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Local Sports High School Huddle Scene Lifestyle Obituaries E-Edition Legals
Are local hospitals prepared for coronavirus? With COVID-19 in NC, health officials react
Mackensy Lunsford
Asheville Citizen Times
ASHEVILLE – Local health officials have been preparing for the possible arrival in WNC of COVID-19, more familiarly known as coronavirus, which this week arrived in North Carolina.
A Wake County resident who traveled to Washington state tested positive for COVID-19, Gov. Roy Cooper announced in a March 3 press conference. The person, who had visited a long-term care facility stricken by the outbreak, is quarantined and recovering at home.
The Centers for Disease Control says all Americans should prepare for the possibility of widespread COVID-19 in the United States.
The N.C. Department of Health and Human Services is working closely with local health departments and health care providers to prepare North Carolinians in the event of more widespread COVID-19 outbreak.
More:How prepared is Buncombe for the coronavirus? Here's what we know.
Can I get tested for the disease locally?
But in early February, Cooper created the COVID-19 Task Force, approving the N.C. State Laboratory of Public Health, a department of DHHS, to test for the novel coronavirus.
"Testing is already underway in our state lab and that means we get results faster," Cooper said in a March 3 press release, circulated just hours before his office announced the Wake County case.
"Our public health leaders have been working around the clock to ensure that we are prepared," he added.
Mission says COVID-19 surge 'not yet seen,' removes emergency tents Budget impact of coronavirus beginning to pinch Madison County finances Applications for food stamps double in Madison County Self-employed? 5 things to know about filing for unemployment in North Carolina
How does coronavirus testing work?
Localized testing may be on the way.
Dr. Chris Parsons, medical director at Pardee Center for Infectious Diseases in Hendersonville, said U.S. Food and Drug Administration officials have eased restrictions on who can test for coronavirus, giving some laboratories and hospitals the go-ahead to conduct tests that had been limited to the Centers for Disease Control and Prevention.
"Researchers at UNC Hospitals in Chapel Hill have already developed their own test for the coronavirus and have stated that they will begin sharing these test kits with affiliated providers," he said. "While we look forward to receiving test kits available through the UNC Health system, they are not yet ready for distribution and use."
More:Madison County health officials watching, planning for coronavirus worst-case scenario
Until then, the medical center will continue to follow protocol, which means getting approval for testing from NC DHHS. "Upon approval, Pardee will collect specimens, label and ship to the State Laboratory of Public Health per the approved guidelines," he said.
The state lab uses a CDC-developed test kit, granted under an Emergency Use Authorization from the federal Food and Drug Administration, with testing coordinated through the Division of Public Health's Communicable Disease Branch, according to the release from Cooper's office.
Nancy Lindell, who handles media relations for Mission Health, reiterated that testing to confirm coronavirus is still handled at state level. There are no test kits at Mission.
Dr. Teresa Herbert, AdventHealth Hendersonville chief medical officer, said the same. Still, there are plenty of other health tests available to help rule out coronavirus
"When a patient comes in who meets the screening criteria as dictated by the CDC, physicians will also perform tests, as appropriate, to rule out other potential illnesses such as the flu or mononucleosis," she said.
More:Park Ridge Health to become AdventHealth Hendersonville in 2019
More:Will I-26 work impact transportation time between Mission and Henderson hospitals?
Do WNC hospitals have adequate medical equipment?
Lindell said the availability of personal protective equipment, including masks, respirators, gowns and gloves, "is of concern to providers across the country."
"Mission is actively securing additional inventory in addition to widespread implementation of policies designed to assure appropriate utilization of current supplies," she said.
More:Pardee Hospital awarded $450,000 to help improve health
More:Coronavirus found near Raleigh, North Carolina: What we know so far
Parsons said Pardee has an "adequate supply" of masks for patients with any respiratory illness, including influenza and COVID-19. The center also has masks for health care personnel.
"There is no supply chain issue at this time, and we continue to order through both our primary and secondary distributors to ensure adequate access to supplies," he said.
Herbert said AdventHealth will continue to work with partners, manufacturers, vendors and other agencies to ensure the continuity of the equipment supply chain.
"The health and safety of our patients, team members and communities is our top priority," she said. "We are taking measures and precautions to ensure that our facilities are able to continue to deliver best-practice care, and like all health care providers, this includes a diligent focus on supplies."
(Story continues below)
How are hospitals working with the CDC?
Lindell said Mission Health is working closely with local and state health departments, HCA Healthcare at the corporate level, and the CDC to coordinate COVID-19 response protocol.
"While COVID-19 poses some unique challenges, most of our efforts are focused on implementing preexistent policies for widespread outbreaks of infectious diseases like this and influenza," she said. "Preparedness for these situations is part of our regular routine."
Mission has protocols in place to protect noninfected patients and health care workers who may come in contact with possible COVID-19 patients, she said.
"Even prior to this outbreak, we have been screening all patients who have recently traveled or come in close contact with people who have traveled. Our Infection Prevention team is staying in close touch with local and state officials, and keeping hospital leaders abreast of any new information."
More:Public meetings set to discuss HCA's compliance in Mission Health purchase agreement
More:'We have no doctor here': Rural residents voice concerns at HCA compliance meeting
Parsons said Pardee has detailed preparedness plans tailored for highly communicable respiratory diseases, which now includes procedures for COVID-19.
"This plan has been shared with our emergency preparedness partners as early as December 2019 via an exercise conducted with the Mountain Area Healthcare coalition," he said.
Pardee patients exhibiting coronavirus symptoms will be handled to prevent the spread of the virus. "We identify the symptoms and level of exposure; isolate the patient; and if the case is suspected, inform both local and state health authorities," he said.
And even though test results require official CDC confirmation, a presumptive positive result initiates an immediate public health response from state emergency management, local health departments and hospitals while CDC confirmation is pending.
AdventHealth has a pandemic response plan based on the CDC recommendations, Herbert said.
The health center also holds regular multidisciplinary team meetings to adapt to what's become a rapidly evolving situation, bringing infectious disease specialists, emergency management, nursing and physician leadership, communications and supplies management to the same table.
Meanwhile, Cooper's office said the state Department of Health and Human Services continues to coordinate with health officials.
"I know that people are worried about this virus, and I want to assure North Carolinians our state is prepared," he said. "Our task force and state agencies are working closely with local health departments, health care providers and others to quickly identify and respond to cases that might occur."
Mackensy Lunsford is an award-winning staff writer for the Asheville Citizen Times, former professional line cook and one-time restaurant owner.
Reach me:mlunsford@citizentimes.com.
Read more: Subscribe to the Citizen Times here. Subscribe to my newsletter here.


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Title: The Cyclopedia of New Zealand [Wellington Provincial District]
Author: Cyclopedia Company Limited
Publication details: The Cyclopedia Company, Limited, 1897, Wellington
Part of: The Cyclopedia of New Zealand
License: Creative Commons Attribution-Share Alike 3.0 New Zealand Licence
The Cyclopedia of New Zealand [Wellington Provincial District]
Lieutenant-Colonel the Hon. Andrew Hamilton Russell
Lieutenant-Colonel the Hon. Andrew Hamilton Russell, M.L.C. was one of the second Stafford Ministry as a member of the Executive Council and Minister for Native Affairs from October 1865 to August 1866. The honourable gentleman is the descendant of a Scotch family. He chose a military life and rose to the position of lieutenant-colonel in the 58th Regiment. He took part with his regiment in the Maori War, and after deciding to settle in the Colony purchased land in the Hawkes Bay district, where he resided for some years. In 1858 he was called to the Legislative Council in the deliberations of which body he took part for several years. The honourable gentleman, who is the father of Captain W. R. Russell, leader of the opposition in the present House of Representatives, left the Colony about twenty years ago, and has since resided in Devonshire, England.

redpajama_set_name: RedPajamaCommonCrawl


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PHILANTROPY
COLLABORATE WITH US TO SERVE COMMUNITY
Transformation from nothing to everything.
On new years eve 1999, at the birth of a new era, I died. I was alive with no identity, no purpose, and no love.
20 years later, after 16 years in isolation, I was reborn.I became alive in my world, in my reality and in my essence.My only source, a handful of supernatural experience that inspired art, purpose and the ultimate love.
I am jai sol.
BODIES OF ARTWORKS THAT ARE MASTERFULLY CRAFTED TO CONVEY A THEME, SUBJECT AND MESSAGE. EACH PIECE IS MULTILAYERED WITH UNIQUE VISUALS AND CONCEPTS.
VORTEX COLLECTION
Jai's artworks are available to purchase as customized pieces.
We edit colours, textures, lighting in the art to complement your interior, surroundings.
JAI SOL
I was born in a humble, industrial town in England to an Indian father and African mother. My identity did not connect with India or belong in England, I was a bonafide Hybrid. A boy from two faiths immersed in a tricultural world, none of which made any sense. Something deep inside of me knew it was all make-believe, a construct of some kind, a man-made dream. My solitary option was to unveil the innermost truth inside of me, in amongst the haze of grey skies and colourful gods. Fast forward to where we are now, I am still that inner child, but with experiences that have impacted reality forever. In between countless, mundane, rainy days, I Iived and breathed with ash baba's at the foothills of the Himalayan mountains. I travelled across Europe with Arabic folk musicians and dancers. I immersed myself in mind-bending rituals with native American shaman in California. I taught art to street children in shanty towns across India. I numerously exhibited art for royalty in London. For a brief moment, I escaped my reality, nothing to my name, no status within any community, and no material possessions, just years of pain, growth and unbelievable magic.
I am blessed with the opportunity to create and share.
I chose to express my creativity through visuals, colours and patterns. My aim: to share my experiences through the medium of art. No matter the subject or experience, everything is open to interpretation. From what I witness, to what I learn, to what I appear to understand. My role is to simply question and record it.
From a young age, I was heavily exposed to multiple forms of organised culture. People behaving in unnatural ways to convince me to partake in ritual or process. Some behaviours would relate to money, some to God, others a mixture of the two with elements thrown in. Each behaviour derived from stories and traditions, representing ideas from ancient to recent history. For me, as a boy, it all was very confusing and beautiful. It felt as though I was witnessing an elaborate act, a play where I was an extra as well as the central star. My only option then was to absorb the experiences and trust in my instinct to reveal truths. As I evolved so did the truth and its form. First came rebellion, next affirmation and finally observation.
I began to observe the world in front of me, studying its literal, linear form while exploring earth, nature; its spiritual abstract form. I also looked at myself from a neutral perspective, beyond the conditioning, to view and review my form. This curiosity led me to many complex ideas and profound experiences, which made me question it even more. Eventually, I came to a peaceful understanding of the chaos, it all exists for one singular purpose, to consume the outer me and replenish the inner me.
With a devotion for creativity and spirit for uncertainty, I discovered art as my truth. Twenty summers later, I am here.
My art is a display of significant and meaningful moments, captured and then transformed. My version of history looks different from those who created it, the future can look like anything as it's yet to be created, meaning the truth may be in the present moment. My art presents moments, stories and events from the perspective of an onlooker, a participant, and a God who are all witnessing visible and invisible truths. You could say that I aim to visually and emotively present an alternative version of reality. It can be a thought, an idea, an event. I merely show you my expression with love and awareness, in the hope that your mind and spirit respond or react to it.
Art is my vessel for learning, developing and growing in this world, as well as delving deep into the idea of it, whatever comes next, comes next.
Jai endeavours to create art both powerful in its message, and beautiful to behold. Using a digital format, he combines traditional art techniques to create depth and texture to enrich the art and his spirit to convey the story. However, art is merely a reflection of his curiosity, compassion and openness to exploring alternative perspectives. He has an awareness which guides him to look deeper into the lives of others, and to see how meaning is attached to differences in individual circumstances.
Each artwork is inspired by experiences he has had throughout his life journey, observations of what he witnessed and perceived. His works are snapshots, captured and then exaggerated with colour and pattern. A celebration of the experience made to encourage others to expand their understanding. His message is simple, yet touches on an instinctual desire within all people for acceptance; how we are perceived, how financially wealthy we are, or conversely how desperately poor, "we are all just people". In essence, his intentions are to continue to create art inspired by these thoughts and ideas, and in doing so, deliver a message to the observer that allows their minds to be opened to a more wholesome alternative; wealth, ethnicity and religion aside, we are all the same, and that is the reality.
Jai is very close to his family, and feels they have inspired him to become the artist that he is today. As a child, he was heavily impacted by monumental cultural and social events that forced both of his parents to adopt England as their new home due to political unrest in their respective countries, India and Africa. His childhood was rich with teachings of Hinduism and Christianity, mixed with the English culture that surrounded him. This allowed him to appreciate diversity, but also provided more conflict of interest, concerning expected behaviours and further constraints. At home, he was immersed in philosophy, arts, and spiritual practices from South Asia. Outside he experienced British values and traditions in a working-class environment. This contrast shaped his then perception of the world and inspired a curiosity to discover his identity and place in it. Fortunately for Jai, he had a strong and devoted mother who helped him to appreciate everything for what it was. Her teachings gradually seeping into his thoughts and creativity and influencing him to harbour feminine principles of love and compassion. She guided her son to be himself at all times but still, Jai regularly questioned the behaviours of people around him, the restrictions placed on him and others to become functioning members of society, to fit specific roles. As a member of this society, his perceived self is indeed immersed in this movement, but he is led by an ever present inner voice, which guides him to look beyond, to observe, and to challenge the motives which drive these human made constructs. In doing so, he has discovered the pattern of politics, religion and popular culture, are used to create purposeful conditioning, in which to lead people to maintain absolute faith in the universe. However, through education and exploration of alternative resources, he has developed the ability to see beyond, and therefore create a response or reaction to this collection of ideas, which determines his expression, and through his art, he is able to share it with purity. Each artwork serves to provide an invitation to watch how Jai perceives himself as he looks at the world, and strives to make sense of the many troubling factors that some people shelter themselves from, as they embrace the ignorance provided by distractions and false priorities.
Having little formal training in art, Jai developed artistic methods over a period of years in which he devoted himself entirely to exploring and perfecting his technique, enabling him to create the art exactly as he imagines it to be. An illustrator and fine artist in his early years, Jai's grasp of traditional processes was evident in his sketches and renaissance styled religious paintings. Not content with manually creating, he merged photographs and digital graphics with his drawings and paintings, eventually discovering his distinctive style. A wide variety of life experiences inspired his growth during his apprenticeship years, using his limited knowledge of India, but inspired by his heritage, he went in search of a more authentic appreciation of reality. Always hoping to discover another level of information, that would enable him to explore his thirst for understanding. Throughout India, he met such a variety of people that had their roles within society, some of which he didn't fully appreciate until he looked deeper. Some survived squalor, others embraced life regardless of what they had, but each taught Jai something about how the world as a collective, view and judge circumstance. One experience stood out to him. He visited a school in dire poverty with the intention of teaching the children about art. However, he approached without an understanding of who he would meet, and what their environment indeed was, a lesson he learned quickly. Humbled, he returned without the technology he had first arrived with and immersed himself openly into their world, to find that he had so much more to learn. This experience was pivotal in teaching Jai about the real wealth of life and the richness that is located internally. Pieces he has created, depict individuals in their own unique story, some of whom are free from constraints, others who shine from within the human-made barriers they face. Men who live entire existences so very alien to us that the stories about them and their exploration of dimensions of truth are like that of fairy tales. Women who captivate with their beauty, strength and essence. All of whom are immortalised in such a way that a story is told in every image. For example, one piece; Gold Rush, is inspired by children of poverty, who are so captivated by the wealth of the city, that they are swept away by the allure, to give their lives in exchange for a dream never to be recognised. Another example is the piece: Self-Realisation, inspired by the ash babas in the mountains in north India. Jai shared some incredible moments with a tribe of spiritual gurus, who would absorb the environment and meditate for days. They aimed to create a collective energy field and project it into the galaxy, towards specific planets, knowing this energy will return and impact the earth in 500 years.
Jai's experiences in India have had a profound effect on his perception of the ancient world, and offered many new enquiries about the current, modern world. His travels across Europe and America, presented him with another set of questions, mainly based on beliefs and behaviour. He saw the contrast and similarities between the two, culturally, historically and spiritually everybody appeared to be on the same timeline. However, our intentions were different. This duality was visible to Jai and gave birth to many of the concepts which theme his more contemporary collections of art. For example, one piece; Ages, is inspired by a westernised observation of man's recent history. The artwork conveys five ages of man, from agricultural to industrial, to technology and spiritual. Each period is impacting the earth which in the art is expressed by the hand. Another example is the piece, Emoji Love. An artwork depicting a romantic moment between two lovers made from thousands of emoticons. Each emoticon representing emotion and feeling that makes up the overall image of the lovers. His art is his way of asking questions and opening up enquiries, as well as closing some.
Each piece created provides an opportunity for internal discussion, as every individual has a unique perception based on their experiences. This perspective allows the viewer to identify with elements of the image that speak to them, that open them to the message. Like windows allowing a brief insight into unfamiliar worlds, some may inspire hope, others perhaps inform of desolation, but each is created with a warmth and beauty to draw the eye and absorb the mind with every detail. In viewing Jai's art, there is the opportunity to see beyond the image to the people represented, the influences that have guided Jai to complete these works.
Jai has exhibited his works at a host of events and venues around the world over a period of ten years, some of the highlights are listed below.
PRINCE CHARLES GALA DINNER
BUCKINGHAM PALACE, LONDON
LEGENDS OF SPORTS AWARDS
ROYAL GARDEN, LONDON
THE ASIAN AWARDS
HILTON PARK LANE, LONDON
THE PRINCES ROYAL BALL
HILTON, MANCHESTER
WORLD YOGA FESTIVAL
READING PARK, LONDON
SEARCH FOR BUDDHA
WDR WALLRAFPLAT, COLOGNE
THE ALCHEMY FESTIVAL
SOUTHBANK CENTER, LONDON
BUY ART FAIR
GRANADA STUDIOS, MANCHESTER
RISE THE RUNWAY, PRINCES TRUST
THE WALDORPH, LONDON
MODHI WORLD TOUR
WEMBLEY STADIUM, LONDON
ROHIT VERMA FASHION SHOW
ICC CENTER, BIRMINGHAM
JAI SOL ART SHOW
NO.3 SPINNINGFIELD, MANCHESTER
YOGA CONNECTS
MANOR HOUSE, LEICESTERSHIRE
DIVA ROYAL BALL
THE PALACE, BARCELONA
SPIRITUAL WORLD GALA
PULSE, LOS ANGELES
LOWRY THEATRE, MANCHESTER
WORLD LITERATURE FESTIVAL
THE LAKE PALACE, RAJASTHAN
ART WORLD ASIA
BURJ AL ARAB, DUBAI
CHESTER ART FAIR
RACECOURSE, CHESTER
TORONTO DESI FESTIVAL
YONGE-DUNDAS SQUARE, CANADA
ARCHIES BALL GALA DINNER
ISBF DANCE FESTIVAL
HET LEIDSE VOLKSHUIS, LIEDEN
SPIRITUAL SANCTUARY DEBATE
EVENING WITH GARY NEVILLE
HOTEL FOOTBALL, MANCHESTER
WORLD CULTURE FESTIVAL
TOWN HALL, LIVERPOOL
REAL DIVINE ART EXHIBITON
MAHABALIPURAM, CHENNAI
CLASSICAL ARTS FESTIVAL
JW MARRIOT HOTEL, MUMBAI
BEST OF BRITANNIA
CAMDEN TOWN, LONDON
Jai has worked with talented individuals from around the world to develop inspirational themes, concepts and artworks showcased on this site.
SHAMMI PITHIA
RECORDING ARTIST, LONDON
ARUN TITAN
PHOTOGRAPHER, CHENNAI
ANUSCH ALERWARDIAN
EVENTS ORGANISER, AMSTERDAM
PRABHAT ZA
DOCUMENTORY MAKER, NEPAL
COLLEENA SHAKTI
CHOREOGRAPHER, RAJASTHAN
SANDESH SHINDILYA
COMPOSER, MUMBAI
ANDREA CRIMOSPUE
WRITER, BUCHAREST
SYED ASIF AHMED
PHOTOGRAPHER, PAKISTHAN
AHMED SHEERAZ
3D ANIMATOR, DUBAI
SONIA OCHOA
CHOREOGRAPHER, LOS ANGELES
MUKUL BANERJEE
PHOTOGRAPHER, NEW DELHI
AMAR RAMESH
PHOTOGRAPH DIRECTOR, CHENNAI
DEV JHAVERI
PHOTHOGRAPHER, DELHI
AJIT CHOHAN
PHOTOGRAPHER, HOUSTON
TAPAS BISWAS
PHOTOGRAPHER, NEPAL
DHIMAN PANIHATI
PHOTOGRAPHER, KARELA
JELLE NIEMARKET
PHOTOGRAPHER, PARIS
AYASHOK CHAHAN
YOGI, SPIRITUALIST, BALI
GAURAV CHOHAN
VISUAL ARTIST, SURAT
MARTA VAL COHEN
BLACK ACTIVIST, NEW YORK
SHER PERWAIS
PHOTOGRAPHER, LONDON
JATANIL BANARJEE
COMPOSER, GENIUS,LONDON
CLAUDIA ILLNOS
DANCER, SPIRITUALIST, MEXICO
VERA SHMITZL
POET, BERLIN
JOKA MALIN
RESEARCH EXPERT, BRUGES
SIM A.G.
JOURNALIST, LONDON
RADHA MADAVA
WRITER, VRINDANVAN
RASHID S AHMED
EXISTENTIALIST, PAKISTHAN
SUBSCRIBE FOR DETAILS OF EXHIBITIONS, PRIVATE VIEWINGS & NEW ARTWORKS
JAI SOL ART
Vortex Studio & Gallery
Manchester, M33 2XU
Enquiries: info@jaisolart.com
Book a private viewing with Jai Sol
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Jean-Pierre Manquillet Net Worth, Bio, Height, Age, Wiki
Jean-Pierre Manquillet is an American Director and Jean-Pierre Manquillet was born on 12 Sep 1987, in Knik-Fairview, California, United States. Her home city is the California, and Nationality American. Jean-Pierre Manquillet was born in her mother's home city in the California. Right now, Jean-Pierre Manquillet is 35 years old (last update, 2022). Jean-Pierre Manquillet is currently a professional Director in the United States. Jean-Pierre Manquillet is a renowned Director in the United States and another Neighboring country. Jean-Pierre Manquillet is a very efficient American Director.
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Full Name Jean-Pierre Manquillet
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Jean-Pierre Manquillet
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All I can say is that everything We ordered was incredibly good. Satisfaction guaranteed. The Customer service is excellent. Highly recommended.
Some of the most amazing food ever! Fresh ingredients and classic Italian staples, a real treat.
I'm a new customer and have nothing but compliments. Friendly courteous people, great food and delivery.
Please enter Nick Capano for a free lunch. He has been a very loyal customer and he would be thrilled to one day win a free lunch. Thanks!
Our office had a catered lunch for J & G -- its was one of the best we ever had. Food was fresh and high quality.
I look forward to our next lunch.
The hot food dishes are the best and the sandwiches the best in Westchester! I have to be honest the main reason I go their is for Lori....... I love you lori. From: A close customer.
Deliciouse food! Great looking place just like the guy with the spiked hair!!
I've been going to J & G since I was a little kid and the food there has always been fantastic. I think the Italian Combo wedge is my favorite but everything is great.
Canada. Formerly, School Counselor/Clinician, M.V.H.S.
Very clever EMail address, Lori.
tear out some of the roll...."


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December 20, 2018 May 11, 2019 ~ chronicallyday
She didn't have the space in her time table for another course. In order to become a Healer she didn't need to take Care of Magical Creatures.
But here she was offering milk to a bowtruckle during one of her free periods.
"You should be taking this time to do work for courses you're enrolled in, Haruno."
"I can't leave Honeysuckle to you Professor," Sakura teased. "He needs me."
"You spoil him," Professor Uchiha muttered, reaching for the bowtruckle. Honeysuckle raised its claws at him and whined before scampering to hide in Sakura's long pink hair.
Sakura giggled, Honeysuckle's leaf antennas tickling her neck. At first she was insulted that the little thing had confused her with a tree but the bowtruckle was awfully sweet.
And it gave her an excuse to see Professor Uchiha more often.
When the headmistress, Tsunade Senju, announced that Sasuke Uchiha would be taking up the post of Care of Magical Creatures professor after the former professor retired it had caused quite the scandal.
Sasuke Uchiha had always had top marks and seemed to be on the path to becoming an auror but after graduation he had vanished only to be found months later taking care of dragons and then moving on to other projects.
It was disappointing to the general populace of Hogwarts━both the students and faculty alike━that such a promising student had returned to his alma mater to teach an elective course. They were completely blindsided.
All except for one seventh year student.
Sakura remembered Sasuke Uchiha as more than just the top mark Head Boy.
She had met him when she was just a first year, trying to send an owl to her muggle parents about how she was sorted into Ravenclaw and how the first week had gone.
There was a fifth year Slytherin student tending to an owl with a damaged wing. She had stammered her reasoning for being there and he had just pressed a single finger to his lips asking for silence. He gestured to the injured bird and shushed her.
Silently as she could, avoiding the owl droppings that littered the floor, Sakura made her way over to him and the owl.
"Will it be okay?" She whispered.
"She'll be fine," he assured her with a soft a voice. "She likes the top of her head to be stroked."
Taking the suggestion, Sakura carefully stroked the owl with her index finger. The owl cooed and shut her eyes.
"Your owl?"
"School owl."
Sakura's brows furrowed. Why would he go out of his way to care for an owl that wasn't his own?
Sakura saw Sasuke Uchiha often after that.
He was always with three friends, two fellow Slytherins and one extremely tall Hufflepuff rumored to be half giant. His two Slytherin friends were loud and drew attention with their noise but it was the quiet Sasuke that everyone sought out.
A couple of younger students had tried to give him sweets from home and he turned them down.
"He hates candy," his redheaded friend had whispered in passing. She had caught her eye when Sakura peered over one of her school books.
Sakura's face flushed, embarrassed to have been caught staring.
"What are you doing messing with a first year, Karin?" The white haired boy asked.
"I'm not messing with her!" She snapped at him, face turning almost as red as her hair. "I just thought she was kind of cute. Lay off Suigetsu!"
Sasuke had turned his head to see what they were causing a commotion over. He stared at Sakura impassively and Sakura swallowed, not sure what to make of his staring.
A small pink ball of fluff poked out from his collar and he patted it back down. Sakura's jaw dropped at the random appearance of a pygmy puff.
Sasuke just lifted his finger to his lips and gestured for her to stay silent on the matter.
"Still chasing after Uchiha?"
Sakura blinked in confusion at her best friend Ino. She had been minding her own business, studying in the common room when the blonde girl flounced over to her.
"He's a professor, Ino!" Sakura hissed, looking around the common room. No one seemed to pay any mind, already used to the way the Head Girl and her best friend behaved when they were together.
"Doesn't change the fact that he's Sasuke Uchiha and you're Sakura Haruno the girl that has had a crush on him since she was eleven."
Ino collapsed sideways so that she was sitting on Sakura's lap with her legs thrown over one of the arms of the plush armchair Sakura was sitting in to get her reading done.
"And him coming back hasn't helped a single bit."
"He's a professor," Sakura reminded her, making sure her voice didn't waver. "And I'm a student. That's all."
Sakura bowed low, waiting for a response. The tawny hippogriff before her bowed back and she ran up and stroked it's face near its beak.
"Hello Garuda," she chirped. Garuda nuzzled her face the way she often saw him nuzzle Professor Uchiha's hand.
Garuda was Professor Uchiha's hippogriff, one that he had found injured in the wild and nursed back to health. Garuda had grown attached to him and refused to be left behind on the reserve Professor Uchiha had been working at.
"Are you going to spoil him too?"
Professor Uchiha stood in muggle clothing and a pair of galoshes at the other end of the paddock.
"Sometimes a little spoiling is needed," Sakura grinned at him mischievously, "just to show how much you care."
Professor Uchiha went quiet for a moment. Sakura's grin slid from her face and she distracted herself with brushing Garuda's fur.
Sakura reached for an apple to offer the hippogriff when a larger hand, slightly tanner than hers, wrapped it's fingers around her wrist.
"Is that your way of asking to be spoiled?"
He was close enough for her to smell the scent of mint come off of his clothes and the smell of woodsmoke.
"I would never ask that of you," Sakura swallowed, "Professor."
Professor Uchiha dropped his hold of her wrist and took the apple from her hand.
"You should head back to the castle. It's almost dinner time."
Sakura marched back to the castle, only stopping once to look back when she reached the top of the hill. Stopping once to sneak another glance at him.
She hadn't expected to catch Professor Uchiha staring in her direction.
He was too old for her. She knew that much.
Sakura scrunched up her nose and pulled out another book from the shelf. She wasn't going to entertain any fantasies of a seventh year being interested in a third year but she had still wanted to give him something for Valentine's Day. Which was why there was a barn owl with a brown paper package just for him━from her━at the Slytherin table at breakfast.
Her feelings didn't need to reciprocated but it still hurt to know that he was on the trip to Hogsmeade on this holiday.
It only made her feel a little bit better that it was thundering and raining buckets. But it also made her feel guilty for wishing poor weather on celebrating couples.
She checked out her books and told herself that she didn't need a date, that what she needed to focus on was her studies.
Sakura was on her way back to the Ravenclaw common room when someone called out to her.
It was rude and not even her name but it still made her heart race.
Sasuke was soaked to the bone, his usual feathery and disheveled hair laying flat from all of the rain. From under his cloak he pulled out a package from Honeydukes and handed it to her.
"Iced Mice?" Sakura's brows pulled down in confusion. Then it dawned on her. "For the tomatoes?"
Sasuke's lips twitched up at the corners. He just pressed his index finger to his lips and then turned and headed toward the dungeons.
"You have been avoiding me."
Sakura never expected Professor Uchiha to be the confrontational type. She had expected that he would just forget about her if she stopped coming around to the paddock and creature shelter.
"Did you need something, Professor?"
She tried so hard to strengthen her resolve. Tried so hard to look at the smokey gray of his eyes and not feel the ache in her chest.
"Just came to do some spoiling," he answered, in that same soft voice that she loved so much.
He handed her a book on herbalism, one having only been printed in its original Mandarin, the native tongue of Sakura's family.
"I was supposed to give it to you on your birthday but you never came around."
Seventeen. The age she was trying so hard to forget. The age that made her officially an adult.
The age that gave her hope.
"This must have been hard to find. I can't accept━"
There was only the sound of cooing owls in the tower as Sasuke pressed his lips to hers in a chaste kiss. Sakura barely had time to respond before he was pulling away, pressing a finger to his lips and asking for silence.
"You're bleeding!"
It was just a scratch, one that Sasuke could easily patch up with a spell. He deserved the scratch for not respecting the bowtruckle's boundaries and holding it too tight.
"Here we go," the first year Ravenclaw chirped as she patched up his hand with a muggle contraption. "I'm kind of clumsy so I always carry around bandages. Better, huh?"
He knew she was muggleborn which was odd considering her coloring. He would have assumed she was a metamorphmagus with a fondness for the color pink. Did muggles give birth to metamorphmagus witches?
"Thank you," he muttered finding it hard to explain how unnecessary the bandage was when she looked at him expectantly with vivid jade eyes.
"Um, I was wondering," Sakura Haruno averted her gaze, wringing the front of her school robes with her hands, "do you mind pulling out that book for me? It's kind of high up and I'm, well, short."
Sasuke snorted and she pouted at him. Short was putting it mildly. The first years were always small but she seemed shorter than average.
He pulled down the book she was pointing at and held it above her head out of arm's reach.
He shushed her with a finger to his lips.
"Quiet in the library," he scolded her, pointing to his prefect's badge.
Sakura clammed up but continued to glare at him. Done having his fun he handed her the heavy book she needed. Almost instantly the glare wiped away from her face and replaced with a wide smile.
"Thank you!" She chirped before skipping away.
What an interesting kid…
With a soft smile on his face he shook his head and looked for the book on creatures of the forests he was supposed to be looking for. His gaze dropped to the bandage on his hand and he chuckled to himself.
What a very interesting kid.
requestssasusakusssk
Published by chronicallyday
ChronicallyDay is a chronically ill writer that dabbles in fanfiction, writing as they wait in doctor office sitting rooms.	View all posts by chronicallyday
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One thought on "Shhh"
OMG I LOVED THIS. BRUH IF THERE'S A SEQUEL I'D LOVE TO READ MORE. but this was astounding i really loved it. thanks so much. ❤


visible or do you have a configuration where no layers are visible at a given scale?
the base layer (layers) is not there but some other layer may be there in which case this could still fail.
Also there are some places in the code where this assumption of a base layer could be affected by this.


text:
– japońska seiyū, urodziła się w Kitakiusiu, w prefekturze Fukuoka. Pracuje dla I'm Enterprise.

Filmografia
Ważniejsze role są pogrubione

Seriale anime
 2002
 Mirmo! (Kaede Minami)
 Seven of Seven (Nanasama)
 Spiral: The Bonds of Reasoning (Sayoko Shiranagatani)
 2003
 .hack//Legend of the Twilight Bracelet (Rena Kunisaki)
 Hikari to Mizu no Daphne (Maia Mizuki)
 Gankutsuou (Beppo/Peppo)
 Godannar (Anna Aoi)
 Gunparade Orchestra (Nami Koumi)
 Kaleido Star: New Wings (May Wong)
 Maburaho (Chihaya Yamase)
 Mouse (Hazuki Kakio)
 Mythical Detective Loki Ragnarok (Skuld)
 Onegai Twins (Miina Miyafuji)
 Popotan (Asuka)
 Wandaba Style (Himawari Natsuwa)
 2004
 DearS (Miu)
 Gravion, Gravion Zwei (Ena)
 Midori Days (Midori Kasugano)
 My-HiME (Mai Tokiha)
 2005
 Amaenaide yo (Chitose Nanbu)
 Boku wa Imōto ni Koi o Suru (Iku Yūki)
 Happy Seven (Kiku "Okiku" Sarasugawa)
 My-Otome (Mai Tokiha)
 2006
 Higurashi no naku koro ni (Rena Ryugū)
 Kage Kara Mamoru! (Yuna Konnyaku)
 Lovely Idol (Kotoha Kiryū)
 Magikano (Yoshikawa Maika)
 Strawberry Panic! (Nagisa Aoi)
 Tactical Roar (Nanaha Misaki)
 Perfect Girl Evolution (Noi Kasahara)
 Utawarerumono (Yuzuha)
 2007
 Clannad (Nagisa Furukawa)
 Higurashi no Naku Koro ni Kai (Rena Ryugū)
 Idolmaster Xenoglossia (Ritsuko Akizuki)
 Kamichama Karin (Karin Hanazono)
 Kimikiss pure rouge (Megumi Kuryū)
 Magical Girl Lyrical Nanoha StrikerS (Teana Lanster)
 Myself ; Yourself, (Asami Hoshino)
 Sola (Aono Morimiya)
 2008
 Blassreiter (Snow)
 Clannad After Story (Nagisa Furukawa)
 Kannagi: Crazy Shrine Maidens (Shino Ōkōchi)
 Kyōran Kazoku Nikki (Chieri Sakurai)
 Persona: Trinity Soul (Kanaru Morimoto)
 Spice and Wolf (Nora Arendt)
 Vampire Knight (Maria Kurenai)
 Vampire Knight Guilty (Maria Kurenai)
 2009
 Chrome Shelled Regios (Felli Loss)
 Denpa teki na Kanojo (Yukihime Kishima)
 Higurashi no Naku Koro ni Rei (Rena Ryugū)
 Tears to Tiara (Morgan)
 Saki (Teru Miyanaga)
 Taishō Baseball Girls (Akiko Ogasawara)
 Sora Kake Girl (Aleida, Kagura Shishido)
 2010
 Angel Beats! (Hatsune Otonashi)
 Durarara!! (Haruna Niekawa)
 Katanagatari (Nanami Yasuri)
 Fairy Tail (Juvia Lockster)
 Ladies versus Butlers! (Sernia Iori Flameheart)
 Otome Yōkai Zakuro (Zakuro)
 Seikon no Qwaser (Eva-Q)
 2011
 Aria the Scarlet Ammo (Yutori Takamagahara)
 Dantalian no Shoka (Christabel Sistine)
 Horizon on the Middle of Nowhere (Musashi)
 Sekaiichi Hatsukoi (Saeki)
 Suzy's Zoo Daisuki! Witzy (Witzy)
 Tiger & Bunny (Mary)
 Higurashi no Naku Koro ni Kira (Rena Ryugū)
 2012
 Jinrui wa Suitaishimashita (Watashi)
 2013
 Yahari ore no seishun rabukome wa machigatteiru. – Haruno Yukinoshita

Gry
 11 Eyes CrossOver (Shione Azuma)
 Higurashi no naku koro ni (Rena Ryugū)
 Clannad (Nagisa Furukawa)
 Gokuraku Parodius (Hikaru)
 La Pucelle: Tactics (Prier)
 Rune Factory 3 (Kuruna)
 Sonic and the Secret Rings (Shahra the Ring Genie)
 Soul Nomad & the World Eaters (Tricia)
 Symphonic Rain (Arietta Fine, Tortinita Fine)
 Tales of Vesperia (Estellise)
 Tokimeki Memorial 4 Mobile (Kiho Inokura)
 Yggdra Union: We'll Never Fight Alone (Yggdra)
 Blaze Union: Story to Reach the Future (Aegina, Luciana, Yggdra)
 Gloria Union (Yggdra, Henrietta)
 Black Rock Shooter: The Game (Mii)
 KimiKiss (2006, Megumi Kuryū)

Dramy CD
 Rakka Ryūsui (Akiho Hayama)
 Drama CD Lucky Star (Tsukasa Hiiragi)
 S.L.H Stray Love Hearts! (Hiyoki Kozue)
 Yggdra Unison Drama CD (Yggdra)

CD

Single
 2004-11-03: "Romance"
 2005-03-02: "Etude"
 2006-02-08: "Futaribocchi / Monochrome"
 2007-05-23: "ANEMONE / Sazanami no Koe" (pierwszy ending Kamichama Karin)
 2009-09-30: "Sweet Madrigal"
 2010-02-10: "My Starry Boy" (Ladies versus Butlers anime ending)

Albumy
 2004-02-04: Homework (minialbum)
 2005-05-11: Mini Theater
 2006-09-27: Fantasia (minialbum)
 2008-06-25: Metronome Egg
 2010-09-22: Suisei Script

Bibliografia

Linki zewnętrzne

Seiyū
Urodzeni w 1981
Ludzie urodzeni w Kitakiusiu

redpajama_set_name: RedPajamaWikipedia


text:
Q: PostgreSQL sytax - DROP DTB I created database with name -encoding=UTF-8 (miss clicked)
nothing worked to remove databese.
\l
     name           |  owner  | Encoding | Collate     | Ctype
---------------------------------------------------------------------
    -encoding=UTF-8 | test1   | UTF8     | en_US.UTF-8 | en_US.UTF-8

DROP DATABASE -encoding=UTF-8;
ERROR: syntax error at near "-"
LINE 1: DROP DATABASE -encoding=UTF-8;

Do i have any chance to drop database or i have to reinstall PostgreSQL ?

A: Identifiers with special characters need to be enclosed in double quotes:
DROP DATABASE "-encoding=UTF-8";

For details on how to use identifiers, please see the manual:
http://www.postgresql.org/docs/current/static/sql-syntax-lexical.html#SQL-SYNTAX-IDENTIFIERS
The name might contain leading or trailing whitepace. To get a properly quoted identifier, you can use this query:
select quote_ident(datname)
from pg_database;

A: - isn't usually a legal character in object names. If you want to use it, you should protect the name with quotes ("):
DROP DATABASE "-encoding=UTF-8";

redpajama_set_name: RedPajamaStackExchange


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I've had these a few times now. Very convenient when travelling and you don't want to lug a big bag of powder around.
I never seem to score the variety of flavours though. Always mostly vanilla, choc, strawberry - very boring. Would love to try the others, but not going to risk buying a big bag of something and not like the taste (been there with other brands).
Apart from that, the usual excellent quality and fast delivery. Good job guys.
Got these for convenience as travelling and also to try some new flavours. Sadly this lot was mostly vanilla and strawberry though so pretty boring and nothing new to try out. Good quality though and super fast delivery.
I liked the range of flavours and I wasn't hungry on the shakes. Not tired. But they were very sweet, way more than any other meal replacement I've used.
I love this option, it is a great way to sample all of the flavours and its so conveniently portioned.
Awesome way to try before you buy!
What a brilliant idea! The random assortment of flavours was the perfect way to try before I bought- especially as a lot of different protein powders can make me quite unwell.
I ordered this as travel packs to try first before ordering the bigger bag. I was pleasantly surprised. It is very tasty and very effective. I certainly can feel the 'burn' its mild but this is what I like. The caffeine is low -which is what I like, I don't want high 'buzzed' burn. I can feel it working. My daily shake- is the meal replacement - so I will rotate this and the meal replacement.
I will be ordering in bigger size.
Taste is fine for me. Each flavour in the travel pack. But im a chocolate girl so thats good enough for me!
I bought the 7 pack to try out the flavours before committing to a 1kg bag. They were so good! I loved the chocolate and cookies & cream, couldn't believe how sweet and creamy they tasted in water alone! Vanilla was nice too. Salted caramel and Strawberry were ok, but I couldn't see myself liking them enough to get through a kg. I ended up going with the 1kg cookies and cream, mix with icy cold water and you've got a delicious brekky!


text:
Moskau — немецкое название Москвы. Также может означать:

 Moskau — песня немецкой группы Dschinghis Khan, 1979 год.
 Moskau — песня немецкой группы Rammstein, 2004 год.
 Moskau Messe — одна из выставочных компаний города Москвы.


Search For "Other Business Services" Companies in Apache Junction, Arizona - Click Here Now!
Simon Painting Arizona in Apache Junction is a company that specializes in Business Services, Nec. Our records show it was established in Arizona.


text:
Forever Now may refer to:

Albums
 Forever Now (The Psychedelic Furs album), a 1982 album
 Forever Now (Level 42 album), a 1994 album
 Forever Now, a 2003 album by Natalise

Songs
 "Forever Now" (Level 42 song)
 "Forever Now" (Cold Chisel song)
 "Forever Now" (Ne-Yo song)
 "Forever Now" (Michael Bublé song), 2019
 "Forever Now", by The Psychedelic Furs from Forever Now
 "Forever Now", by David Wilcox from Airstream
 "Forever Now", by Jon Gibson from Jesus Loves Ya
 "Forever Now", by Eloise Laws from Eloise
 "Forever Now", by Tokio Hotel from Humanoid
 "Forever Now", by Green Day from Revolution Radio


Pistols : S&W 2213 22LR Perfect for carry. Used Guns.
The 2213 and 2214 Sportsman models are essentially cut-down versions of the Model 422 and 622 pistols.
Comes with one extra clip that holds nine plus one in the chamber.
Great Gun "FIVE OUT OF FIVE STARS"
In near perfect condition perfect for carry, light weight with light recoil.
What do you have to trade?????


My editor, Jon the Met Fan, says that I am an unabashed homer when it comes to baseball. He said that I watch the games through pin-stripped glasses. I say- what's wrong with that?
KC is 24-40 against AL teams but has a 13-4 record against NL teams and THAT is why they're tied for last place in the AL Central division 9 games out of first place. Is that a testament FOR the DH or simply evidence of the AL's superiority over the NL- see the World Series AND All-Star games for further evidence? Even the Mets' current manager, Jerry Manuel says his team takes a back seat to the Yankees.
One of the most attractive aspects of baseball is that the game isn't limited by a clock- at least up to this point. Now "Uncle Bud" Selig has decided (or was told that he decided by the TV people) that the game HAS TO BE SPEEDED UP. In fact Cecil Cooper AND Roy Gardenhire were "fined undisclosed amounts for failing to adhere with pace-of-the-game regulations." Detroit's Jim Leyland said, "They want me to run to the mound. I smoke three packs a day and they want me to run on and off the mound." Bob Molinaro said that maybe if Leyland used a golf cart with an oxygen tank it might satisfy Selig.
A game might take 3 ½ hours but do you think TV could "do their part" by reducing commercial times? HA! NO WAY!
Managers use the slow walk to the mound before signaling for a reliever to give that reliever a littler extra warm-up time. THAT was a game strategy but not they want to take it away.
The Chicago Cubs announcer Bob Brenly said if the Cubbies win the World Series for the first time since 1908, they'd name a lake after Lou Piniella.
Then it'd be Huron, Ontario, Erie, Superior, and Piniella. The acronym for the Great Lakes would be H.O.P.E.S. because that's what Cubs fans had for all this time.
Mike D'Antoni MUST get more out of his Knicks players. The MUST leave their egos at home. They MUST not have their stat sheet as their first daily read. They MUST learn to make the extra pass. They MUST buy into the team-play concept. They MUST realize what the Celtics did the season after they won only 24 games.
Scott Ostler suggested that we create the rotisserie style Miscreant Football League. You can draft active, retired or currently unsigned players. You can even draft dead players because you never know when your guy could be implicated in a crime posthumously. The San Diego Union has a web site with up-to-date lists of arrests and citation involving NFL players. Points can be awarded, for example, if your player is brought to court for arraignment and misunderstands that legal terminology and he showers the judge with dollar bills- 7 points.
George Carlin came from the Washington Heights section of NYC, an area that he called "White Harlem." He had an off-beat and often irreverent sense of humor that was always thought provoking and was always not very far from bursting ill-conceived ego balloons.
Again, maybe it's just me—but….


text:
The History of Video Games (Hardback)
Social History Photographic Books Colour Books White Owl Gaming
By Charlie Fish
Imprint: White Owl
Illustrations: 150 colour illustrations
You'll be £20.00 closer to your next £10.00 credit when you purchase The History of Video Games. What's this?
Other formats available - Buy the Hardback and get the eBook for £1.99!
The History of Video Games ePub (27.2 MB) Add to Basket £4.99
The History of Video Games Kindle (60.1 MB) Add to Basket £4.99
This book is a potted history of video games, telling all the rollercoaster stories of this fascinating young industry that's now twice as big globally than the film and music industries combined. Each chapter explores the history of video games through a different lens, giving a uniquely well-rounded overview.
Packed with pictures and stats, this book is for video gamers nostalgic for the good old days of gaming, and young gamers curious about how it all began. If you've ever enjoyed a video game, or you just want to see what all the fuss is about, this book is for you.
There are stories about the experimental games of the 1950s and 1960s; the advent of home gaming in the 1970s; the explosion – and implosion – of arcade gaming in the 1980s; the console wars of the 1990s; the growth of online and mobile games in the 2000s; and we get right up to date with the 2010s, including such cultural phenomena as twitch.tv, the Gamergate scandal, and Fortnite.
But rather than telling the whole story from beginning to end, each chapter covers the history of video games from a different angle: platforms and technology, people and personalities, companies and capitalism, gender and representation, culture, community, and finally the games themselves.
The graphics in the book are so wonderfully vibrant and colourful! It's all very nostalgic, taking readers back to their childhoodsm, including the NES computer where the consoles every child wanted in the 1980's!
The hardback book contains 120 pages, with 150 colour illustrations and really is a delightful read and trip down memory lane that is easy to dip in and out of. Dedicated gaming fans will no doubt want to immerse themselves fully into the book though!
Sim's Life
Excellent history of video games, with superb historical facts and images, together with how the video game industry is shaping up for the future while it takes advantage of the massive improvements in technology, graphics etc.
Despite being relatively short, this is a fantastically detailed account of the history of electronic gaming. A fun, informative read.
NetGalley, Jeff Fox
This is the first time reviewing a book where I have lived through the subject the book is going on about. I remember my Dad getting a family computer in the early 80's, and I think the first game was one called Android Attack and you loaded the game through a cassette player. The book certainly brought back lots of memories and it was great to see the old characters, and find out about the history of them. This was a really good book that I thoroughly enjoyed.
UK Historian
First things first, wow. This book was packed with so much information about the history behind video games. I loved playing video games as a child. Coming home from school and playing Donkey Kong Country is so vivid in my mind, it feels like yesterday. But learning how far video games have come and what some of the original video games looked like, it's almost unbelievable to think we have the games that we have now.
I admit that I had never researched video game history. I honestly thought video games first popped up in the 80's and went from there. But knowing that video games are from way before that really blew my mind. This book makes me wonder what original video game pioneers would think of how far gaming has come now. We can essentially have video games in our pocket, and to think they were at one point huge machines is so amazing.
I recommend this book to gamers, game designers, game developers, or anyone who works in the gaming industry. Even history buffs would enjoy this book.
NetGalley, Rayna Buckley
This is an insightful non fiction on the history of video games, and it does what the title says- gives you the history. As a big gamer from a young age, i keep up with the newest releases and spend hours playing them, but to learn the history behind the industry, animation and everything that goes into videogames was very interesting. Also very well researched!
NetGalley, Ayesha T
A must read for gamers.
NetGalley, Shelly Myers
I would definitely recommend this book to anyone looking for a fairly concise history of videogames, I've read a lot of similar books in the past (especially when I briefly worked for a gaming website), but honestly this is probably one of the best I've come across.
NetGalley, Stephen Kelley
Having lived through the growth of gaming era, this was a fun walk through the past. My first gaming experiences came from playing the arcade game Space Invaders and a first ti me two-and-a-half-hour binge on Pac-Man, where a buddy of mine and I played so long and hard we rubbed the skin off our pointing fingers and developed blisters. Fanatics aren't born, they are created.
Author Charlie Fish's book starts way before my initial experiences, opening the door to a time when games were birthed in companies and at universities. The book is nicely split into sensible chapters, which include platforms, the most important creators, companies and marketing, gender representation, and the games themselves. His choice to break the games discussion into decades was a good idea, as the gamer universe is huge and recent games would have dwarfed their ancestors. This enabled a balanced view of the games most popular in the 80s, 90s, etc. I also enjoyed the numerous colored pictures of the various consoles and games.
NetGalley, Dee Arr
About Charlie Fish
Charlie Fish is a celebrated short story writer and screenwriter. Since 1996, he has edited www.fictionontheweb.co.uk, the longest-running short story site on the web. He was born in Mount Kisco, New York in 1980; and now lives in south London with his wife and daughters. His first experience of video gaming was a Donkey Kong II Game & Watch, and he has never looked back.
Other titles in White Owl...


text:
A People's Green New Deal
Masthead Contributors Letter From The Editors Chapter & WG Reports Support Buy This Issue
Emily Hamilton interviewed Sam Anderson over several days in early December, 2019. Emily is a professor of history and studies mathematics education reform. Sam is an activist, scholar, author, and early member of Science for the People.
An Atlas for a Green New Deal
Billy Fleming, Richard Weller, Xan Lillehei, Andrea McCullough, Zachary Hammaker, Xuanang Li, Nicholas Jabs, Anna Darling, Qi Wang, Ao Zhang, Rachel Creager, James Billingsley
This Atlas was conceived in response to three overlapping crises. First, excess carbon in the atmosphere is changing the world's climate. Second, given the dire circumstances our planet now faces, we have reached the limits of what an...
Response to 'An Atlas for a Green New Deal'
Andres Chang
What is there to learn from Fleming's "Atlas for the Green New Deal"? Rather than plowing forward as if the answers could be determined on the basis of ever-improved computation, Fleming's team has chosen to properly recognize the lived...
Three Baskets by Shan Goshorn
Shan Goshorn
Three baskets by Eastern Band of Cherokee artist Shan Goshorn, woven from reproductions of manuscripts and photographs to meditate on the past, present, and future of Native people
David Opdyke
The antique postcards pretend to show a more innocent, pre-crisis America. But Capitalism is baked into those old-timey pictures. We live -- and have lived from the beginning -- in an economic system that places profit above all other...
Letter from the Editors of A People's Green New Deal
Volume 23, Number 2 Editorial Collective
For the Green New Deal to be truly emancipatory in a post-pandemic world where there is no returning to "normal," we must ensure that any Green New Deal is a People's Green New Deal. It is our ardent belief and hope that this issue of...
Why the Green New Deal Needs Mobility Justice
Mimi Sheller
As countries seek to recover from COVID-19, will society return to the high-mobility, high-energy, high-carbon economy of the past? Or will we shift to a low-carbon economy, one premised on more resilient, regenerative, and circular forms...
Tending Habitat and Other Poems
Poems on climate, grief, courage, and the future of a Green New Deal.
Ragina Johnson and Brian Ward
In this interview, conducted November 22, 2019, activists Ragina Johnson and Brian Ward continue a discussion with Dina Gilio-Whitaker that began in Science for the People's "Science Under Occupation" issue (Volume 23, no. 1, spring 2020)...
Cooking the Niger Delta: Cook Stoves, Gas Flares and the Story of Waste
Jennifer Tang
Burning solid fuels like wood and charcoal in traditional, inefficient cookstoves causes air pollution and contributes to climate change. Exposure to smoke from cooking causes over four million premature deaths per year, making it "one of...
A New Vision for American Agriculture: The Just and Equitable Transition Toward Agroecology
Krista Marshall and Kelsey Brewer
The vast majority of food in markets today is produced through practices of industrial agriculture that rely heavily on mechanization, petrochemically derived inputs such as synthetic fertilizers and toxic pesticides, and genetic...
Green New Deal: top-down or bottom-up?
Sergio Belda and Victoria Pellicer
From different parts of the world, we are being called upon to embrace a brand new green deal as an unassailable solution to the climate crisis. The appeal is coming from powerful actors: transnational entities, governments and political...
A Just Transition for the Building Sector: The Architecture Lobby's Retroactive Roadmap
Valérie Lechêne
The Green New Deal (GND) is the American government's most compendious response to the existential threat of the climate crisis. At its core is the idea of a just transition. This term first emerged in labor movements in the 1970s as a...
A Strategy for Transformation
David Hofmann
We are tumbling from a global pandemic into what could become an economic depression, all this while the climate crisis relentlessly unfolds in the shadow of the media. The need for meaningful and sincere answers on how to address these...
The Half-Life of a Nuclear Disaster
Ansar Fayyazuddin and M. V. Ramana
On April 26, 1986, one of the reactors at the Chernobyl Nuclear Power Plant in Ukraine exploded, scattering highly radioactive materials into the surroundings. More radioactive effluent was expelled by the fire ignited by the explosion...
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text:
Rasbora gerlachi és una espècie de peix de la família dels ciprínids i de l'ordre dels cipriniformes que es troba al Camerun.

Referències

Bibliografia
 Ahl, E. 1928. Drei neue westafrikanische Fische. Zool. Anz. v. 78 (núms. 9/10): 205-208.

 Lévêque, C. i J. Daget, 1984. Cyprinidae. p. 217-342. A J. Daget, J.-P. Gosse i D.F.E. Thys van den Audenaerde (eds.) Check-list of the freshwater fishes of Africa (CLOFFA). ORSTOM, París i MRAC, Tervuren. Vol. 1.
 .

gerlachi


text:
Дом учёных — учреждение города Саратов, объединяющее творческую интеллигенцию города, дом на углу ул. Московская 41 и ул. Комсомольская 41, Саратов.

В 1993 году Дом учёных был переименован в Саратовский областной Дом культуры и науки, с октября 2004 года называется Саратовским областным Домом работников искусств (СОДРИ).. В 2014 г. СОДРИ переведён в бывший Дом офицеров (ул. Соборная 18). В настоящее время в здании работает Театр фокусов «Самокат».

История
Основан 25 декабря 1925 года по предложению учёных Саратова в бывшем доме графа Анатолия Дмитриевича Нессельроде на углу улиц Московской и Комсомольской.

Главным инициатором выступил проживавший в этом доме профессор А. Г. Ковалевский, получивший поддержку нескольких профессоров-соседей.
При участии представителей саратовских ВУЗов было избрано правление Дома учёных во главе с профессором А. Ковалевским.

Саратовский Дом учёных стал одним из первых в стране, основанных новой властью.

Первыми мероприятиями Дома стали: организация библиотеки, её фонд составили переданные в дар книги. Председателем библиотечной секции стал профессор Н. Михайлов. Профессор Каплинский стал организовывать концерты. Кроме того, были организованы секции: лекционная, музыкальная, детская, спортивная, хозяйственная (для оборудования и ремонта помещений, оформления мероприятий Дома), столовая (для организации питания научных работников). Многое делалось собственными силами и на собственные средства.

Большую помощь Дому оказывал Саратовский университет в лице профессора В. В. Вормса.

При музыкальной секции был создан симфонический оркестр, с получением государственного финансирования были закуплены музыкальные инструменты и рояль.

Дом учёных был активно задействован в работе по ликвидации безграмотности.

Столовой секции было выделено помещение бывшей старообрядческой церкви, что располагалась напротив, и прилегающие к ней каменные конюшни, что позволило обслуживать до трёх тысяч человек в день.

После Великой Отечественной войны начал действовать Клуб художников-любителей «Вернисаж», объединивший 57 ветеранов войны.

При Доме работают народная вокально-оперная студия «Октава», фольклорно-этнографический ансамбль «Забава», танцевальный клуб «Вита-С», Центр эстетического воспитания детей «Лукоморье», музей традиционной культуры «Оберег».

Примечания

Ссылки
 Большая Саратовская Энциклопедия: Дом А. Д. Нессельроде
 Дом увлечённых

Саратов
Дворцы и дома культуры Саратова
Появились в 1925 году в России


A New Zealand judge has allowed the kosher slaughter of animals to resume until the lawsuit filed by the Jewish community against the government comes to trial.
Justice Denis Clifford of the High Court in Wellington confirmed Monday that an agreement has been reached between the Jewish community and representatives of the Crown Law Office, which is representing Agriculture Minister David Carter.
New Zealand Jewish Council chairman Geoff Levy described the interim agreement as "a positive outcome" for the 7,000-member Jewish community.
"Every effort is being made to get chicken and local lamb back on the table as soon as possible," he said.
Lawyers for the Jewish community filed legal proceedings last week against the Minister of Agriculture seeking a restoration of the right to practice shechitah.
The legal showdown was prompted after Carter decided not to exempt kosher slaughter under the new Commercial Slaughter Code, which came into effect on May 28.
The trial pits the Jewish community against the Conservative government of John Key, whose mother, Ruth Lazar, was a Jewish refugee who escaped Austria on the eve of the Holocaust.
Shechitah has been carried out in New Zealand since 1843.


Hostal Cordillera de Los Andes is set in a 4-storey building, with an orange façade in the heart of Banos. The property features free Wi-Fi access and there is a terrace and views of the mountain, and guests can enjoy a meal at the restaurant. There is also a shared kitchen and a common area, a laundry room and a panoramic terrace. You will find a 24-hour front desk at the property.
Hostal Cordillera de Los Andes ideally located in the heart of Banos. Ojos del volcan Mountai is located 9 km away from the property while Paillon del Diablo is 10 km away.
Hostal Cordillera de Los Andes offers comfortable private rooms (single, double and Family rooms) some with private bathroom.
Check-in time starts at 1.30 pm.
Breakfast not included. Extra-cost: USD$ 2.75 per person per day.
Had a great stay at the hostal! The private room for two people was not very big but for this price it is perfect. The best thing is that they let us in the room in the morning, when we arrived with the night bus. Therefore, we could get some sleep before exploring. The kitchen could be better equipped, bigger and cleaner. Other than that it was very good.
Nothing fancy, but great value for a night or two. Not the best place to meet other people.
The owner/family of the hostel is super sweet. The hostel is not the nicest and cleanest I have ever seen but the price cant be beaten. The kitchen area is small but kinda cosy. It is central and during the day time quiet noisy but that is in a lot of places in Baños and anyway you shouldn't hang around in the hostel because there are so many places to explore. The hostel is close to the thermal spring.


text:
Five Tips for Avoiding Disorientation in Your Opening Hook
While readers are sorting out what you're saying, they can't appreciate your story.
Writing, Beginnings, Exposition & Information, Wordcraft
Image by Tithi Luadthong on Shutterstock
When readers dive into a new time and place, it can take a moment for them to sort through what's happening. This goes double when they are meeting new characters or being introduced to a world for the first time. This means the first passages of a book can be disorienting indeed.
Unfortunately, our efforts to hook readers can make it worse, and once readers are disoriented, they'll be too busy figuring out what we're saying to appreciate our hooks. Let's cover some ways to reduce the up-front cognitive burden and make it easier for readers to immerse themselves in the story immediately.
1. Focus on Fewer Ideas
In our eagerness to deliver something intriguing, it's easy to pack too many ideas up front. We hope that if we throw lots of teasers at the wall, one or more of them will stick. Unfortunately, this is not only more disorienting, but it often makes our opening hook weaker. Even mysterious references usually need a little development before they feel mysterious.
A great example is the opening of Blindsight.
It didn't start out here. Not with the scramblers or Rorschach, not with Big Ben or Theseus or the vampires. Most people would say it started with the Fireflies, but they'd be wrong. It ended with all those things.
Author Peter Watts is throwing out a bunch of unfamiliar terms and world elements, such as vampires. This doesn't give him any time to offer context or explain any of it. Instead of evoking the imagination, it creates a jumble of impressions that don't add up to anything.
This problem is particularly likely when a story opens with exposition. Because exposition offers a lot of flexibility, it sometimes allows writers to create better opening hooks – even though it's less immersive than a real-time scene. However, the same flexibility also means it requires more care; it's very easy to pack too much into a small space. For those with a complex world that needs explanation, I have an article specifically on introducing world terminology.
Real-time narration can still pack in too many ideas if it introduces a lot of story elements, such as characters, all at once. And even if the first paragraph is written as unfolding action, an opening scene is still likely to include some exposition to fill readers in.
Take this example from The Blade Itself.
Logen plunged through the trees, bare feet slipping and sliding on the wet earth, the slush, the wet pine needles, breath rasping in his chest, blood thumping in his head. […]
The Dogman had been with him until a moment before, he was sure, but there wasn't any sign of him now. As for the others, there was no telling. Some leader, getting split up from his boys like that. He should've been trying to get back, but the Shanka were all around. He could feel them moving between the trees, his nose was full of the smell of them. Sounded as if there was some shouting somewhere on his left, fighting maybe.
The first paragraph tells us what Logen is doing at that moment and works in Logen's environment at the same time. So far, so good. But to give the scene more tension, author Joe Abercrombie wanted to let readers know that Logen has been separated from his fellows and is now surrounded by enemies. He does that too fast, throwing in the "Dogman," the "others," the "boys," and the "Shanka." If Abercrombie had cut that down and focused on either Logen's missing fellows or his enemies here, it would be a lot easier to sort out.
Instead of trying to fit lots of ideas in your opening, choose one idea that makes a good hook and spend your first paragraph developing it. Then slowly introduce other ideas, making sure their relationship to what you've already said is clear. This allows you to offer information and build interest without giving readers more than they can handle at once.
For instance, below is the opening to The Hitchhiker's Guide to the Galaxy by Douglas Adams.
Far out in the uncharted backwaters of the unfashionable end of the western spiral arm of the Galaxy lies a small unregarded yellow sun. Orbiting this at a distance of roughly ninety-two million miles is an utterly insignificant little blue-green planet whose ape-descended life forms are so amazingly primitive that they still think digital watches are a pretty neat idea.
This planet has — or rather had — a problem, which was this: most of the people on it were unhappy for pretty much of the time. Many solutions were suggested for this problem, but most of these were largely concerned with the movements of small green pieces of paper, which is odd because on the whole it wasn't the small green pieces of paper that were unhappy.
Adams creates a picture of a galaxy and then builds on that to transition readers from looking at the galaxy to thinking about Earth. Then, he gives Earth a problem and spends time elaborating on that problem rather than jumping right to another hook and leaving the issue with Earth underdeveloped. Altogether, he's moving at a pace much slower than Blindsight's. This makes it easy for him to fit in witty lines and carefully work toward the next intriguing hook.
2. Give Context for What You Cover
You don't need to set the entire scene in your opening paragraph. It's actually okay to describe an intriguing pocket watch and delay mentioning that this pocket watch is hanging over a cliff until paragraph two or three. The key is that you need to supply appropriate context for whatever you choose to cover. So if you start describing the physical environment, don't leave out the big cliff.
For instance, take the opening to Beyond Lies the Wub.
They had almost finished with the loading. Outside stood the Optus, his arms folded, his face sunk in gloom. Captain Franco walked leisurely down the gangplank, grinning.
Part of the issue in the above passage is that Philip K. Dick has thrown in an unnecessary new term: Optus. Cognitive burden is cumulative, and every issue with disorientation in your opening will make the other issues worse.
Even setting aside that one term, readers don't have enough context. They have to fill in that the gangplank is attached to a ship, and then they still won't know what kind of ship. Is it a spaceship or a seagoing ship? The Optus is introduced before it's clear who the "they" in the first sentence is, and even by the end of the paragraph, readers are only guessing "they" refers to Captain Franco's crew. The paragraph makes readers do a lot of work assembling a puzzle only to end up with an incomplete picture.
Let's look at another example from a client's work, used with permission.
We thought you'd never get here. When we saw the flare of your engines, we thought it was the end of the world. Our apologies for the ruckus. Once you hear what's happened, maybe you'll understand.
This opening has many intriguing statements in it, and in covering so many, it leaves readers to guess all the context surrounding them. Readers don't know who anyone is or what the setting is. Without that information, it's hard to imagine these events. Instead, the writer could have first opened with "When we saw the flare of your engines, we thought it was the end of the world," and then explained why they thought it was the end of the world in a way that fills in the setting and the people involved.
This doesn't mean you can't give your readers a puzzle, but remember that every puzzle box shows the whole picture on the front so shoppers know immediately what they'll get by piecing the puzzle together. The opening paragraphs need more than puzzle pieces; they need a pretty picture, too.
For instance, below is the opening of Skin of the Sea, which paints a clear picture while working in sources of threat to build an opening hook.
I circle the ship with the sharks, slipping between dark waves. The water is layered with cold currents, sea creatures, and a ship that slices through it with cargo holds full of stolen people. I swim underneath the swells, away from the gaze of men and just out of the reach of jaws.
Author Natasha Bowen uses a broad brush to give readers all the big picture information they need. The protagonist is swimming in the water alongside a group of sharks, under a ship that is carrying slaves.
3. Make Labels Extra Clear
During an opening, readers will be introduced to new terms, phrases, and story elements that they'll need to recall later. This will be especially difficult for them because there is so much they'll need to sort out. If you dribble in a few things at a time, they can learn them and slowly build up their knowledge base.
However, if you switch up the labels you use to refer to things you've just introduced, that will give them a real hard time – even if those labels seem synonymous or you offer contextual clues.
One of the biggest culprits is names. If you have just one name in your first paragraph and you include that exact same name in your second paragraph, you should be fine. But authors often introduce someone's full name and then follow that with part of that name or a nickname. Sometimes this happens paragraphs later when readers have mostly forgotten the initial name.
In Blindsight, Watts mentions Robert Paglino and then calls him "Pag" two paragraphs later. That's a bad idea anywhere in a novel, much less in the opening.
In The Tommyknockers, King mentions Anderson, Peter, and Jim Gardener in a large paragraph. Later in the paragraph, he throws in "Gard." Even though context helps establish that Gard is Jim Gardener, there's so much going on that this isn't easy to piece together.
In Beyond Lies the Wub, Dick introduces Captain Franco and then calls him either Captain or Franco for the rest of the piece. Some readers probably thought he was two different people.
If you want to introduce a full name followed by a nickname, mention the nickname right after the full name. However, consider whether you need the full name; readers probably won't remember it anyway. If you want to use either a name or title, use them together several times to start and then continue using them together once in while.
Another great example of confusing labels is from House of Earth and Blood, in the Crescent City series.
There was a wolf at the gallery door.
Which meant it must be Thursday, which meant Bryce had to be really gods-damned tired if she relied on Danika's comings and goings to figure out what day it was.
The heavy metal door to Griffin Antiquities thudded with the impact of the wolf's fist—a fist that Bryce knew ended in metallic-purple painted nails in dire need of a manicure. A heartbeat later, a female voice barked, half-muffled through the steel, "Open the Hel up, B. It's hot as shit out here!"
This opening is very disorienting, partly because author Sarah Maas doesn't make it clear that the wolf and Danika are the same person. That means it's jarring to discover the wolf has painted fingernails. The gallery is also part of Griffin Antiquities, but that's not clear either. Readers are capable of figuring these things out, but doing that work will keep them from enjoying the story right away.
For a positive example, Patricia A. McKillip brings out several names in the opening paragraph of Od Magic.
Brenden Vetch found the Od School of Magic beneath a cobbler's shoe on a busy street in the ancient city of Kelior. The sign hung over the door of a tiny shop that badly needed paint. Brenden gazed incredulously at the door, then again at the sign. Od, it insisted, in neat black letters, School of Magic. From the sign a shoe descended: a wooded clog, sturdy enough to sail, fastened to the sign with a dowel through its center like a mast.
McKillip names "Brenden Vetch," and then she calls him the expected "Brenden" two sentences later. The Od School of Magic is also repeated twice in a consistent manner. That should make both of these names easier to remember. I think McKillip could have dropped both the initial "Vetch" and the city name of "Kelior" from the paragraph, but readers also aren't asked to remember them in the following paragraphs.
4. Keep the Narration Consistent
Another common source of cognitive burden is narration that changes. It might switch pronouns, change tense, move between thoughts and description, or zoom into or out of characters' heads. While some of these problems are simply a matter of badly written perspective, many of these transitions would be fine if they appeared later in the story or weren't packed together.
A great example of shifting narration is in the opening of Maximum Ride.
The funny thing about facing imminent death is that it really snaps everything else into perspective. Take right now, for instance.
Run! Come on, run! You know you can do it.
I gulped deep lungfuls of air. My brain was on hyperdrive; I was racing for my life. My one goal was to escape. Nothing else mattered.
Above, author James Patterson shifts tense, uses second person and then first person, and goes from narrator exposition to immediate thoughts to real time description. Even for shifts that are technically accurate, this is difficult to sort out and makes for a jarring experience.
Here's another example from the opening teaser of The Remnant Chronicles that is clearly mixing multiple things together.
Journey's end. The promise. The hope.
Tell me again, Ama. About the light.
I search my memories. A dream. A story. A blurred remembrance.
I was smaller than you, child.
The line between truth and sustenance unravels. The need. The hope. My own grandmother telling stories to fill me because there was nothing more. I look at this child, windlestraw, a full stomach not even visiting her dreams. Hopeful. Waiting. I pull her thin arms, gather the feather of flesh into my lap.
The narration above changes so much that I'm not sure whether using two different indentations for the italicized text is a mistake. After reading a few lines, we can guess the italics indicate dialogue and that it's told from the perspective of a grandmother telling a story to her granddaughter, but it takes effort to piece together. My guess is that author Mary E. Pearson deliberately told it in a fragmented manner hoping to make it more mysterious. Instead, it just reduces the impact of this fragmented scene.
If you're italicizing text in your opening, that warrants another look at what you're doing. Italics generally indicate some kind of change in the narration, but it can indicate different things. That means readers have to do some work to figure out why it's there, and you want them to have to think as little as possible in your opening.
If you need to shift the narration, do it as infrequently as you can, and make sure you have adequate transitions or context so readers are prepared for the change. For instance, take the opening to Stephen King's short story That Feeling, You Can Only Say What It Is in French.
Floyd, what's that over there? Oh shit.
The man's voice speaking these words was vaguely familiar, but the words themselves were just a disconnected snip of dialogue, the kind of thing you heard when you were channel-surfing with the remote. There was no one named Floyd in her life.
After the line of text set off in italics, King spends much of the next paragraph explaining what this strange line is. He doesn't just stick it in and move on to barely related narration.
5. Minimize Metaphors
We use many types of metaphors, and some of them come more naturally to readers than others. If you love fancy metaphors, it's not impossible to make one work in your opening paragraph, but it's another source of cognitive burden. Readers have to do a little more work to translate figurative language, and sometimes they won't translate it correctly.
For instance, let's go back to the opening paragraph of Philip K. Dick's Beyond Lies the Wub.
When I first read this, I thought "his face sunk in gloom" meant it was dusk outside and his face was in shadow. It's actually supposed to mean the Optus is grumpy. If more context had been given, I might not have misinterpreted it, but we can't always count on the rest of the paragraph going smoothly.
For another example, let's look at the opening of Battlefield Earth.
"Man," said Terl, "is an endangered species."
The hairy paws of the Chamco brothers hung suspended above the broad keys of the laser-bash game. The cliffs of Char's eyebrows drew down over his yellow orbs as he looked up in mystery. Even the steward, who had been padding quietly about picking up her saucepans, lumbered to a halt and stared.
All the characters being introduced are one source of cognitive burden. Another is the figurative language: hanging paws, cliffs for eyebrows, and yellow orbs instead of eyes. It all adds up, making this paragraph harder to absorb and reducing reader immersion.
Because we like to use pretty metaphors to impress readers, we're especially likely to overdo them in our openings, when we're most eager to impress. And besides the cognitive burden, metaphors can go wrong in a variety of ways.
If your goal is simply to make your description evocative, you can reduce the risk by doing that in other ways. Take the opening of The Gunslinger by Stephen King.
The man in black fled across the desert, and the gunslinger followed.
The desert was the apotheosis of all deserts, huge, standing to the sky for what looked like eternity in all directions. It was white and blinding and waterless and without feature save for the faint, cloudy haze of the mountains which sketched themselves on the horizon and the devil-grass which brought sweet dreams, nightmares, death.
This description has some anthropomorphism, with the desert standing and the mountains sketching themselves. While it's possible for anthropomorphism to be misinterpreted, a desert and mountain standing and sketching literally is so unlikely that it isn't confusing. King also makes a comparison to eternity, but using "what looked like" makes the role of eternity very clear. The devil-grass adds a great touch to the atmosphere, making the desert feel more creepy and menacing.
Much of the rhetoric surrounding fiction makes it easy to forget that the craft is about clear communication as much as anything else. If you lose that, the story will be lost as well.
More in Beginnings
Lessons From the Cursed Writing of Vicious
Can Framing Devices Be Better Than Terrible?
Episode 382: Opening Scenes
Q&A: How Should My Hero Recruit a Crew?
Comments on Five Tips for Avoiding Disorientation in Your Opening Hook
The style of Battlefield Earth reminds me of the Eye of Argon, except bad.
Every time I see eyes described as « orbs » I die a little on the inside. I mean if the character actually had spheres of gold instead of eyes, perhaps allowing them to gaze into the future, then I guess that would count, but other than that…
In reply to Juan
How do you know they are talking about eyes? *wink wink, nudge nudge*
Uly
That's nothing. In the past few years I've seen a worrying uptick in authors describing eyes as "lambent".
I like to think I have a broad vocabulary, but I had to look it up. It's not a word often applied to eyes – they mean "glowing" or perhaps "gently flickering". It's a word for candles, not eyes.
I would not be surprised to hear that most readers, encountering this word for the first time in use to describe eyes, think that the author is referencing sheep.
In reply to Uly
Cay Reet
Well, that could be a viable word if the person is a supernatural who has glowing or flickering eyes. Not useful for regular people, too.
In reply to Cay Reet
Thankfully, all those characters *were* supernaturals with glowing or flickering eyes. But I still think that every author I've seen using this word is entirely too addicted to it, and at the *very* least needs to make an attempt to define it the first time they use it. Or, better yet, not use it in the first place. Sometimes it's not necessary to build people's word power.
Given that my MC is a spy with a real name and several fake ones i always refer to him as Frost, a nick name only a few people are allowed to use but that, somehow, everyone tend to end up using.
On the other hand i try to keep the metaphors close to zero, as since i introduce Magic, anything can be possible. If i were telling a more mundane story i'd be more abundant on it.
Hoo boy, do I have an example of confusing and annoying writing to you! In Hex, a novel by Thomas Olde Heuvelt, every character is introduced by their name, but they're never given any description with that name. I'm not gonna repeat the text exactly because I don't have a copy atm, but like "John Doe went for a jog and saw Marty Miller and Jane Jameson drop a piano on Catherine" is way too many names to remember all at once. He also likes to write full names of the stores and various objects.
The premise sounded interesting, but when I realised that one of the characters was a dog only after a paragraph or two, I had to drop the book.


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Penguin Bloom | Formulaic but Somewhat Engaging
27 January 2021 27 January 2021 ~ Garc ~ Leave a comment
This true Australian tale is ripped from the headlines because this family's story was covered in the media a few years ago. There's a great 60 minutes Australia episode that can be found on YouTube and a book of the same name by Cameron Bloom and Bradley Trevor Greive. The movie was directed by Glendyn … Continue reading Penguin Bloom | Formulaic but Somewhat Engaging
TV Review: The Boys (S2) | When What We're Missing is Super-powered People
9 October 2020 15 May 2022 ~ Garc ~ 3 Comments
The Eric Kripke (Supernatural, Revolution) Prime Video series, based on the comic books "The Boys" by writer Garth Ennis and artist Darick W. Robertson, is back for a second season. Karl Urban (Thor: Ragnarok), Jack Quaid (The Hunger Games), Antony Starr (Banshee), Erin Moriarty (Captain Fantastic), Dominque McElligott (House of Cards), Jessie T. Usher (Shaft), … Continue reading TV Review: The Boys (S2) | When What We're Missing is Super-powered People
TV Review: The Boys (S2 Premiere) | The Set Up of What Could Be a Great Season?
Image ~ 4 September 2020 15 May 2022 ~ Garc ~ 1 Comment
The new season of The Boys, based on the comic books "The Boys" by writer Garth Ennis and artist Darick W. Robertson, premiered on Prime Video. Review: I am really struggling with writing this, why? Because as good as The boys is it's not a weekly type of show. There is no vilain of the … Continue reading TV Review: The Boys (S2 Premiere) | The Set Up of What Could Be a Great Season?
TV Review: Cursed | A Theater Play with Striking Visuals
17 July 2020 15 May 2022 ~ Garc ~ 1 Comment
Since the beginning of the year, we've had quite a few heroic fantasies to help us through the weird times we're in these days. From The Witcher to The Letter for the King, Netflix has adapted books and comics in this genre. This re-imagining of the Arthurian legend almost got me to groaned "again," but … Continue reading TV Review: Cursed | A Theater Play with Striking Visuals
Extraction | Sponsored by Tupperware
24 April 2020 15 June 2020 ~ Garc ~ 4 Comments
It doesn't look like it but Extraction is inspired by a graphic novel - I know, crazy right? - The comic is called "Ciudad" and was written by Ande Parks and the Russo Brothers with illustrations by Fernando León González. Both Joe and Anthony Russo are producing this film but only Joe adapted the story. … Continue reading Extraction | Sponsored by Tupperware
TV Review: The Boys (S1) | Unexpected, Smart and Raw, A Must See
26 July 2019 15 May 2022 ~ Garc ~ 9 Comments
There are two things that drew me into the show, one is Karl Urban (Thor: Ragnarok) and the other, is the first trailer. Developed for Prime Videos by Eric Kripke (Supernatural) the show is based on the comic books "The Boys" by writer Garth Ennis and artist Darick W. Robertson. Co-starring alongside Urban is Jack … Continue reading TV Review: The Boys (S1) | Unexpected, Smart and Raw, A Must See
The Silence of The Lambs | Review
28 May 2015 4 February 2022 ~ Garc ~ Leave a comment
Based on the Thomas Harris novel "The Silence of the Lamb", the film was directed by Jonathan Demme and stars Anthony Hopkins, Jodie Foster & Lawrence A. Bonney. The premise: A young F.B.I. cadet must confide in an incarcerated and manipulative killer to receive his help on catching another serial killer who skins his victims. Review: Oh … Continue reading The Silence of The Lambs | Review