no malice, only a slight amusement at our inventions ("the characters, the similes.") We simply don't matter very much in the larger scheme. Szymborska manages this not by diminishing humanity in any direct way (just humanity's opinion of itself) but by giving equal weight to all manner of creation; clouds, plants, animals, stars, stones. The end of this poem achieves something like an existential silence. It's chilling, yet emancipating. Subtly underlying the poem is the implication that if the smallest grain of sand, or the lake, or the shore, or the sky has the power to resist what humans name it--so do humans have the power to resist being named, as well. No one, not the least herself, is immune from her own clear glance.
But how does Szymborska manage these startling angles of view? How does she transcend the obvious? Among her simplest techniques are inversion and via negativa, the use of negatives, focusing on what a thing is not, accomplished handily through inverting voice in the above poem. She names and renames, ("general, particular, incorrect, or apt") running through all the possibilities. She employs lists and differing scales to change perception and create paradox and uses all manner of juxtapositions: macrocosmic to microcosmic, abstract to material, mundane to metaphysical, serious to playful. She writes from the rhetorical stance of history ("Archeology,") evolution ("Speech at the Lost and Found") and from the voice of an entity observing from outer space, ("Maybe All This") as though when contemplating human beings that's about as close as she can stand to get. But even the voice in "No End of Fun," as it looks down at humans from heaven or another galaxy, sounds suspiciously familiar and authoritarian like an academic admissions committee member assessing an odd and unlikely student.
. . .he really tries quite hard.
Quite hard indeed--one must admit.
With that ring in his nose, with that toga, that sweater.
Poor little beggar.
A human if ever we saw one.
That authoritarian voice, tsk-tsking in its superior and reductive way, begs to be proven wrong, but the poet can't be pinned down on that.
Scale works on a number of levels in the poem "The End and the Beginning," including a visual, almost cinematic one.
After every war
someone has to tidy up.
Things won't pick
themselves up, after all.
Immediately we are confronted with an absurdity of scale through diction: "war" and "tidy up," followed by a comment, in a familiar, everyday idiom, that most everyone's mother has said at one time or another. Here it is applied to war as though to a mess in the kitchen, or the clean up after a party.
Someone has to shove
the rubble to the roadsides
so the carts loaded with corpses
can get by.
Someone has to trudge
through sludge and ashes,
through the sofa springs,
the shards of glass,
the bloody rags.
The abstract gives way to the particular detail, the close-up shot. Then back to the larger picture.
No sound bites, no photo opportunities,
and it takes years.
All the cameras have gone
to other wars.
Here she uses inversion again, showing us what isn't there, abstractions, at first; then the actual. The argument moves on to the general as the specifics fade away. We forget because we must, because it is how we go on.
Someone has to lie there
in the grass that covers up
the causes and effects
with a cornstalk in his teeth,
gawking at clouds.
Look at this paradoxical, yet hopeful, ending. The individual person, lazing and gawking at clouds, conjuring Whitman, on a carpet of grass above history, is in fact the beginning of hope. But what has been forgotten about the causes and effects of war in order to renew, assures that war will happen again. What saves us also dooms us. What dooms us also saves us. "A human, if I ever saw one."
"Symborska's "I," according to Czeslaw Milosz, is "an ascetic "I," cleansed not only of the desire to confess, but of any individuating features, and yet it is linked to the "I" of all others who share the human condition and thus deserve pity and compassion" (3). This "I" is engaged in an outward contemplation, singular and particular in its gentle musings; it is the poet, it is any of us. "Thanks to a thorough relinquishing of subjectivity, "I" and its particular form of personal depression, fall by the wayside" (4). This is a key aspect to her voice, that the personal has been distilled, clarified, the muddy details filtered and discarded. In a Szymborska poem, all personal pronouns, with the exception of 'they' seem to apply to us all. This voice of 'I' can be fanciful, rueful, realistic, astonished. It observes, skeptically. It sorts. It places itself democratically as an equal among other forms and by doing so celebrates its ability to observe and sort and think as one of its most marvelous adaptations.
In her well-known poem, "Conversation with a Stone" Szymborska's "I" knocks relentlessly at a "stone's front door" and asks to be let in. The stone refuses. The human persists. Again and again, they argue.
"You shall not enter," says the stone.
"You lack the sense of taking part.
No other sense can make up for your missing sense of taking part.
Even sight heightened to becoming all-seeing
will do you no good without a sense of taking part.
You shall not enter, you have only a sense of what that sense
should be,
only its seed, imagination."
The human continues to knock until the stone finally states: "I don't have a door." Compressed into this little performance of two voices is something of what is both absurd and marvelous in being human. Perhaps we have come so far through our relentlessness, our arrogance, our curiosity. Perhaps we have only come this far because of our narrowness, self-importance and lack of "partaking." There is, of course, that seed of imagination that might sometime make a door. But we've a long way to go, she seems to be saying, so we may as well laugh at ourselves. The other option is despair.
"Lot's Wife" is a dramatic monologue (by the loose definition) spoken in the voice of that infamous woman and it also employs another key aspect of Szymborska's poetry--her love of lists. "Lot's Wife" opens with a characteristic statement of fact.
They say I looked back out of curiosity.
But I could have had other reasons.
I looked back mourning my silver bowl.
Carelessly, while tying my sandal strap.
So I wouldn't have to keep staring at the righteous nape
of my husband Lot's neck.
From the sudden conviction that if I dropped dead
he wouldn't so much as hesitate.
From the disobedience of the meek.
Immediately, the contradictions and juxtapositions begin; our expectations and our allegiance to what "they say" is challenged. Each line contains another possibility; each possibility is equally possible; each one supplants the previous. The possibilities are very personal, particular, grand, petty, human, distinct. I'm particularly fond of "so I wouldn't have to keep looking at the righteous nape of my husband Lot's neck," compacting, as it does, the history of a marriage. The list continues and the possibilities accumulate.
Checking for pursuers.
Struck by the silence, hoping God had changed his mind.
Our two daughters were already vanishing over the hilltop.
I felt age within me. Distance.
The futility of wandering. Torpor.
I looked back setting my bundle down.
I looked back not knowing where to set my foot.
Plausible, human reasons. Veering wildly back and forth between mundane and mechanical to awe-struck and existential. Then, Szymborska widens the vision by moving from the interior to the exterior. Events have evened the scales and a landscape emerges around the woman,
Serpents appeared on my path,
spiders, field mice, baby vultures.
They were neither good nor evil now--every living thing
was simply creeping or hopping along in the mass panic.
I looked back in desolation.
In shame because we had stolen away.
Wanting to cry out, to go home.
These lines bring us back to a completely human condition: desolation, shame, despair.
Or only when a sudden gust of wind
unbound my hair and lifted up my robe.
It seemed to me that they were watching from the walls of Sodom
and bursting into thunderous laughter again and again.
I looked back in anger.
To savor their terrible fate.
I looked back for all the reasons given above.
I looked back involuntarily.
These last two pack a powerful one-two punch to the idea that single causes or reasons can be assigned to any action. Both are equally plausible; both stand in direct opposition to one another.
It was only a rock that turned underfoot, growling at me.
It was a sudden crack that stopped me in my tracks.
A hamster on its hind paws tottered on the edge.
It was then we both glanced back.
Again, like the resentment-packed moment provided by "the righteous nape," here is an almost playful moment-- the woman and the rodent mirror each other, behave identically, and are compatriots, equally small and helpless. And by the way, who else could get away with saying that under a rain of fire and brimstone a hamster had looked back out of idle curiosity and disobedience?
No, no. I ran on,
I crept, I flew upward
until darkness fell from the heavens
and with it scorching gravel and dead birds.
I couldn't breathe and spun around and around.
Anyone who saw me must have thought I was dancing.
It's not inconceivable that my eyes were open.
It's possible I fell facing the city.
After the litany of possible reasons and the dueling ideas that all reasons are true and that reason has nothing to do with it, here at the end, is the reality of this woman's death. In the terse description of her movements, she becomes like the other creatures who are fleeing, and the physical responses recognize that how the body might behave would allow for misinterpretation ("Anyone who saw me must have thought I was dancing.") Curiosity seems, after reading this poem, the least plausible reason Lot's wife looked back. The accepted view of this woman as a personification of disobedience, vanity and silliness appears more than suspect. Think of the possibilities, Szymborska is saying, she's human, she's far more interesting than the limitations of what "they" suggest.
In poem after poem, Szymborska takes the plain white light of a supposition and refracts it into its rainbow parts, examines each color, each thread. In doing so she stages "little insurrections of sense and sanity, and moral reckoning" (Barber) and brings to light small amazements, odd possibilities, cold realities. By "repeatedly shifting perspective, Szymborska's poetry embraces the modernist position that all views are partial and restricted, all truths relative." (Hirsch) She reminds us, again and again, in numerous ways, of the power of each individual mind as in this from the poem "Miracle Fair,"
An extra miracle, extra and ordinary:
the unthinkable can be thought.
In her Nobel Lecture, Szymborska challenges the notion of certainties, particularly in the political realm when she writes that torturers, dictators, fanatics and demagogues struggling for power "know. . ."
and whatever they know is enough for them once and for all. They don't want to find out about anything else, since that might diminish the force of their arguments. . .. That is why I value the little phrase, "I don't know" so highly. It's small but it flies on mighty wings. It expands our lives to include spaces within us as well as the outer expanses in which our tiny earth hangs suspended.
Surely, Szymborska should get the last word in any discussion about her work. She provides us a widely-cited summation of her ars poetica at the end of the poem "Under One Small Star,"
Don't bear me ill-will, Speech, that I borrow weighty words
and labor to make them seem light.
and this last word about the obvious world, and a challenge to poets, from her Nobel speech. . .
. . .whatever else we might think of the world--it is astonishing. But astonishing is an epithet concealing a logical trap. We're astonished, after all, by things that deviate from some well-known and universally acknowledged norm, from an obviousness to which we've grown accustomed. But the point is, there is no obvious world. . .
Granted, in daily speech, where we don't stop to consider every word, we all use phrases like "the ordinary world," "ordinary life," "the ordinary course of events"... But in the language of poetry, where every word is weighed, nothing is usual or normal. Not a single stone and not a single cloud above it. Not a single day and not a single night after it. And above all, not a single existence, not anyone's existence in this world.
The End and the Beginning
Someone has to lug the post
to prop the wall,
someone has to glaze the window,
set the door in its frame.
The bridges need to be rebuilt,
the railroad stations, too.
Shirtsleeves will be rolled
to shreds.
Someone, broom in hand,
still remembers how it was.
Someone else listens, nodding
his unshattered head.
But others are bound to be bustling nearby
who'll find all that
a little boring.
From time to time someone still must
dig up a rusted argument
from underneath a bush
and haul it off to the dump.
Those who knew
what this was all about
must make way for those
who know little.
And less than that.
And at last nothing less than nothing.
From Poems New and Collected 1957-1997, written by Wislawa Szymborska and translated by Stanislaw Baranczak and Clare Cavanagh. Copyright � 1997 by Stanislaw Baranczak and Clare Cavanagh. Used by permission. All rights reserved.
LOT'S WIFE
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Szymborska, Wislawa, nonrequired reading, translated by Clare Cavanagh, (New York: Harcourt, Inc, 2002.)
Szymborska, Wislawa, People On A Bridge, trans by Adam Czerniawski, (Dufour Editions, London: 1990.)
Szymborska, Wislawa, Sounds, Feelings Thoughts: Seventy Poems by Wislawa Szymborska, trans by Magnus J Krynski and Robert A Maguire, (Princeton: Princeton University Press, 1981.)
POET DATA
Birthplace: Poland
Language(s): Polish, French
Forms: Adheres to none
Subjects: Human beings and their position in the world
Entry By: Hayden Saunier
SELECT A POETKim AddonizioEtel AdnanAnna AkhmatovaYosano AkikoJulia AlvarezMaggie AndersonHildegard of BingenEavan BolandAnne BradstreetEmily BronteElizabeth BrowningJulia Budenz CastellozaWendy CopeFrances (Fanny) CrosbyJuana Inés de la CruzChristine de PizanTullia di AragonaCountess of DiaEmily DickinsonHilda DoolittleCarol Ann Duffy EnheduannaLouise ErdrichRhina EspaillatUrsula FanthorpeVeronica FrancoHayashi FumikoNola GarrettLinda GregersonRachel HadasXuang Huong HoMary Karr KassiaJane KenyonJahan KhatunMaxine KuminAemilia LanyerE. Jean LanyonEmma LazarusDenise LevertovAnne Morrow LindberghEdna St. Vincent MillayIsabella di MorraKiyoko Nagase NansorhonMarilyn NelsonRosa NewmarchLorine NiedeckerDorothy ParkerLinda PastanMolly PeacockKatherine PhilipsSylvia PlathMarie PonsotAzalais de PorcairaguesMarguerite PoreteGarsenda de ProensaMary RobinsonChristina RossettiChika SagawaSonia SanchezTibors de SarenomE. J. ScovellAnne SextonJo ShapcottStevie SmithEdith SodergranA. E. StallingsGaspara StampaGertrude SteinMay SwensonAnna SwirWislawa SzymborskaMarceline Desbordes ValmoreMaría Eugenia Vaz FerreiraMaria de VentadornMary Alice ViallsDeborah WarrenPhillis Wheatley
MEZZO CAMMIN ARCHIVES
32 Poems
The Cortland Review
Favorite Poem Project
Light Quarterly
Modern American Poetry
The Poem Tree
Raintown Review
String Poet
Women's Poetry Listserv
Bread Loaf
Poetry by the Sea
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Grolier Poetry Bookshop
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Prairie Lights
Tattered Cover Bookstore
Literary Mothers
NewPages.com


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text:
Council Candidates to Host "Stand Up Against Asian Hate" Rally in Sunnyside Saturday
Western Queens Council Candidate Julie Won at a rally against Asian hate in Manhattan (Julie Won via Twitter)
March 3, 2021 By Allie Griffin
Two City Council candidates who are vying for the 26th Council District seat in western Queens are joining together this weekend to host a rally against Asian hate.
Julie Won and Steven Raga are hosting the "Stand Up Against Asian Hate" rally on Saturday, March 6 at Bliss Plaza, located at 46th Street and Queens Boulevard. The rally will begin at 1 p.m.
Won, a first-generation Korean immigrant, and Raga, a Filipino American, have organized the rally in response to a recent uptick in attacks against Asian New Yorkers.
Last month there were at least two such attacks in Queens alone, including one incident in which a 52-year-old Asian woman was shoved to the ground by a man in Flushing.
The recent jump in anti-Asian attacks comes after a year of increased Asian bias–primarily tied to the outbreak of the COVID-19 pandemic.
There were 28 hate crimes against Asian Americans in New York last year, compared to just three in 2019, according to the NYPD.
Won said racism against Asian Americans has been a longstanding issue that has been missing from the traditional "Black and White" race narrative in the U.S. It has also been compounded by the "model minority" myth that has pitted the Asian community against other communities of color, she said.
"In our multi-racial city, we must stand in solidarity against racism of all forms to dismantle the system that nurtures inequities," Won said. "As a city, acknowledging anti-Asian racism is a crucial step in our anti-racist work. It's not Black against white, it's everyone against racism."
The rise in bias attacks against Asian Americans was what prompted Raga, a board member of the National Federation of Filipino American Associations (NaFFAA), to run for City Council.
"We need to address these issues," Raga told the Queens Post last month. "The city has played down this issue for far too long."
Western Queens Council Candidate Steven Raga with Manhattan Borough President Gale Brewer at an earlier rally against Asian hate in Manhattan (Steven Raga via Twitter)
The Queens rally will be held exactly a week after a Manhattan "Rise Up Against Asian Hate" rally organized by the Asian American Federation.
Raga and Won are two of roughly 20 candidates running to represent Sunnyside, Woodside, Long Island City and parts of Astoria in the City Council.
The seat is currently held by term-limited Council Member Jimmy Van Bramer, who is running for Queens Borough President.
ASensibleMan March 4th, 2021
So who among this foolish group will be the first to acknowledge that 90% or more of attacks on Asians are by blacks?
Oh yeah, nobody. But we'll hear plenty about "white supremacy."


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Are your feet ready for Christmas and the New Year? Podiatry Professionals' last working day will be Wednesday 23rd December, and we re-open Monday 11th January 2016. Get in quick as we are limited in appointments! Merry Christmas and we hope you have a safe and happy New Year.
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While it's officially known as the Dimension Series Original Rebel Maverick by E.P. Carrillo, you can also call this series Original Rebel by The Original Rebel. The history behind the name "Original Rebel" was a comment from Alan Rubin, of Alec Bradley fame, that reportedly referred to the legendary Ernesto Perez-Carrillo as "The Original Rebel. Apparently the name struck a chord with Carrillo, as he decided to name an entire series after it.
The Original Rebel Maverick is the Natural wrapper version of the series, with the Original Rebel Rebellious catering to Maduro fans. As a part of the Dimension series of cigars, the Original rebel cigars will appeal to fans of the larger cigars, and coming from the originator of the Big Ring Gauge craze and Inch Line you know it will be special.
The Maverick is a Dominican Cigar with a Ecuadorian wrapper and Nicaraguan filler that delivers a great mesh of Oak, Cedar, earth, caramel, creamy, and spicy tones with a clean, cool draw in a fuller medium to full body smoke.
When you look for a big ring cigar, you look for an E.P. Carrillo Cigar, and now you look for the Original Rebel.
E.P. Carrillo Original Rebel Maverick 52 Ecuador Robusto (5 1/2" x 52) is a super smooth smoke handmade in the Dominican Republic using Dominican fillers and binders which are neatly rolled into a Ecuadorian wrapper which gives the cigar a mild to medium body flavor. The flavor features notes of sweet hay and dried fruit transition into a toasty introductory profile of oak, butter, and dry cedar spice. Intermittently, these flavors are accented by a delicious taste that can only describe as a combination of salted caramel and sweet cream.
E.P. Carrillo Original Rebel Maverick 54 Ecuador Toro(6 1/2" x 54) is a super smooth smoke handmade in the Dominican Republic using Dominican fillers and binders which are neatly rolled into a Ecuadorian wrapper which gives the cigar a mild to medium body flavor. The flavor features notes of sweet hay and dried fruit transition into a toasty introductory profile of oak, butter, and dry cedar spice. Intermittently, these flavors are accented by a delicious taste that can only describe as a combination of salted caramel and sweet cream.
E.P. Carrillo Original Rebel Maverick 56 Ecuador Churchill(7 1/2" x 56) is a super smooth smoke handmade in the Dominican Republic using Dominican fillers and binders which are neatly rolled into a Ecuadorian wrapper which gives the cigar a mild to medium body flavor. The flavor features notes of sweet hay and dried fruit transition into a toasty introductory profile of oak, butter, and dry cedar spice. Intermittently, these flavors are accented by a delicious taste that can only describe as a combination of salted caramel and sweet cream.