text:
Redefining Jewish Authenticity: An Interview with Eli Valley
Nathan Goldman interviews Eli Valley
FOR THE PAST DECADE, Eli Valley has been drawing comics unlike any other. Bombastic, frenzied, and often grotesque, Valley's work unrestrainedly critiques American and Israeli institutional Jewish leaders and narratives. From human and animal rights abuses at a kosher slaughterhouse, to endless sociological surveys lamenting the sins of secularism and intermarriage, to widespread disregard for Palestinian lives, Valley attacks the Jewish community's ethical failures from the inside. For this he has earned the ire of prominent figures on the Jewish right and the discomfort of many others. The Forward, a left-leaning publication that printed his work for years, eventually broke with him over the severity and specificity of his satire. Valley's work, though deadly serious, is also raucously fun, filled with everything from a zombified Theodor Herzl to a crotchety Jewish turtle accusing his Jewish owners of anti-Semitism. He draws from the rich history of diasporic Jewish comic-making — from the comics that appeared in Yiddish socialist newspapers in the early 20th century to MAD comics — but his style and wit are all his own.
Diaspora Boy: Comics on Crisis in America and Israel collects more than 60 of Valley's comics into a beautiful volume, complete with extensive commentaries and a riveting introduction that covers Valley's own history and the history of Jewish self-images since the birth of Zionism, to which his work responds. The book is not only a towering artistic achievement and a disturbing chronicle of American Jewry's relationship to Israel over the last 10 years, but also a battle cry for a resurgent American Jewish left in a harrowing time of far-right power in the United States and Israel — a time in which reality has surpassed satire in its ridiculousness.
Valley spoke with me by phone from New York City, where he was taking a break from drawing a sock puppet on Jared Kushner's hand in what would become this comic.
NATHAN GOLDMAN: Your comics used to appear in The Forward under the title "Comics Rescued From a Burning Synagogue in Bialystok and Hidden in a Salt Mine Until After the War." In an interview with The Comics Journal, you explained that the title came from language about a Torah rescued during the Holocaust. Diaspora Boy is a huge book, physically, so I read it hunched over, with the book spread out on my kitchen table, following the panels with my finger. And it reminded me a lot of my experience reading the Torah for my Bar Mitzvah. So I've been thinking about those resonances. How do you see your work fitting into the history of Jewish texts, both sacred and profane?
ELI VALLEY: Wow, that's quite the question. I love that idea. I have to be careful with over-self-aggrandizement, but I worship the brush — brush and ink. I have such a high estimation of that, so when I'm being more self-aggrandizing, I jokingly compare it to the Torah, creating scrolls. Actually, in the book I joke that the comics, along with the comments underneath them online, are like a page of the Talmud if the Talmud were written by lunatics. Obviously there's acrimony in the Talmud, too, but hopefully nothing quite as nuts as the comments underneath my comics.
But even if the comics are hyperbolic and insane, I have very serious intentions with them, and I do aspire to the trajectory of Jewish literary and intellectual culture. And I know it's a glib answer, but when people ask me who my readership is, the obvious answer is me and my friends, but the longer answer is ghosts from the past and ghosts from the future. As far as the past, I'm mesmerized by the kinds of writings and cultural output that was being created in Central Europe in the early 20th century, and I like to think that my comics are a reflection of and a debate with that. As for the future, who knows what's going to happen — especially these days — but I like to think that future grad students will be looking at this book, along with a lot of other stuff, in order to figure out what the hell was going on (to paraphrase our horrible nightmare man in charge right now).
That's very arrogant, obviously, but it's not like I mean it to be literal. It's just a reflection of how seriously I take this work, despite the seeming reckless glibness of the comics themselves.
You mentioned the part of the book in which you discuss the idea of the comics, with the comments sections being the Talmud as written by lunatics. Most of the comics in Diaspora Boy are accompanied by detailed commentaries that establish political context and explain publication histories and do other things. That also got me thinking about the history of Jewish thought as explicit interpretation and critique, from the Talmud on. And as I was thinking about that, I suddenly started seeing that all over the book — from those commentaries, to the comics themselves (in which you often are directly quoting the Jewish figures you're lampooning), to your introduction and Peter Beinart's foreword, to the publisher's use of blurbs from your conservative critics, to the note on sources at the end — you cite the influence of scholarly books. There's a lot of such intertextual stuff going on. I was wondering if that resonates with you — that Jewish history of commentary and intertextuality — and if you see that as something that has to do with your work.
Yes, but I see it more when you point it out. I think it's more of an intuitive thing when I'm actually working. The nature of my work tends toward the obsessive, in terms of both the art and the research, so that's just the way it ends up. It's not a conscious thing on my part, because that would probably become self-conscious.
But on that note, in the book I talk about a comment on my "Photo Stroll" comic that was one of my favorite comments, because it actually questioned me, and it questioned my romanticization of earlier periods of Jewish history. That's, like, meta on meta, but I think it might also fit in with what you were saying about intertextuality.
In that interview with The Comics Journal, you mention that at one point you were thinking of going into a PhD program. I was thinking about when I read the introduction, which includes a pretty thorough account of the history of Zionism and its influence on images of diaspora Jewishness, and then with the books you discuss in the note on sources. I'm wondering what your relationship is to scholarship on the topics that your work addresses.
Todd Samuel Presner's Muscular Judaism was one of the first works I saw that really grappled with this stuff. It's academic, and it gets very specific, but it also gives you an overview, and it talks about people like Ephraim Moshe Lilien, who was, visually, one of the sources that I'm grappling with. Also, the image of the teuton machine, from the introduction, I found in a book by John Efron on the history of German Jews and medicine. So I'm really indebted to academics for their archival work and analysis.
I think the best academics — obviously, because I'm self-centered — are the ones who can appreciate my comics. But I also know that a lot of academics, they just don't understand comics, and they don't understand how they fit into the intellectual tradition. There are people, I'm sure, in academia, who are in love with these Jewish cultural journals from Prague in the 1920s, but who would look at my work, and it would be a total cuneiform foreign language to them. And obviously I don't respect those people. I do respect the ones in academia who see my work as not necessarily equivalent to the stuff back then, but contributing to the same trajectory. Those are the cool academics.
Could you talk a little bit about that comics history you see yourself drawing on — both that particularly Jewish history, with these early 20th-century Yiddish newspapers, and also any other comics history you see as being important to your development and your work?
I found MAD comics from the 1950s very informative and influential, and also obviously the independent comics from the '60s and '70s, which emerged partly because MAD comics had to be suppressed, as a result of Congressional hearings and the self-censorship of the comics code in 1954. That sort of led, indirectly, to the independent comics explosion in the '60s, which were almost all influenced in some way by the MAD comics. But also, I see MAD comics as one of the pinnacles of diaspora Jewish culture — not just because they were throwing in Yiddish words everywhere, but because they were, in many ways, anti-establishment at a time when Jews had not yet been accepted by the mainstream in terms of culture and politics. So MAD is, a lot of the time, mocking consumerism and red-baiting and conformity in 1950s America, and it was largely the product of these outsider Jewish kids in New York, who were the children of immigrants.
And then, my sense was, by the time I started drawing these comics 10 years ago, that Jews had already entered the mainstream, entered all echelons of American society, and I was just wondering about that satirical energy. It seemed like there was a need to direct that satirical energy inward at a time when Jewish political culture had become the mainstream and there was very little dissent. There was certainly not harsh satire. But it's funny, because if you go too far — MAD went too far, not in my view but in the view of American culture. In their spin-off, called Panic, they went after Santa Claus, and that got the issue banned in Massachusetts. Partly because of the strictures of the comics code, they eventually became a magazine, and the comic in some ways got neutered.
I'm not drawing direct comparisons, but my stuff does not appear in The Forward anymore. If you fly too close to the sun or whatever, if you keep mocking these institutions — I mean, it's necessary, but the institutions will find ways to limit it. I'm not trying to make myself out to be some kind of a persecuted dissident at all. But there's a parallel both in terms of the satirical impulse and the censorship that results.
I want to talk about that, because I think that's an interesting thread in the book. The majority of the comics in Diaspora Boy were published in The Forward, but a good number of those that were not were ones that you tried to publish in The Forward, but for various reasons that you detail, they wouldn't run them. And because the comics are ordered chronologically, the reader sees your relationship with The Forward changing until the point at which they weren't going to continue publishing your work. Your commentaries reveal how difficult it was for you to get a lot of your comics published without changing them, and one thing that came up over and over was that it was difficult to publish comics that criticized specific leaders or organizations in the Jewish community. So I'm curious about the struggle to get those kinds of criticisms published in mainstream Jewish publications. What do you think is going on in our American Jewish culture that this kind of internal criticism is so often silenced?
It's hard to say, because I don't know to what degree The Forward is emblematic of wider trends. But the problem with wanting to be an outside, critical source while also playing internally in the politics is that it's a contradiction, and you're always going to run into walls. There are people on their board who loved my work, and I'm sure there are people on their board who hated my work. And when I say board, I mean donors as well and people who are influential in other Jewish institutions that I was mocking. Not mocking frivolously, but with specific points and critiques based on actual policies.
So it's hard to say. But, for example, there was a person at The Forward who mentioned going to some benefit for Abe Foxman [the former director of the Anti-Defamation League], and he was concerned with what Foxman might say about my work. And those kind of stories, and then seeing them speak publicly with other actually really toxic figures in the Jewish community … there's this buddy aspect. And we're talking about the Jewish world, but it's the same thing going on with, like, the White House Correspondents' Dinner. I mean, literally, journalists palling up with people in power, who are often horrifically corrupt. Or people like Mort Klein [the president of the Zionist Organization of America], who is an unhinged bigot, who is accepted as a standing member of mainstream Jewish communal institutions. It's horrifying, actually, at this point. It was horrifying before Trump was in office, but now it's … you lose your speech trying to comprehend how this is possible.
In your commentary on the comic "Abe Foxworthy," which lampoons Abe Foxman, you discuss your disagreement about that comic with The Forward's editor-in-chief, who objected: "There's no balance in this cartoon." You write, "This was the core of many disagreements that would follow — not so much the level of tastefulness but the inherently unbalanced nature of satirical art." I want to hear more about what you mean by "the inherently unbalanced nature of satirical art," and how that plays into both your conception of what you do and the difficulty you have had getting your work published in certain kinds of places.
In that particular commentary I mention that the editor once suggested getting a quote from the other side. This whole "both sides" needs of journalists, it's so outside the parameters, or even the metaphysics, of satire. I'm not here to present both sides. I'm here to make an argument. It also gets to the whole idea of punching the downtrodden, you know? It's like, "Let's try to understand why the person in power is supporting policies that are disenfranchising entire communities. Let's try and see their point of view — for our satire." No, actually, we don't need to do that for our satire.
I've been asked how I could have dialogue with the people I'm criticizing. How could we get them at the table to discuss these issues? And I'm like, I'm beyond dialogue. We've been trying to have dialogue for a decade now, and in that decade, look where we've come: the people in power continue to have power, and they continue to disenfranchise — I mean literally — voices in the community. And I'm not even talking about Palestine right now, but Jewish voices of dissent. You can see that with what's happening with David Myers right now at the Center for Jewish History. The things they're doing — they're spearheading this McCarthyite campaign, and the things they're saying about one of the preeminent scholars of Jewish history in the United States today, they're so unhinged. I don't want dialogue with these people.
Speaking of that, you get a lot of shit from the Jewish right: Commentary's John Podhoretz called you a kapo, meaning a Jew who cooperated with Nazis; The New York Times's Bret Stephens called your work "grotesque" and "wretched." How do you feel about those kinds of remarks?
I think they're despicable, but they're entitled to their views. "Grotesque" and "wretched" is fine, actually. "Kapo" is inexcusable — although I've been using it lately. However, I think when I've been using it, talking about people who are normalizing Nazism in the United Staes, it has much more relevance and accuracy than calling me a kapo for doing a comic that was a cry of anguish after a Palestinian boy was burnt alive. That's literally why Podhoretz called me a kapo.
But the larger issue is, these are the people who have been defining Jewish authenticity for the past decades in the United States, and they've been complicit in narrowing the boundaries of authenticity vis-à-vis non-Zionist or non-Orthodox Jews — particularly non-Zionists, or even critical Zionists, using terms like "self-hatred" and even sometimes "anti-Semitic." And that's been the norm. It's been more extreme in the past 10 to 20 years, but it has roots in the stuff I talk about in the introduction, which is the denigration of the diaspora in place since the origin of Zionist thought.
In terms of goals for the comics, I want to pillory these kinds of people so people know they have zero legitimacy to be telling the majority of Jews that they are not worthy and that they are not legitimate. If these people are going to be saying these horrific things, I'm going to be coming at them and essentially demanding that they stop being trusted with the ability to define the rest of us.
Because you're critical of Israel and Zionism and you critique Jewish figures — often harshly, and often representing them in physically grotesque ways — you've been accused of self-hatred and even anti-Semitism, which are charges the Jewish right likes to lob at the Jewish left. But you suggest in the introduction to Diaspora Boy that your work is, in part, a product of pride in Jewishness and what you call "Jewish confidence." Could you speak about that tension between these accusations of self-hatred and your experience, in your life and work, of just the opposite?
I think one of the things that infuriates my critics is that I refuse to let them define Judaism for me. The whole idea of "self-hatred" is that you know what my self is, and already you're defining my self as Zionist and, ultimately, Orthodox. That's basically the subtext to the slur. If I say that authentic Judaism is secular, early 20th-century socialism, then John Podhoretz and Abe Foxman are self-loathing. If you just look at the majority of American Jews, they are more like Bernie Sanders than Joe Lieberman, in terms of secular versus Orthodox, or non-nationalistic versus nationalistic, or moral versus corrupt. There are all these articles that keep coming, saying that Bernie Sanders isn't talking about his Judaism enough, or contrasting him with Joe Lieberman as the American Jewish icon, because — because why? Because Lieberman wears a yarmulke? Because he lends his name to extremist movements, like Christians United for Israel?
To me that's not Judaism, and for the press and even the Jewish community to implicitly assume that these extremes are our norms — that is what is self-loathing, that is when we become self-hating. We're not self-hating naturally. We're only self-hating when we borrow the view of Judaism of the John Podhoretzes of the world. And so I think one of the things that just pisses them off, and it's why they have to grab at all of their ad hominems, is because I refuse to let them define me. And not just me — I refuse to accept their definitions of American Judaism. And when they do try to define us, I pillory them.
It really is absurd. It's just amazing to me that the vast majority of American Jews are progressively inclined, and our spokespeople and our arbiters of authenticity are on the right side of the spectrum. They're not elected — they're just self-proclaimed leaders. It's like that quote from Abe Foxman in the comic "It Happened on Halloween," saying, "I don't represent. I lead." That's damn true, because none of these people represent us.
It's like, if Clarence Thomas — it's a faulty analogy, but just for the sake of an unrepresentative person — if Clarence Thomas was considered, you know, the "lead" African American, the embodiment of what it means to be African American. That's preposterous, in terms of voting patterns alone. But that's the way it is in the Jewish world. John Podhoretz is our Clarence Thomas.
As an American Jew who was raised in a liberal Reform congregation and who's engaged to someone who wasn't raised Jewish, I shared on a visceral level what I felt was your anger at those limited representations of Jewish authenticity. Your work is very analytical, but do you see it as coming out of that emotional space as well?
Yeah, and we haven't really talked about the art itself, but I think it reflects that emotion. I'm not saying it's deliberate, but the packed panels and the intense black-and-white art reflect that emotional and visceral approach, as well as the shtetl environment that I'm trying to capture, in terms of the multiplicity of voices and the cascading bodies and forms.
What was it like to compile 10 years of work and see it all together? Did thinking of the comics as all part of a book, rather than spread out across various issues of various publications, make you think of the body of work as a different kind of thing?
Yes. As much as I might have conceived of it as a single body of work when I was working on it, it was only when it came out in book form and I actually held it in my hands and went through it that I could note certain aspects that I might not have seen otherwise, in terms of evolution, or just changing … I don't know, ideology? Early on in the comics, I was much more optimistic — not optimistic, but I believed more in the possibility of a workable solution to what's happening in the Middle East. And I noticed that a lot of my early work was intra-communally Jewish, but it started getting more and more about Israel itself. And except for, like, "Dawn of the Chimpanzee," it wasn't really exclusively about Israel itself so much early on. But especially with the Gaza War in 2014 — those were all about Israel. And I know a lot of people became activists during that period. That's actually when IfNotNow [an American Jewish anti-Occupation movement] emerged.
So it's interesting, that kind of evolution. I was in this whirlpool of events, and they seem to have crescendoed during the Gaza War, and then my comics were largely about what was going on there. And then there was the aftermath, and the continuing shock and outrage that Netanyahu has been normalized by American Jewish leaders for his entire history in office. And the book kind of ends with that.
The other thing that's interesting is that I wrote the introduction and put everything together during the election cycle but before the actual election. I thought Trump was a buffoon who wouldn't win, but I still saw him as dangerous. I also saw any Jewish support of Trump to be a total shonda [disgrace], but I didn't know how far it would go — that he would actually come into office, and there would be people like Mort Klein who are trying to normalize this stuff. But I did realize, once the book was out, that it was coming out at this precarious moment in American and Jewish history. It sort of expresses horror that American Jewish leaders were normalizing the same kind of bigoted demagoguery in Israel that we now see in the United States today. And there was responsibility there, and we have not accounted for it. And we need to account for it. And I feel like my book captures and reflects what led up to this in terms of the Jewish community. And again, it's like: What the hell was going on?
I'm pretty young, and maybe it's a vice of youth to overestimate the importance of one's time, but it seems to me that, following the rise of the right and Netanyahu in Israel and Trump here, this is a major moment of reckoning for liberal Zionism in American Jewish communities. Reading Diaspora Boy, which felt like reliving the last decade of the relationship between American Jews and Israel, reinforced that feeling. Does it seem that way to you?
To me it's a reckoning, but there are many sub-reckonings going on, and liberal Zionism would be maybe one of them. But to me it's a much, much larger and broader reckoning. We're in a cataclysm right now, basically. And that's one of the reasons that, for some people, discourse might be important now. But for me, it's horrifying that people who helped pave the way toward where we are are still in leadership positions. So the reckoning I see is this fissure. I think of Gershom Scholem's On Jews and Judaism in Crisis. The subtitle of my book — Comics on Crisis in America and Israel — is a nod to his reference to crisis.
This is a huge rupture, basically. I really think that in crisis comes opportunity, and we have an opportunity now to set things straight, but it takes some serious work and ferocity. We finally have a moment of clarity now of where we've been heading, and we need to take advantage of that moment to stop normalizing fascism by the most definitive measures possible. That's why when people say, "Can you convince your opponents?" I'm like, "We're beyond that." We're in a crisis right now. This is not the time to all sit down and try to hear each other's voices. Because the other voices brought us to this horrifying point. I don't know if I'm sounding too insane right now …
No, I don't think so.
I just get really angry, even thinking about this shit.
How do you see your work fitting into that response to the crisis? I totally get the idea of not being interested in dialoguing with the people you're critiquing. But are there people you're interested in persuading? Or are you more interested in provoking and inspiring? Who do you hope to be speaking to, and what do you hope to be doing for them?
I don't hope to convince the other side at all. With these kind of comics, I don't even think it's within the tools of the medium, at least the way I use it. Since we're in this moment of clarity, if this collection can shine a light on the past 10 years and help us see how we got here, and it can be a galvanizing force for either younger people or people who are already stunned by what is going on and want to find a way out of it, then that would be a success for me. That's what I would aspire to. Because I'm not interested in convincing the other side, but I am interested in inspiring and giving strength to our side.
In his foreword to your book, Peter Beinart writes, "Eli Valley's cartoons are outrageous and absurd. That's because we're living at an outrageous and absurd moment in American Jewish life." That seems truer by the day. The president is a white supremacist who won't condemn Nazis; meanwhile, major Jewish groups didn't speak out against Steve Bannon so as not to upset donors, and Sebastian Gorka, who backed an anti-Semitic militia, is touring Israel and praying at the Western Wall. Going beyond the Jewish world, Trump is a caricature made flesh. We're living in this truly absurd, caricaturish time …
Dystopia.
Yeah, absolutely. So how does a satirist — and particularly a Jewish satirist — work in this environment?
It's a good question, and it's difficult, because reality keeps exceeding satire. It used to be that it was mildly like satire. But now it exceeds it in cartoonish form. Cartoonish almost in a negative sense of the term — it's like a cliché cartoon. Veep writers have complained about that, that there's no way to be any more hyperbolic or satirical than reality is now. And so, it is difficult.
The other thing is, you know, when I would use swastikas — there were only, like, two comics in my book where I actually made references to Nazism. And now it's all over my work. But back then, it was an extreme example, and you wouldn't want to go there, because it would deflate the satire. But at this point … It started in July 2016, when I drew Trump drawing a swastika on himself and saying, "Now you're gonna misinterpret this too." That was after he pillaged white supremacist websites for campaign materials, like the one with Hillary on top of the pile of cash. So then I was stretching it to make a point. But now, especially after Charlottesville, the swastika is not very hyperbolic. That which was once used for satirical effect is now literal. That's not necessarily a bad thing, in terms of the purpose of a comic — you just have to go in a slightly different direction with it. Reality is more horrifying now, so satire of reality will be more horrifying. Not because it's hyperbolic, but because it's literal.
In his review of Diaspora Boy in Haaretz, Josh Lambert writes, "For more than a decade, Valley has self-consciously drawn on the history of caricature to portray specific Jews as repulsive grotesques." I think that's astute, and I'd add that you also seem interested in caricaturing caricatures, as in the titular Diaspora Boy, who's based on Zionist ideas about Jews in the Diaspora as physically, spiritually, and culturally deficient. This seems related to the right's criticism that your comics are anti-Semitic. How do you think about the history of representations of Jews in your work?
That's a big question. There's a lot of ways to approach it. One of them is: I refuse to let the Jewish figure be defined by anti-Semites.
I have a book of Doug Marlette's cartoons from the '80s, Shred This Book, in which he talks about how there were complaints after he did a comic about Israel and Lebanon. Jewish groups were in his office, and they were literally comparing the sizes of the noses in his comics, the Jewish ones versus the non-Jewish ones, to determine whether he was anti-Semitic. And so I joke about that, because I have gotten that, people claiming that my comics are anti-Semitic caricatures, and/or measuring the noses … actually, I am a little bit self-conscious about making the noses more diminutive, to be honest, because I don't want to give them ammunition. But that's the only reason. I don't want to deflate my point because they're able to say it's [Nazi newspaper] Der Stürmer.
But they're going to say it's Der Stürmer no matter what. That's the thing. I can draw teddy bears. One of my comics is kittens as the IDF. They would say that's Der Stürmer. Their point is not that my images are anti-Semitic. Their point is that I am anti-Likud, and to them anything that is anti-Likud comes out of Nazi propaganda. Those complaints are much more reflective of the people making them than anything else, because the only people who make those complaints are people who have normalized the rise of authoritarianism in Israel.
So, that's one way to approach it. But, you know, I am inspired by grotesque art. I like it. It's just the way I draw. My visual style is my visual style, and anyone who has seen my drawings of Trump knows that it's not directed, visually, at Jews more than at anyone else. I don't even like saying that, though, because it sounds like I'm being defensive, and I don't think I should have to be defensive about this at all.
As a side point, I have noticed that I just draw Trump so ridiculously now that often I don't have room for a nose. The lips just go so high, and then I have to throw in two eyes, and there's really no room for a nose after that. So there's a few comics where he just doesn't have a nose. That doesn't help my point, because he's not Jewish. But still.
I'm curious about one more minor thread in your work, concerning Kafka. Two of the comics in Diaspora Boy, "Metamorphosis" and "The Trial," reference Kafka stories, and one of them has a reference, also, to "Before the Law." And on your Instagram, you pointed out that Diaspora Boy's cover is modeled on Kafka cover art by Ottomar Starke.
Yeah. The Metamorphosis cover, actually. The title page.
Right. So I'm wondering about Kafka's importance to you personally and as an artist.
Kafka is enormously important. Years ago I wrote a Jewish travel guide to Prague and other cities in the region. At the time, I was really into Kafka. It comes out a little in my work now, probably more subconsciously than it did then. Then I was reading all of his Letters to Felice, I was nuts, literally, when I was living in Prague. It's a cliché, I know. But to this day, everything we say about Kafka's a cliché, since his writings are seen, with 20/20 hindsight, as a horrifying prediction of what was to come, both with the Holocaust and Soviet tyranny, living in a police state. But in terms of influence, there's the horror and the grotesquery, the allegory and hyperbole, the elevation of pulpy narrative, the Jewish obsessions, the generational tensions, but also the humor. I mean, Kafka's stories were also meant to be funny, which is something that is not often appreciated today. Philip Roth called him a "sit-down comic." If you read The Metamorphosis, it's insanely funny that Gregor's just trying to figure out how to get to work when he's in insect form.
That being said, it's dangerous to compare my comics directly to Kafka, as they're much more influenced by MAD comics than by Kafka himself. But it's possible that on some subconscious level, certain aspects owe a debt. Culturally, working in this period of enormous transformation for Jews and in Europe more broadly, I found Kafka a sort of guide to turning history and memory into a narrative, into art that becomes even more compelling than the tradition it replaces.
And there are specific things, like authenticity. Kafka was obsessed with Galician Jewish refugees in Prague at the beginning of World War I. He considered them to be the embodiment of authenticity. And in his diaries, he writes about them. He talks about how if he could be anybody in the world, he'd just want to be this little Jewish boy he remembered seeing, seemingly free of worry. He idealized them as true Jews, essentially. And that definitely stuck with me, because I've done similar things. I'm not proud of that, but we're always trying to deprogram ourselves from what we have learned as authenticity when we were young. That's one of the reasons I love that comment on "Photo Stroll," where she calls me out for romanticizing "an earlier breed of Jew," as I called it in the comic. It's the same kind of thing, just thinking that they're the authentic ones, because implicit in that is that we are somehow deficient. And honestly, if there's no other point to Diaspora Boy, it's to say we are not deficient. We are authentic. Honestly, it's crazy that that should be a radical thought. That should be self-evident. But it needs to be said.
Nathan Goldman (nathangoldman.com) is a writer whose work has appeared in Literary Hub, the Kenyon Review Online, The Millions, and other publications.
A Dissident Cartoonist Wades into the United States's Toxic Relationship With Israel
By Antony Loewenstein
Somebody's Protest Novel
By Nava EtShalom
James Sturm: "The Golem's Mighty Swing"
By Maya Barzilai
When the Shell of the Body Becomes Irrelevant: A Palestinian Activist in Israel
By Ben Ehrenreich


I did not know I could live in a world of my own creating, until I realized that what I am currently doing is merely echoing the world of someone else's creating.
With our power of imagination and feeling the deep sincerity of what we love to do, we are consciously creating the world we want to live in.
We are doing this and it is countering the tendencies of today's patterns of uniformity and legalism, which are not the same as universal law.
Universal law is always in effect and it is always blessing and uplifting all of us.
When we tune into that law and live according to it, it creates a different world for us.
As a world, we are tuning into social justice and taking action to create it.
We are coming up against entrenched legal, although not moral, entities which attempt to continue down their destructive paths.
But morality and the the Universe's love for all of us is becoming stronger in all of us, so that in some unanticipated way, the true delightful interests of all people, everywhere all over the world, are becoming the most powerful force of all.
When we think in terms of worldwide harmony, there is enough for all, there is abundance for all, there is good living for us all.
The grassroots movements which have no other resources other than this conviction are moving forward and gaining people who want to live a life-practice this way.
They are creating their own resources as people join onto an idea and simply desire to express it together.
Each of us who wants to bless the earth with our healing and uplifting presence is contributing to the growth and progress of this idea.
It is simply moving forward as its own healing entity with an uplifting purpose.
It is having the effect of overpowering the present situation which is already imploding from its own lack of infinite resources.
Blessing everyone is a purpose which has unlimited infinite resources.
It is gaining even more credibility as more and more people join together in their desires and actions.


text:
Q: jQuery JSON Issue I compiled my data into JSON via php with 2 parameters response and status. Response has the data which PHP gets when AJAX is processed and status is the error code or success command.
Now, when I pass the data to jQuery, it comes up with weird back and forward slashes, although are don't appear if I console.log(data.response) on AJAX. Please help ..
IMAGE OF OUTPUT

THE JS:
jQuery(document).ready(function($) {
    $('.tax-filter').click( function(event) {

        // Prevent defualt action - opening tag page
        if (event.preventDefault) {
            event.preventDefault();
        } else {
            event.returnValue = false;
        }

        // Get tag slug from title attirbute
        var selecetd_taxonomy = $(this).attr('title');

        $('.tagged-posts').fadeOut();

        data = {
            action: 'filter_posts',
            afp_nonce: afp_vars.afp_nonce,
            taxonomy: selecetd_taxonomy,
        };

        $.ajax({
            type: 'post',
            dataType: 'json',
            url: afp_vars.afp_ajax_url,
            data: data,
            success: function( data, textStatus, XMLHttpRequest ) {

                $('.tagged-posts').html( data.response );
                $('.tagged-posts').fadeIn();
                /*console.log( data );
                console.log( XMLHttpRequest );*/
            },
            error: function( MLHttpRequest, textStatus, errorThrown ) {
                /*console.log( MLHttpRequest );
                console.log( textStatus );
                console.log( errorThrown );*/
                $('.tagged-posts').html( 'No posts found' );
                $('.tagged-posts').fadeIn();
            }
        })

    });
});

THE PHP (WP)
// Script for getting posts
function ajax_filter_get_posts( $taxonomy ) {

  // Verify nonce
  if( !isset( $_POST['afp_nonce'] ) || !wp_verify_nonce( $_POST['afp_nonce'], 'afp_nonce' ) )
    die('Permission denied');

  $taxonomy = $_POST['taxonomy'];

    wp_reset_postdata();
    // WP Query
    $args = array(
      'post_type' => 'std9_photographs',
      'posts_per_page'  => -1,
      'tax_query' => array(
              array(
                'taxonomy' => 'std9_photograph_cat',
                'field'    => 'slug',
                'terms'    => $taxonomy,
              ),
            ),
      );

    // If taxonomy is not set, remove key from array and get all posts
    if( !$taxonomy ) {
      unset( $args['tag'] );
    }

    $query = new WP_Query( $args );

    $result = '';
    if ( $query->have_posts() ) : while ( $query->have_posts() ) : $query->the_post();

      $result['response'][] = '
'. get_the_title().'
';
      $result['status']     = 'success';

    endwhile; else:
      $result['response'] = '
No posts found
';
      $result['status']   = '404';
    endif;

    $result = json_encode($result);
    echo $result;

    die();
}

add_action('wp_ajax_filter_posts', 'ajax_filter_get_posts');
add_action('wp_ajax_nopriv_filter_posts', 'ajax_filter_get_posts');

A: JSON will add slashes when needed (so don't worry about that). The problem is that jQuery has problem to parse that data. You are probably facing a problem encoding your response.
Edit: In order to avoid your backslashes try encoding with the following command  json_encode($str, JSON_UNESCAPED_SLASHES);
The reason that you are having this forward and back slashes is because you are adding in your response html code with
  etc.

A: First of all make sure your header is: header('Content-Type: application/json');
Secondly, do a JSON.parse() in your javascript to parse response into json object.

redpajama_set_name: RedPajamaStackExchange


text:
Си́гурд I Крестоно́сец (; ок.  — ) — король Норвегии (1103—1130), сын Магнуса III Босоногого. C 1103 года правил совместно с братьями Олавом Магнуссоном (1103—1115) и Эйстейном I Магнуссоном (1103—1123), а с 1123 года единолично. Возглавлял Норвежский крестовый поход (1107—1110 гг.). Стал одним из главных героев «Саги о сыновьях Магнуса Голоногого» в составе «Круга Земного».

Биография
В 1098 году сопровождал отца Магнуса III Босоногого в походах к Оркнейским островам, Гебридам и Ирландскому морю. В том же году он был провозглашён ярлом Оркнейским и королём Мэна и островов.

Когда Магнус III Босоногий в 1103 году был убит, Сигурд I возвратился в Норвегию и вместе с братьями стал королём Норвегии.

В 1107 году Сигурд I отправился в крестовый поход, поддержав войсками Иерусалимское королевство крестоносцев. Он сражался в Лиссабоне, многочисленных островах Средиземноморья, в Палестине, посещал Палермо, Иерусалим, Константинополь.

В 1110 году Сигурд I вместе с Балдуином I Иерусалимским захватили прибрежный город Сидон.

В 1111 году Сигурд I возвращается в Норвегию и переносит столицу в город Конгхелле (ныне шведский Кунгэльв), строит там крепость, в которой стала храниться частица Животворящего Креста, полученного от Балдуина I Иерусалимского.

В 1123 году Сигурд I направляет крестоносцев в Смоланд против язычников.

Во время правления Сигурда I в Норвегии вводится церковная десятина, основывается епархия Ставангера.

В 1130 году Сигурд I умирает, его хоронят в церкви Халлвардскирхен в Осло.

Сигурд I был женат на дочери великого князя киевского Мстислава Владимировича Великого Мальмфриде Мстиславне. От этого брака не было сыновей, но была дочь Кристина Сигурдсдаттер. Это привело к борьбе за власть после смерти Сигурда I и гражданской войне, продолжавшейся 90 лет. Боролись 2 основные партии: Баглеры, или «посошники», и Биркебейнеры, или «берестеники».

Образ в культуре
В 1225 году Снорри Стурлусон написал сагу о Сигурде и его братьях в своде королевских саг «Круг Земной».

В XIX веке Бьёрнстьерне Мартинус Бьёрнсон написал историческую сагу-драму, основанную на жизни короля Сигурда I — «Сигурд Крестоносец» (). Она была поставлена в 1899 году на открытии Национального театра в Осло.

«Сигурд Крестоносец» — оркестровая сюита Эдварда Грига, написанная в 1872 году (вторая редакция — в 1892 году) как музыкальное сопровождение к одноимённой драме Бьёрнсона, с которым Григ был дружен. Произведение впервые было исполнено в Христиании 10 апреля 1872 года, премьера второй редакции состоялась 5 ноября 1892 года.

Упоминается как «Сигурд, Король Норвегии» в произведении «Ветер в ивах» Кеннета Грэма.

См. также

 Владения Норвегии
 Норвежский крестовый поход

 |-

 |-

Короли острова Мэн
Графы Оркни
Родившиеся в XI веке
Участники Первого крестового похода
Правители Европы XII века
Хорфагеры
Внебрачное потомство монархов Норвегии

redpajama_set_name: RedPajamaWikipedia


text:
Q: Can a camera be a texture? i want to make a game using html / javascript with Three.js.
I added moving the road and made the functionality that moves the camera like you were moving the car using arrow keys.
Now i need the camera to have a texture of a car so we would actually move the car.
I already searched the internet and didnt find any helpfull idea.
There's a code:
    var renderer = new THREE.WebGLRenderer({antialias:true});
    renderer.setSize(WIDTH, HEIGHT);
    renderer.setClearColor(0xDDDDDD, 1);
    document.body.appendChild(renderer.domElement);

    var scene = new THREE.Scene();

////////////////////////////////////////
////////////////////////////////////////
////////////////////////////////////////
////////////////////////////////////////

    var camera = new THREE.PerspectiveCamera(50, WIDTH/HEIGHT, 0.1, 10000);
    camera.position.z = 50;
    scene.add(camera);

////////////////////////////////////////
////////////////////////////////////////
////////////////////////////////////////
////////////////////////////////////////
var Texture = new THREE.TextureLoader().load( "images/road1.jpg" );
Texture.wrapS = THREE.RepeatWrapping;
Texture.wrapT = THREE.RepeatWrapping;
Texture.repeat.set( 1, 5 );

var Material = new THREE.MeshBasicMaterial( { map: Texture, side: THREE.DoubleSide } );
var Geometry = new THREE.PlaneGeometry(10, 50, 1, 1);
var plane = new THREE.Mesh(Geometry, Material);
plane.rotation.set(90, 0, 0);
plane.material.map.offset.y = 1.5;
scene.add(plane);

    function render() {
requestAnimationFrame(render);

if(up==true)
    {
        speed+=0.0004;
        if(speed>max)
            {
                speed=max;
            }
        console.log("speed"+speed );
    }

if(down==true)
    {
        speed-=0.0001;
        if(speed<0.001)
            {
                speed=0;
            }
    }

if(left==true)
    {

                camera.position.x-=0.05;
                console.log("camera left" +camera.position.x  );

    }

if(right==true)
    {
        camera.position.x+=0.05;
        console.log("camera right" +camera.position.x  );
    }
if(up==false)
    {
        if(speed>0)
            {
                speed-=0.0003;
            }
    }

        plane.material.map.offset.y -=speed;
        renderer.render(scene, camera);
    }

    render();

I deleted much of the code so you could see what im doing and what help i need.
Between ///// is a code for camera. I need this camera to have a texture :)

A: No, camera cannot have/be a texture, but you need to add car object and put camera inside of the car or on top of the car. I found few examples will help your work done:
https://github.com/JunyiYang0925/Car_game_threejs
https://threejs.org/examples/webgl_materials_cars.html
https://github.com/Caesor/racing-game
http://learningthreejs.com/blog/2012/05/21/sport-car-in-webgl/


Stories Without End is a collection of 24 open-ended stories for use in the classroom. The texts, usually no more than three A4 pages in length, come with reading and discussion activities and possible project work for extension.
'Vocabulary' – a matching task to pre-teach vocab. This appears before the text but I guess you don't have to use it as a pre-teach. Up to you.
There are a few supplementary resources provided for these tasks at the back of the book.
There are two types of stories in the book. 'Short Takes' are texts under 500 words, and 'Mid-Length Stories' are between 500-2000 words.
I like the fact that most texts in this book don't seem to be graded. I spend a lot of my time as a materials writer grading texts, and at times this takes away the richness, perhaps authenticity too. I see why the writer has opted to provide pre-teaching tasks as the language can be challenging at times (milquetoast was a new word for me!). Sure, there can be benefits to simplifying a text, but it's nice to be presented with a resource that provides texts as intended.
The text topics overall are interesting and useful. In my context, I'd say about half of them would 'work' – by that I mean engage my students, prompt discussion and have relevance. This book has arrived just at the right time for me, with our school promoting a 'Reading Challenge' this term. I know some of my students shy away from this initiative each year – the aim is to read 1-4 books across term. That's ambitious for my students, and these short-stories will be more accessible.
Stories related to equality, diversity and inclusion (EDI) and whole child development feature in the collection. Exploring the term 'dyslexia', connotations of the word 'special', making friends and empathising with others are some examples.
I particularly like the stories that address technology and some of the issues with it – people too distracted by their phones to notice the world around them, robots taking over from teachers, etc. I can see these really engaging my learners, as will the more standard texts in the book – like a ghost story, a fairy tale, etc. Overall, there's a good range of texts in there for sure.
I think a lot of the stories will engage my learners. The accompanying activities are generally a good starting point for planning. I like the fact that the writer hasn't gone too overboard here, just providing a skeleton of ideas that's there to be adapted.
It's basically about a kid called George who gets eaten by a T-Rex… or does he?!
The story really engaged my students (with lots of hamming it up from me, I admit). Immediately after reading I asked learners to continue the story (which worked really well), and post-reading questions that encouraged personal response also led to some good discussion.
None of these development activities were provided in the book. However, the text leant itself to this type of activity and it really didn't take much time to plan these extensions. In actual fact, the students ended up taking over the lesson anyway… They loved the roleplays, and decided to make up their own ones, such as an interview with the T-Rex about why he ate the boy and what he tasted like. Whatever… I ran with it – the students seem to have great fun. Language-wise, I did less input based on the text itself but more from what emerged during the development activities.
Lesson verdict? One the best this year for engagement, and tonnes of language production.
Book verdict? Yes, I had to supplement to get the most out of the text. That's good though – the book puts the texts at the forefront and encourages teachers to work with them as they wish/see relevant. This is my favourite resource from Alphabet Publishing so far.
Thanks for this review. What age would you say the texts are aimed at? And what do you think is the lowest level they might work with?


text:
Heinrich Max Elias Burmeister (* 11. Juni 1883 in Rostock; † 25. Mai 1946 im Speziallager Nr. 1 Mühlberg) war ein deutscher Reichsgerichtsrat.

Leben
Burmeister war der Sohn des Landgerichtsdirektors und späteren Landgerichtspräsidenten Heinrich Burmeister (1832–1918) in Güstrow. Er bestand das Abitur an der Domschule Güstrow und studierte anschließend Rechtswissenschaften in Tübingen, Berlin und Rostock. 1902 wurde er Mitglied des Corps Suevia Tübingen. Burmeister bestand die erste juristische Staatsprüfung 1904 und die zweite 1908. 1913 wurde er Amtsrichter in Neustadt. 1914 kam er als Staatsanwalt an das Landgericht Rostock. 1919 wurde er dort zum Landrichter ernannt. 1923 war er bei der Reichsanwaltschaft als Hilfsrichter tätig. Im nächsten Jahr kehrte er als Landgerichtsrat nach Rostock zurück. 1926 wurde er dort Erster Staatsanwalt. 1927 wurde er zum Oberstaatsanwalt befördert. Zum Neujahrstag 1930 wurde er Landgerichtsdirektor in Rostock und am 1. Dezember 1930 Präsident des Oberlandesgerichts Rostock. Nach der Machtübertragung an die NSDAP wurde er zunächst von Justizminister Scharf im Amt belassen. Heinrich Burmeister leitete in Rostock ab 1933 auch das Erbgesundheitsobergericht Rostock. Gauleiter Hildebrandt betrieb 1934 die Abberufung Burmeisters, weil er sich nicht den Wünschen der NSDAP willfährig zeigte. Obschon sich 18 Oberlandesgerichtsrechtsanwälte für ihn verwandten, wurde er auf Grund des Kesseltreibens im November 1934 beurlaubt. Im Dezember wurde die Beurlaubung rückgängig gemacht und das Reichsjustizministerium entschied, dass Burmeister am 1. Februar 1935 an das Reichsgericht berufen wurde. Für den Oberlandesgerichtspräsidenten kam die Berufung an das Reichsgericht einer Degradierung gleich. Er war im Reichsgericht im VII. und III. Zivilsenat tätig. Am 15. Dezember 1940 beantragte er die Aufnahme in die NSDAP und wurde zum 1. Januar 1941 aufgenommen (Mitgliedsnummer 8.341.987). 1945 wurde er vom NKWD verhaftet und verstarb 1946 im Speziallager Nr. 1 Mühlberg.

Mitgliedschaften
 1919–1930 in der DNVP

Literatur
 Werner Schubert: Akademie für Deutsches Recht. 1933–1945 – Protokolle der Ausschüsse: Akademie für Deutsches Recht 1933–1945, Ausschüsse für Fahrnisrecht und Besitzrecht und gemeinsame Sitzungen mit dem Ausschuß für Bodenrecht (1937–1942) Bd. III/6, S. XXII.
 Lothar Gruchmann: "Justiz im Dritten Reich, 1933–1940", 3. Auflage 2001, ISBN 3-486-53833-0, S. 239, 272f.

Einzelnachweise

Richter (Reichsgericht)
Reichsanwalt (Deutschland)
Richter (Oberlandesgericht Rostock)
Präsident (Oberlandesgericht)
Jurist (Nationalsozialismus)
DNVP-Mitglied
NSDAP-Mitglied
Deutscher
Geboren 1883
Gestorben 1946
Mann
Corpsstudent (20. Jahrhundert)
Speziallagerhäftling


text:
FILE – In this Jan. 21, 2021, file photo, a medical staff member prepares the Pfizer COVID-19 vaccine at Tudor Ranch in Mecca, Calif. (AP Photo/Jae C.…
FILE – In this Jan. 21, 2021, file photo, a medical staff member prepares the Pfizer COVID-19 vaccine at Tudor Ranch in Mecca, Calif. (AP Photo/Jae C. Hong, File)
Battle lines drawn in vaccine fight as military class-action lawsuit contests federal mandate in Florida court
Posted: Oct 19, 2021 / 11:48 AM EDT
Updated: Oct 20, 2021 / 09:03 AM EDT
Four of the plaintiffs are residents of, or based out of, Florida.
TAMPA, Fla. (WFLA) — Twenty-three federal employees, a mix of military personnel, defense contractors and civilian contractors and technicians, are challenging the federal COVID-19 vaccine mandate in a federal lawsuit filed locally. Four of the plaintiffs are residents of, or based out of, Florida.
The plaintiffs, a mixture of service members from the United States Navy, Air Force, Marine Corps, Army, National Guard and contractors for the Dept. of Defense and Dept. of Energy are suing to block the federal vaccine mandates on behalf of "themselves and all others similarly situated," according to court documents filed on Friday, Oct. 15.
They are represented by the Liberty Counsel.
When can you get a COVID booster shot? These are the rules for each vaccine
The lawsuit names U.S. President Joe Biden, Secretary of Defense Lloyd Austin and Secretary of Homeland Security Alejandro Mayorkas as defendants in the case.
The case was filed as a class-action lawsuit, according to court records.
The plaintiffs are bringing the lawsuit as the deadlines for the various military branches to be vaccinated approach.
Air Force Active Duty Airmen: Vaccinated by Nov. 2, 2021
Coast Guard Servicemembers: Vaccinated by Nov. 22, 2021
Civilian Federal Employees and Contractors: Vaccinated by Nov. 22, 2021
Navy Active Duty Sailors and Marines: Vaccinated by Nov. 28, 2021
Reserve Airmen and Air National Guard: Vaccinated by Dec. 2, 2021
Army Active Duty Units: Vaccinated by Dec. 15, 2021
Navy Reservists: Vaccinated by Dec. 28, 2021
Reserve and National Guard Units: Vaccinated by June 30, 2022
The plaintiff's court filing refers to the dates as "terminal," and say they expect "discipline will be unquestionably imposed" for lack of vaccination. The filing notes "the effective due date for the one-dose Johnson and Johnson shot" is earlier, and the effective due date for both the Pfizer and Moderna are "earlier still" for first doses.
The document says missing earlier due dates will result in disciplinary action and that "pressure and abuse are intense."
Gov. DeSantis' office doubles down on vaccine passport penalties, Leon County stands by vaccine requirements
As a result, the 23 plaintiffs filing the lawsuit are seeking relief in court to "prevent these military heroes, federal employees, and federal contractors from facing punishments including dishonorable discharge, court martial, other life-altering disciplinary procedures, and termination."
Court records indicate all plaintiffs are voluntary service members or civilian contractors.
The lawsuit argues that those in military service should not have to choose between dishonorable discharge or "sinning against God" by "violating their sincere religious beliefs" through forced vaccination.
The plaintiffs assert that the U.S. Supreme Court has "long affirmed" that servicemembers do not give up their constitutional rights when they take their oaths to serve their country.
They also contend the court must "protect the rights of these military heroes and remove from the Republic the stain of government coercion of conscience."
Additionally, while citing previous court rulings, the plaintiffs argue that members of the armed forces may not have their individual freedoms sacrificed to military interests, to the point that their rights are ended.
'This is not some joke': 56 laser strikes reported on aircraft in Tampa so far in 2021, FAA data shows
There are more than 100 years of historical federal and state court precedents that may complicate their arguments against general vaccination requirements in federal court, as well as previous cases involving military vaccine requirements.
Current federal law already requires military members to be vaccinated. The DOD administers 17 vaccines to servicemembers and has since 1995's Joint Instruction on Immunizations and Chemoprophylaxis. Subsequent updates, effective as of November 7, 2013, have maintained this requirement.
Among the vaccinations required by the military, shots are required for:
Meningococcal groups A, C, Y and W-135
Pneumococcal infections
Poliovirus types I, II, and III
A White House spokesperson referred questions about the lawsuit to the DOD. In response to 8 On Your Side's questions, a DOD spokesperson said the department does not comment on legal matters.
Responding to questions from WFLA, the Liberty Counsel forwarded a link to a press release on their website, detailing a variety of the lawsuit's arguments against requiring vaccinations for COVID-19 for federal employees and servicemembers.
Included in those points was a claim that none of the COVID-19 vaccines available in the United States were approved beyond emergency use authorization, and therefore military personnel could not be compelled to take them.
The release mentions an Aug. 24, 2021 memo from Sec. of Defense Austin, which stated in part Mandatory vaccination against COVID-19 will only use COVID-19 vaccines that receive full licensure from the Food and Drug Administration (FDA), in accordance with FDA-approved labeling and guidance."
The Liberty Counsel's release says "However, there is currently NO FDA-approved COVID-19 shots available anywhere in the United States. Every COVID shot in America remains under authorization of emergency use, which means people have the 'option to accept or refuse' them."
The Pfizer COVID-19 vaccine was fully approved for use by the Food and Drug Administration on August 23.
The Liberty Counsel published this news release on Oct. 15.
The press release from Liberty Counsel also contains some anecdotal testimony from the plaintiffs they represent, alleging that one plaintiff had witnessed "tremendous amounts of coercion, bullying, censorship, and intimidation being brought forth by the command to bear against the personnel who expressed objections of any kind to the COVID shot mandates, including religious objections."
FDA expected to make announcement on mixing & matching booster shots
No matter which way the case goes in the first round of court, the process is likely to face additional appeals regardless of the outcome, as multiple other vaccine-related lawsuits make their way through U.S. courts.
Having filed the case in U.S. Middle District Court of Florida, the disposition of the case may go either way before potentially entering another courtroom.
>>Follow Sam Sachs on Facebook
>>Follow Sam Sachs on Twitter
New ATF director talks plans to curb gun violence

redpajama_set_name: RedPajamaCommonCrawl


After studying the outcomes of more than 30,000 misdemeanor cases adjudicated in Wisconsin over a seven-year period, a researcher found that white defendants were 75 percent more likely than black defendants to have the charges against them reduced, dismissed or dropped. The researcher also found that white defendants with no record of prior criminal activity were 46 percent more likely to have misdemeanor charges carrying a possible custodial sentence dropped than African American defendants with clean records.
Being charged with a misdemeanor can also have dire financial consequences for poor defendants. Individuals charged with misdemeanors are routinely presented with bills for services such as toxicology testing and DNA collection, and those unable to pay are sometimes incarcerated. This can lead to additional fees that push poor defendants even further into debt. Civil rights advocates say that many municipalities target poorer communities for misdemeanor enforcement just to raise revenue.
Poor defendants often feel that the criminal justice system is stacked against them, and the figures appear to support this view. Experienced criminal defense attorneys have an ethical duty to seek the best possible outcomes for their clients, and they may seek to have the penalties lowered in misdemeanor cases by bringing mitigating factors to the attention of prosecutors. Charges may be reduced or dropped when defendants have a full-time job, show genuine remorse or can rely on the support of friends and family.


The first sign to greet visitors to Gorey, on the east coast of Jersey, is a bright red plaque with white lettering that says, "Caution: Ducks crossing". Tripping over a duck is about the most dangerous thing you would expect to happen in this picture-postcard village, where the hotel tourist literature boasts of how safe the streets are.
Visitors are encouraged to explore the warren of backstreets which are pitch-black at night and consist, at this time of year at least, of empty tea rooms and restaurants serving the fresh "catch of the day" to the occasional tourist. High above, on top of the cliffs above the town's medieval harbour, Mont Orgueil casts its shadow, the 13th-century bastion built to protect the island from the threat of invasion from the French.
But now a much darker shadow looms over this village. Further up the hill, to the east of the castle, stands another historic building, a 19th-century grey stone structure built to house "young people of the lower classes of society and neglected children", which has become the setting of one of the worst cases of child abuse in the recent history of the British Isles.
The team mounting a painstaking forensic excavation of the Haut de la Garenne former children's home have pinpointed six more places where they think corpses are buried, in addition to the one set of child's remains they have already found. The police suspect that hundreds of minors were abused at Haut de la Garenne in the 1960s and 1970s.
One of the most disturbing features of the grim tale emerging is the silence and the secrecy that has hung over the building for so long. The guilty had good reason to be quiet, but there are victims who have grown into late middle age on the island without telling what they knew, and political leaders who seemed to be lacking in any curiosity about what went on in that home on the hill. But then, Jersey is an island of secrets, an anomalous place that is neither a country, nor part of another country, a tight-knit community of 91,000 now suffering the glare of unwelcome publicity.
The Bailiwick of Jersey has been linked to England constitutionally longer than Wales or Scotland have. It came with the Norman Conquest in 1066, as part of the William the Conqueror's personal estate. While England progressively lost its possessions on mainland France, finally giving up Calais in 1558, the Channel Islands stayed with the English crown.
Victor Hugo took refuge on Jersey in the 1850s, when things were too hot for him in France. The island n 100 miles south of Weymouth but only 12 miles from the French coast and has never been a colony nor is it classed an Overseas Territory, such as Gibraltar. Its archaic status is that of a Crown Dependency. The islanders have no representatives in the UK Parliament, pay no British taxes except for a "voluntary" contribution towards defence and diplomatic costs, and are not subject to English law.
Long after birching had been abolished on the mainland, it was still practised on Jersey. The death penalty was formally abolished only in 2006, though it had been in disuse since the 1960s. The island is governed by a 53-member legislature called the States of Jersey, headed by a Bailiff, and made up of senators, who are elected every six years, constables, and deputies. There are no political parties.
Many islanders say that, except for the odd maverick politician such as the former health minister, Stuart Syvret, the island is a de facto one-party state. This strange constitutional status has made Jersey one of the most pleasant places in the world for those who do not like to be heavily taxed, giving its wealthier residents a strong motive not to invite outsiders to look too hard at the island's affairs.
Since it is not in the EU, there is no VAT, although this year a 3 per cent tax on most goods and services will come into force for the first time. Income tax is capped at 20p in the pound. There is no capital gains tax, or estate tax. This, unsurprisingly, makes it one of the world's favourite locations for offshore banking, supported by a highly sophisticated infrastructure of trust companies, banking services, accountants, lawyers etc.
Until recently, you could put your money in a Jersey bank and be sure no one outside would know. Only in 2002, reluctantly and under threat of sanctions, the island agreed to join a scheme run by the Organisation for Economic Co-operation and Development to share information on tax evasion.
Add to that the 730,000 tourists who arrive every year, and its buoyant farming industry, with thousand of tons of Jersey potatoes exported annually, and the island has, on paper, a higher per capita income than any other self-governing territory apart from Bermuda and Luxembourg.
The 40mph speed limit that applies across most of the island has not stopped it from having the world's highest concentration of Porsche owners per head. So the banks and their clients have their secrets. And then there is the past, with its memories of jackboots and occupation. The greatest trauma in the island's history, until now at any rate, was the Nazi occupation.
Jersey and other Channel islands surrendered without a fight after Winston Churchill decided they could not be defended, and they became the only parts of the British Isles held by the Nazis. The absence of armed resistance has prompted suggestions that the islanders collaborated. They certainly did as their occupiers told, offering only passive resistance that included listening secretly to the BBC, but there was a particularly heavy armed German presence, and unlike other occupied states, Jersey had no pro-Nazi movement.
Its small Jewish population was singled out for revolting persecution, but no islander was ever accused of helping the Nazis to track them down. And there are stories of heroism, notably the case of the physiotherapist, Albert Bedane, to whose house Erica Richardson, a Dutch Jew, fled after she had given her German guard the slip in June 1943.
The Germans combed St Helier for her, and Mr Bedane risked execution by hiding her until the island was liberated almost two years later. He also sheltered an escaped French prisoner of war and Russian slave labourers, on the principle that he "might as well be hanged for a sheep as for a lamb". But one secret that was buried for years was the fate of the "Jerseybags" n the women who had sexual relations with German soldiers n and the children born from these relationships. Documents released in 1996 suggested that there may have been 900 such babies. One of the documents referred to a building called the Westaway Creche, in St Helier, which was said to be "full up with those little bastards". What became of them has been kept secret.
Some are thought to be still living on the island. "The effect of German occupation on the Jersey psyche cannot be underestimated," says the Very Rev Bob Key, the island's dean. "Barely a week goes by that there isn't an occupation story in the Jersey Evening Post. The memories are very much alive, and each year when I hold a Remembrance Day survey I realise just how vivid those memories are."
Few people are willing to give their names when speaking to the myriad reporters who have descended on Jersey since human remains were first found at Haut de la Garenne over the weekend. Many inhabitants are prepared to offer reasons why they believe the politicians are corrupt, or whether there has indeed been a cover-up over the child abuse allegations but few speak openly about it.
Stuart Syvret, a lone voice among Jersey politicians, has claimed there is a culture of cover-up and concealment. "There's a great feeling of solidarity on this island so it's not really surprising that people are not happy to talk openly," admitted Brian Lawrence, who came to the island in 1962 and has lived in St Helier ever since.
"It's never really been a transparent island and we're fiercely proud of the way we rule ourselves. But it does make me uncomfortable to think that some of the people who might have carried out the abuses at the hostel are probably still living on the island today."
The Rev Lawrence Turner, whose parish church at St Martin's is one of those nearest to Haut de la Garenne, believes the child abuse scandal will force the islanders to do some painful soul-searching. "If you are a certain way inclined, the island can easily feel very claustrophobic," he said.
"Say you were a social worker at Haut de la Garenne and you saw someone kicking a child, who do you tell? Whistleblowing is not exactly the most popular activity round here. "I'm not necessarily saying Jersey is worse than anywhere else but it's not like whistleblowers can just up sticks and leave the local community as you can on the mainland.
"I've always joked that if you sneeze on your arrival at the airport by the time you get home there'll be a coffin waiting for you. Word and rumour travels fast. But the darker side to that is that there is a real feeling we shouldn't wash our dirty laundry in public."He added: "There was shock when the abuse allegations came to light and a stunned silence when the bodies started to be uncovered.
But that shouldn't be interpreted as islanders not caring; they are just utterly shocked by the scale of all this. There's going to be a lot of healing and I think we're only at the beginning."


text:
Class of 1939 Summer Research Fellowship Deadline EXTENDED!
Please note that the 1939 Summer Research Fellowship deadline is now Monday, April 5th. Please submit all materials into the office by 5 pm.
Class of 1939 Summer Research Fellowship Independent Research Info Session
Please mark your calendar for Tuesday, March 30th at 3:30 pm for the REQUIRED information session led by the Office of Fellowships about independent research.
UCL Info Session - Tuesday, March 23rd
Are you interested in graduate studies in the UK? Please mark your calendar for an information session with Monika Malak, International Liaison and Recruitment Officer at the International Office of the University College London. The session will be held on Tuesday, March 23rd at 3:30 pm in the Core Conference Room of 202 Hamilton Hall.
Class of 1939 Summer Research Fellowship - New Opportunity!!
Are you a Columbia College sophomore or junior conducting independent research this summer? The Class of 1939 Summer Research Fellowship will provide funds for students to pursue an independent research or to qualify as assistants in on-going laboratory projects.
Matthew Sohm, CC '06, wins 2010 -11 Robert Bosch Fellowship!
Matthew Sohm, CC '06, has been selected as a 2010-11 Robert Bosch Fellow. This fellowship program that enables young American professionals to participate in an intensive work and study program in Germany. Candidates are competitively chosen from the fields of business administration, economics, journalism, law, political science and public policy.
ADDITIONAL Engineering Fellowships Information Sessions!
Are you an engineering student in need of funding as you continue to pursue academic excellence?
Five Alumni Presented with John Jay Awards
Five accomplished College alumni were honored on March 3 at Cipriani 42nd Street in New York City with 2010 John Jay Awards for distinguished professional achievement.
Brian C. Krisberg '81, an attorney; Frank Lopez-Balboa '82 and Tracy V. Maitland '82, both from the finance sector; David Rosand '59, the Meyer Schapiro Professor of Art History; and Julia Stiles '05, a stage and film actress, were joined by alumni, faculty, students, family and friends at the black-tie event, which drew more than 600 attendees and raised more than $1 million for the John Jay Scholars Program.
View photos from the event.
Jordan Hirsch Selected as WSJ Robert. L. Bartley Fellow
Jordan Hirsch was selected as 1 of 5 fellows this year through an application process was judged by senior members of the Wall Street Journal editorial board.
NEW Language Funding Opportunity for Columbia Undergraduates
We are pleased to introduce the Academic Year Foreign Language Area Studies Fellowship (FLAS) for ALL Columbia Undergraduates.
Columbia College Fund Announces New Online Annual Report
We are very pleased to share the Columbia College Fund 57th Annual Report, online for the first time and reflecting the success of the 2008-2009 Fiscal Year. Going green allows the College to reduce waste and save costs while providing more information than would be possible in a printed publication.
The Annual Report can be found online at http://fund.college.columbia.edu/annualreport.


All signs point to legal and regulated sports betting coming to a casino or racetrack near you sometime in the very near future.
In fact, New Jersey has been fighting to get legal sports betting at casinos and racetracks inside its border since 2011. In 2017, the US Supreme Court heard the state's case against the federal ban on sports betting almost everywhere outside of Nevada.
Anticipating a decision in New Jersey's favor sometime in 2018, as many as 20 states have now passed or are considering passing legislation legalizing sports betting if the federal ban should fall.
An action is just another word for a bet. The amount of action on a particular event is equal to the amount bet. Whichever side a gambler chooses to put his or her action on is which side they are placing bets on. Having action on a game is the same thing as having a bet on it.
A beard, also known as a runner, is someone who places a bet for another person.
A book is short for sportsbook or bookmaker.
A bookie is a person that will takes bets and pays out winners. Generally, bookies operate in the black market. However, the person taking your bet and paying out winners at a sportsbook may also be referred to as a bookie.
Like sportsbooks, bookies may also set the odds on different sports bets.
The closing line is the final betting line set before a game begins.
When a favorite wins by more points than the spread, it is said to have covered the spread.
Any advantage a gambler, team, or individual may have is referred to as an edge.
The favorite is the team or individual in the sporting event most likely to win. If they are a big favorite, they are often referred to as a lock.
On the other hand, the underdog is the team or individual most think will lose. If the most people think a team or individual stands very little chance of winning they are often referred to as a longshot. However, it's always important to remember that in sports, anything can happen. Locks sometimes lose and longshots pay off.
Futures bets are long-term bets. They are usually placed on a team's full season. Common futures bets include those placed on an NFL team to win the Super Bowl before the start of the season.
A handle is the total amount of money a sportsbook takes in on bets. Its revenue is only a small percentage of the total handle.
A layoff is money bet on the other side of a wager to reduce exposure and liability.
The money line is the odds on a bet. The money line represents how much you need to bet to win $100 on a favorite, or how much you can win betting $100 on an underdog.
The money line on the favorite to win a game is represented by a negative number. For example, the money line on the Patriots to beat the Eagles may be -110. This would mean you would need to bet $110 to win $100 plus your initial bet back of the Patriots win.
The money line on the underdog to win a game is represented by a positive number. For example, the money line on the Eagles to beat the Patriots may be +150. This would mean you would win $150 plus your initial bet back if you bet $100 on the Eagles and they won.
The point spread has no effect on money line bets.
The over/under is a line set on the total points that will be scored in a game by both teams combined. Gamblers bet on whether total will be over or under the set line.
For example, the over/under on the Eagles versus the Patriots might be 45. If the final score of the game is Eagles 25 Patriots 24, the total score would be 49 and all bets on the over would pay. If the final score was Eagles 24 Patriots 20, the total score would be 44 and all bets on the under would pay.
A parlay bet combines more than one wager. All bets have to win for the parlay to pay. Therefore, it's the more the merrier, meaning the more bets you make in a parlay the better winning it will pay. However, the reason large parlays come with larger payouts is that they are so hard to win.
A game with no favorite or underdog is referred to as a Pick 'em game. The point spread on the game would be zero.
The point spread is the number of points the favorite in a certain game must win by in order for point spread bets on that team to win. Gamblers can also make the point spread bets on the underdog, which pay off when the underdog wins or the favorite wins by fewer points than the established point spread.
For example, the point spread on the Patriots versus the Eagles might be 3.5 points. If the Patriots are the favorites, they would need to win by more than 3.5 points to cover the spread. If the final score of the game were Patriots 17 Eagles 10, the Patriots would have covered and all point spread bets on the Patriots to win would pay. On the other hand, if the final score of the game were Patriots 17 Eagles 16, the Patriots would not have covered and only point spread bets on the Eagles would pay.
In other words, once a point spread is set, the favorite must cover for all point spread bets on that team to win. If they don't, all bets on the underdogs pay off. An easy way to check the winner is to add the point spread number to the underdog's score. If the favorite is still ahead straight up, they cover the spread.
Proposition bets are also called props. Props are often exotic bets that have very little outcome on a game. Essentially, gamblers are betting on something to either happen or not. Past props have included bets on who will win the coin toss, which team or player will score first, and the like.
A point spread bet is considered a push when the final score lands on the point spread number. For example, it's a push if the Eagles are favored by three points over the Patriots and the final score comes up Eagles 27 Patriots 24.
A sharp is a professional sports bettor who always seems to be on the right side of things. Sharps often have inside information and bet wisely.
A sportsbook is a legal and regulated operation that will take bets on sports and pay out winners. Sportsbooks are often located inside casinos. Sportsbooks may also set the odds on different sports bets.
A square is a casual gambler that follows public sentiment when wagering. A square often has very little inside information and bets with the heart instead of the mind. Squares are the opposite of sharps.
A tout is a person or a service that gives away or sells picks on various games.
The vigorish, also known as the vig or the juice is the commission a bookie or sportsbook takes on a bet.
If you're online checking the forecast, then you know bad weather is on the way — so who wants to head outside? With a couple of great online casino promos from Tropicana NJ and sister site Virgin NJ, you don't have to.
Charge your tablet or phone (or open up that laptop) and snuggle up for some exciting promotions that will warm your heart and help you forget about the forecast. Winning just might be on the horizon.
If you're ready to give your bankroll a boost, then this NJ gambling website promo from Tropicana is worth a look.
If you're looking for the best bonus at NJ online casinos, you're in the right place.
Tropicana Bonus Share has a $7,000 Sharepot that may bring you a little luck and a portion of a pot of gold, er, bonus money.
All you have to do is just play your favorite games at Tropicana NJ and complete the challenges before 11:59 pm ET on March 8.
Make a net deposit of at least $50 and wager through your net deposit one time.
Wager at least $50 using the Tropicana NJ mobile app.
Wager at least $50 on two or more days during the promo period.
And just so you know, bonus money can only be played online and expires in 30 days. As with all Tropicana NJ promos, there is a 1x wagering requirement before you can withdraw any cash. May Lady Luck shine on you!
But if that doesn't interest you, then perhaps a happy hour will do later in the week. The Time Turner Bonus at Tropicana is all about happy hours, but it's important you remember to spring those clocks forward this weekend so you don't miss the happy hours!
From March 9-11, you can earn 15 percent cash back on your total net loss during Happy Hours at Tropicana NJ. When are happy hours, you ask?
Well, from 11 a.m.-1 p.m. and 3-5 p.m. on those days, all you have to do is wager at least $20 on any online casino game at Tropicana. Then, earn that 15 percent cashback bonus based on your total net loss (total wager minus your total win).
Now, you can win as much as $15 per Happy Hour session for a total of $90. So only bet what you can afford and what works best moneywise. Remember, of course, that the same wagering requirements apply.
For more entertaining promos you can enjoy right from the comforts of home, Tropicana's sister site Virgin NJ has you covered with a couple great prize draws just in time for spring.
Put a little pep in your step (and in your wardrobe) this spring with a Macy's $200 gift card. Virgin NJ has five such gift cards to hand out to five lucky winners.
From now through 11:59 p.m. on March 11, you can opt into this prize draw. Wager $50 on your favorite games, and you'll earn one entry into the prize draw, for a max of five entries a day.
On March 12, five winners will be picked, which means a new wardrobe is only a few clicks away.
If you follow NJ online casino reviews, you know Virgin Adventure bonuses are fan favorites. Each month, Virgin Adventures gives you a chance to win a trip to someplace special. And since the weather has been not so good the last few days, we are pretty excited about getting away for a bit.
For this month, Virgin NJ is going to take you to historic Charleston, South Carolina — a $2,000 value. Enjoy the history and the charm as you experience Rainbow Row firsthand.
From now until Monday, April 2, wager $50 on your favorite games, and you'll earn one entry into the prize draw. Of course, as with the previous Virgin prize draw, you can have a max of five entries a day. And at the end of the month, one lucky winner will be picked. An exciting adventure awaits you!
Ultimately, with so many great promos to choose from, you can pick one or pick them all. Enjoy great bonus offers right from the comforts of home — whether it snows a little or a lot. Happy winning!


Camp Silly-Yak is the first overnight summer camp of its kind in Atlantic Canada for children and youth ages 7-18 living with celiac disease. Campers aged 16-18 can join our Leaders in Training (LIT) program.
The menu for camp is carefully prepared by our Executive Chef and clinical dietitian to ensure that all of our campers' dietary restrictions are considered when preparing the daily menus for breakfast, snacks, lunch and dinner. All menus for camp will be prepared with no gluten or nuts.
To learn more or to register for Camp Silly-Yak, contact our registrar, Sally Banks, at info@brigadoonvillage.org.


text:
Home / Media Kit
About Kerry
Kerry Goyette works at the intersection of AI, emotional intelligence, leadership development, and neuroscience research. She is the Founder and President of Aperio Consulting Group, which uses workplace analytics and research-based strategies to build high-performance teams. Kerry has consulted for organizations around the world and has given keynotes at the Global HR Inside Summit in Austria and the 2018 Best Employers Awards in Barbados. Her TEDx Talk "Stop Trying to Motivate Your Employees," which has been viewed more than a million times, tackles the well-intentioned, but often unsuccessful methods leaders use in employee engagement.
Kerry's Full Bio
Kerry Goyette works at the intersection of behavioral science and artificial intelligence. Her firm, Aperio Consulting Group develops people analytics technologies, an emerging field dedicated to the analysis of employee and workforce data to reveal insights and provide recommendations to improve business outcomes.
Kerry has consulted for organizations around the world, where she leverages a high-relational, high-expertise approach.
"High-relational" captures her authenticity – she cares deeply for her clients and their outcomes (in fact, her husband will occasionally point out her use of the pronoun "we" when describing her clients)
"High-expertise" captures her adherence to evidence-based academic research, synthesized and translated into practical strategies for busy executives – where it simply has to work
As a thought leader, she has given keynotes at the Global HR Inside Summit in Austria and the Best Employers Awards in Barbados. Her popular TEDx Talk, "Stop Trying to Motivate Your Employees" tackles the well-intentioned, but often unsuccessful methods leaders use in employee engagement.
Kerry is the award-winning author of The Non-Obvious Guide to Emotional Intelligence, recently selected as one of the "Best Business Books" by Forbes magazine. Her work has been featured in The Harvard Business Review, Fast Company, CEO World Magazine, Inc., CNBC Make It, BNN Bloomberg, and Entrepreneur magazine. She is a Certified Professional Behavior Analyst, Certified Forensic Interviewer, active Angel Investor and serves on the University of Missouri MBA Advisory Board.
Kerry loves to travel with her husband, Joe, and her family, Bailey, Jana, Megan, and Wesley. The Goyette family is known for their intellectual curiosity, often debating current topics around the dinner table and encouraging one another to embrace the challenges around them.
High Res Headshots
Media Inquiry or Keynote Request


Provide the Norfolk Navy Shipyard with the purchase of brand-name or equal Terabase software subscription.
Period of performance: February 14, 2019 - February 13, 2020.
Please see the attached Salient Characteristics Spreadsheet (6 Tabs) & Solicitation (HC102819R0015).
Please include a copy of your commercial price list along with a signed solicitation and copy of your quote. This requirement is brand name or equal, lowest price, technically acceptable.


This comfortable hotel has more of a guest-house atmosphere with its colourful pop art decor and designer style. The Crayon is a special sort of guest-house: the residence of a Parisian artist who invites you to enjoy a very colourful stay! Its location in the heart of Paris 1st district, a few steps from the Louvre Museum and the Rivoli street, is ideal for your business and leisure trips. The hotel Crayon*** has a young brother since July 2014: the hotel Crayon Rouge**** is located at 150 meters (www.hotelcrayonrouge.com).
This comfortable hotel has more of a guest-house atmosphere with its colourful pop art decor and designer style. The Crayon is a special sort of guest-house: the residence of a Parisian artist who invites you to enjoy a very colourful stay!
A few steps from the Louvre Museum and the Rivoli street, is ideal for your business and leisure trips. The hotel Crayon*** has a young brother since July 2014: the hotel Crayon Rouge**** is located at 150 meters (www.hotelcrayonrouge.com).


MOBILE, Ala. (WKRG) A man from Mobile was arrested late Tuesday night on charges of eluding police and endangering a child.
Adrian Davis, 20, was booked into Mobile Metro Jail at 10:40 p.m.
News 5 has contacted the Mobile Police Department to confirm whether Davis' arrest is connected to a police chase that ended in a crash on Schillinger Road in West Mobile hours earlier.
Tuesday evening, Mobile police attempted to stop a black Honda for not having a tag on display. The driver of the Honda refused to stop and a chase began, according to police.
A 4-year-old child was in the car without a car seat during the chase. The child and a woman, who was also in the car, were taken to the hospital with minor injuries, according to authorities.
The man driving the car was also taken to the hospital to be checked out for injuries.
Davis is charged with eluding police, endangering a child, reckless endangerment and posession of marijuana.


text:
package termex.core.feature.index;

import termex.core.extractor.BasicExtractor;
import termex.model.corpus.Corpus;

/**
 * Build an instance of GlobalIndex
 *
 * @author jyfeather88
 *
 */
public interface GlobalIndexBuilder {

	public GlobalIndex build (Corpus c, BasicExtractor extractor) throws Exception;
}

redpajama_set_name: RedPajamaGithub


I'm so blown away to think the three out of four of the Indebted Series has hit the USA. You guys are incredible!!
Also, if anyone wanted a signed copy of Third Debt, I've updated the website with the links.
Thank you Pepper….you keep outdoing yourself….now to wait again I really won't be fit to live with….I was waiting for my bd of April 17th for Third Debt and was extremely pleased when I bought it on the 16th……guess what I did on my bd…drank coffee and read!!!
I was blown away by the Third Debt. OMG!!!! August is so far away for the next book. Its killing me. I do not normally cry with books or movies but you had me in tears.
Pepper Winters is going to the top,where she belongs!
My heart bleeds, if the ending to this book reads true I'll just have to wait for the next thrilling debt…roll on August (I really don't like wishing my life away). I just love your writing, your imagination thrills me!


text:
Q: Initialize the property using Unity I have the following console program. However, the property service is null and the last line in the following code block throws an exception. What I missed?
class Program
{
    static void Main(string[] args)
    {
        container = new UnityContainer();
        container.RegisterType<Service.IService, Service.Service>();
        container.RegisterType<IC1, C1>();
        container.Resolve<Service.IService>();
        // var c1 = container.Resolve<IC1>();
        c1.Run();
    }

    [Depenency] C1 c1 { get; set; }
}

public class C1
{
    [Depenency] Service.IService service { get; set; }

    public void Run()
    {
        var s = service.GetSomething(); // service is null

A: Properties have to be public to be injected.
public class C1
{
    [Dependency] public Service.IService service { get; set; }
...
}

Indeed they need a public setter. This works:
public class C1
{
    [Dependency] public Service.IService service { protected get; set; }
...
}

A: You should use UnityContainer.Resolve instead of creating object with new directly to resolve dependencies


text:
Q: MATCH() AGAINST() in boolean mode: order of patterns Does the order of the patterns under against affect something?
Here is a table I have:
create table df_test
(
  t1 text,
  t2 text,
  FULLTEXT df_test_idx (t1 ASC, t2 ASC)
);

Here are the rows I have:
t1                    |  t2
--------------------------------------------
1word2 1sec71 5word5  |  word2 1sec8 6word6
word1 sec8 5word5     |  word2 sec7 word6
word1 sec8 5word5     |  word2 1sec17 word6
word1 sec7 5word5     |  word2 1sec8 6word6
word1 sec7 5word5     |  word2 sec8 word6
word1 sec7 5word5     |  word2 sec7 word6
sometrash9            |  sometrash10
sometrash7            |  sometrash8
sometrash5            |  sometrash6
sometrash3            |  sometrash4
sometrash13           |  sometrash14
sometrash11           |  sometrash12
sometrash1            |  sometrash2

The query select * from df_test where match(t1, t2) against('6word*' IN BOOLEAN MODE) returns 2 rows, which is expected:
t1                    | t2
-------------------------------------------
1word2 1sec71 5word5  | word2 1sec8 6word6
word1 sec7 5word5     | word2 1sec8 6word6

The query select * from df_test where match(t1, t2) against('"word1 sec8"' IN BOOLEAN MODE) also returns 2 rows, which is also expected:
t1                    | t2
-------------------------------------------
word1 sec8 5word5     | word2 sec7 word6
word1 sec8 5word5     | word2 1sec17 word6

The query select * from df_test where match(t1, t2) against('"word1 sec8" 6word*' IN BOOLEAN MODE) is expected to merge the results but it returns the same 2 rows as above:
t1                    | t2
-------------------------------------------
word1 sec8 5word5     | word2 sec7 word6
word1 sec8 5word5     | word2 1sec17 word6

Nevertheless, if I change the sequence of patterns, it returns as expected. The query select * from df_test where match(t1, t2) against('6word*"word1 sec8"' IN BOOLEAN MODE). The result:
t1                    | t2
-------------------------------------------
1word2 1sec71 5word5  | word2 1sec8 6word6
word1 sec7 5word5     | word2 1sec8 6word6
word1 sec8 5word5     | word2 sec7 word6
word1 sec8 5word5     | word2 1sec17 word6

Could someone please explain what I am missing?

UPDATE#1:
The table is InnoDB
SQL to fill the table in:
INSERT INTO df_test
VALUES ('1word2 1sec71 5word5', 'word2 1sec8 6word6'),
       ('word1 sec8 5word5', 'word2 sec7 word6'),
       ('word1 sec8 5word5', 'word2 1sec17 word6'),
       ('word1 sec7 5word5', 'word2 1sec8 6word6'),
       ('word1 sec7 5word5', 'word2 sec8 word6'),
       ('word1 sec7 5word5', 'word2 sec7 word6'),
       ('sometrash9', 'sometrash10'),
       ('sometrash7', 'sometrash8'),
       ('sometrash5', 'sometrash6'),
       ('sometrash3', 'sometrash4'),
       ('sometrash13', 'sometrash14'),
       ('sometrash11', 'sometrash12'),
       ('sometrash1', 'sometrash2')

UPDATE#2:
Here is the link to the bug opened with MySQL:
https://bugs.mysql.com/bug.php?id=95434