text:
"The Dead Voices of her Ancestors Shudder, Whimper, Well Up": A Review of Daša Drndić's Trieste
By Tristan Foster.
Daša Drndić, Trieste, trans. Ellen Elias-Bursac, Maclehose Press, 2011
As the long echoes, shadowy, profound
Heard from afar, blend in unity,
Vast as the night, as sunlight's clarity
So perfumes, colours, sounds may correspond
– Charles Baudelaire, Correspondences, trans. James McGowan
"Umberto says, Trieste is a pungent and melancholy city, the strangest city, Umberto says."
– Daša Drndić, Trieste, trans. Ellen Elias-Bursac
Trieste begins simply: an elderly woman leafs through photographs and paper scraps, things accumulated over a lifetime. The woman is Haya Tedeschi, and what she sorts through are documents – evidence – she has collected during her sixty-year search for her son, Antonio. Antonio, it becomes clear, was stolen from his pram on a street in Gorizia while Haya had her back turned, and she has been waiting since that day for news, for word of him, anything. As she leafs through the things in her basket, she is tugged back into another time: "The dead voices of her ancestors shudder, whimper, well up from the corners of the room, from the floor, the ceiling, they creep in through the Venetian blinds and hum history just beyond her reach." From here, the story quickly grows, bending inwards, into the Tedeschi family's past, and also outwards, reaching both into time and across it, until soon the narrative spans the entire continent of Europe.
Daša Drndić's Trieste tells the story of Trieste and the surrounding region during the Nazi occupation. The narrative loops from the present to the past and back again – like memory, like history – being weaved into the lives of the Tedeschis, a family of Jews who live in Gorizia, just north of Trieste, the city which became the centre of the Nazi Party's Operationszone Adriatisches Küstenland, and whose origins it becomes increasingly difficult to conceal: "The Tedeschi family go on living in the illusion of ignorance. Those who know what is happening do not speak. Those who don't know ask no questions. Whoever asks gets no answers. Then, as now." Then, as now – this is the point on which the narrative of Trieste spins; the silence with which certain events of World War II were met when they were occurring has been allowed to continue. And so, in the place of answers which have never come, Drndić attempts to fill the continuing silence, piling layer of history upon layer in the hope that it will become immovable.
Map of Adriatisches Küstenland
The only thing preventing a history from being forgotten is ensuring that it continues to be told; a voice is needed, to tell the story and therefore preserve it. Trieste, then, is an act of ventriloquism, capturing the voices of an era so that the stories they tell – stories of barely imaginable cruelty and barbarity – are not forgotten and – that it needs to be said is evidence of the importance of Drndić's project – never repeated. The novel presents case after case of the subsuming of history, of turning away, of the allowed and even encouraged metamorphosis of the facts – in other words, stories of forgetting. For example, many of the highest ranking SS men working in the region were not brought to justice. They escaped, were released from jail after a few years or weren't given any punishment at all, starting new lives and growing old as though what they did as younger men did not happen. This is the problem as Drndić sees it, the problem of as if nothing had happened . So into this residual silence she has stuffed a range of voices. She guides Haya along a steep and savage pathway through history as Virgil guides Dante through the Inferno. And, as in the Commedia, the characters in Trieste take over the narrative, desperate to tell stories of who they are and how they have ended up here, before they slink off again, back into the dark. These stories sometimes appear as testimonies from the Nuremburg trials, sometimes as imagined dialogues, sometimes as correspondence:
How old are you now?
If I were alive, I would be eighty-seven.
These voices hold the fabric of the narrative together: Drndić urgently feeds voice after voice into an otherwise gaping void.
The Commedia analogy above is useful only so far – to continue it beyond a comfortable distance is to risk undermining Drndić's project, and the extreme seriousness of its subject. Indeed, Haya is the embodiment of Drndić's belief that those affected by the events of the period have been left behind. Drndić's employment of Haya Tedeschi as the story's protagonist is important to examine with regard to this idea of an inescapable hell.
Gustave Doré, Inferno Canto 4 unbaptised lines 38-39
For Drndić, turning a blind eye to the actions of the Nazis was, and is, as good as complicity. Allowing trains packed with Jews on their way to certain death to pass through your borders, as Switzerland did, isn't quite neutrality, is it? "Life is stronger than war… There are many bystanders. They are the majority." As Haya looks back on the war, it becomes clear that the war happened around her, not to her. The Tedeschis hide their religious beliefs and anoint themselves Catholics. They sign up for fascism. They make coffee as their neighbours disappear. But nowhere is this clearer than in Haya's affair with Kurt Franz – SS Untersturmführer and camp commander at Treblinka – which ends in her eventual pregnancy. While the rest of the Tedeschi family move to Milan, Haya stays in Gorizia to be close to Franz. They go for drives and take day trips to Trieste; Franz takes photographs. It is only after her son Antonio is stolen that reality, for Haya, begins to manifest itself – only fully revealing itself to her when those who committed atrocities at the San Sabba camp are put on trial in Trieste in 1976: "More than a hundred of [the S.S. men] saunter around the unrealised dreamland of the fictitious Adriatisches Küstenland, yet the list in the paper gives less than fifty names… This list should be endless. This list is endless, Haya says." As if to do this absence justice, the middle of the book holds a list of the names of 9,000 Jews who were killed in Italy between 1943 and 1945. For the reader, this list is almost endless.
Haya is condemned for wanting to live a regular young woman's life. At this she tries her hardest, even allowing herself to fall in love with Franz who, when he is not swimming at the beach and taking photos with Haya, is helping to facilitate industrial-scale murder. But Drndić's message here is that in these circumstances "normal" is not possible, and the further from normalcy a situation strays, the madder it becomes to try to maintain it. Haya spends the rest of her life dealing with this – not with the guilt, but with the desire to maintain the status quo during the maddest period of the modern era. Haya's post-war life is mentioned, not in detail, but there are glimpses – and yet her post-war life is not a life at all. Instead, she waits – for news of her son, but for even more than that. News, if it comes, means what? Haya waits because this is her curse now, her curse for looking the other way . Dwelling on the past or moving on from it – neither of these options involves coming to terms with the matter. This is what we are left with: businesses that profited under the Nazi regime continue to prosper to this day; key members of the SS were never brought to justice; responsibility is deferred. Drndić posits that for the victims, if not for the world, letting the Holocaust go unaccounted for and unacknowledged is akin to a living death. So here we are, in a limbo of waiting.
Lebensborn propaganda; caption reads: "Everything for the healthy child."
"The dreams circle around her mind, sometimes heavy and slow like a millstone, other times quick like flashes of fireflies; dreams crazed by a web-like ease which in wakefulness knit their sticky net around her." Memory wraps itself around Haya in the way that past and present envelops the narrative. And herein lies Drndić's greatest achievement, raising Trieste to the highest literary significance: this knitting of past with present, this perpetual looping, entraps Haya. She is trapped in the narrative just as she is trapped in history. But also bundled into it is you, the reader. Haya, together with collective memory, with history, together with the reader, is cocooned in, so that the only way out (if there is a way out) is as something new.
Engaging with a novel that is larger than you and your daily reality – a novel that takes on the shape of an entire continent, as Trieste does – does not mean that it is above criticism. The conceit of looping back through history, from 2006 to the period of the Second World War then back again to the elderly Haya, is rarely smooth, and, more than occasionally, jarring. At times the novel also forfeits its status as a novel for that of a catalogue of horrendous act after horrendous act; indeed, the list of the 9,000 names in the book's middle is the literal realisation of this idea. Confronted with the names of the dead in this way has the effect of quantifying the scale of this, the scale of what we are ignoring and at risk of forgetting. Flicking through the 43-pages of names is similar to standing in front of a wall of the dead at a war memorial: you look at the names as a whole, as a wall, then you look closer, for something you recognise – your name, or the name of a relative or a friend, you look at the way they are bevelled, the way they have been smoothed down from touching or from the elements, searching for a reference point, something to ground you – before you move on. We must move on, mustn't we? What does it say about humankind that we can walk away from this? What does it say about us that we can't not ignore it? Drndić's addition of the list of names is a compelling experiment achieving an effect not unlike that created by a confronting piece of art. But it also splits the book like an axe chop: its usefulness to the narrative is at best debatable; at worst, it is an aggressive act of textual disruption. Yes, behind every name lies a story, but the specifics of these stories are what we need, something to hold and weigh in our palms.
Unavoidable in this particular discussion is the question of labelling Trieste not as a work of nonfiction but as a work of fiction (Drndić herself calls it "documentary fiction"). What does the book achieve by taking this form, and what does it lose? It is perhaps only with the tools of fiction that we can capture this story and this channelling back and forth from the past in this way, and now. But the chance for these stories – and behind every name is a story, Haya, Antonio and Drndić all remind us – to be caught is slipping, their realities fading. Many of these names are now only names, their stories, if they are known, only stories. Using the lens of fiction, then, is the only way to take these and make them into something larger, the only way left to record it as collective memory, or else risk losing it forever.
Trieste is a hollow city of voices, a patchwork of narratives, letters, fragments, memories. Writers appear – Borges, Bernhard, Kierkegaard, Danilo Kiš – their words becoming part of the story. T. S. Eliot's The Waste Land is especially pertinent and is quoted extensively, because memory, history, and the world at large is a heap of broken images. Ezra Pound also wanders into the narrative, which is curious, given his wartime stance on the matters Trieste addresses. However, his late-life silence is interpreted by Drndić as self-chastisement for his sins. Pound's muteness is further evidence of the importance of voice to Drndić, and the importance of certain voices being heard and others being silenced. Haya, in her old age, imposes silence on herself, as Pound did; an imperfect punishment, yes, but acknowledgment at least. Special mention should be made of the English translator of Trieste, Ellen Elias-Bursac, who has produced a seamless translation from the original Serbo-Croat, allowing the echo of these words to continue.
The fear of forgetting that is at the foundation of the novel, of having a part of human history erased forever, is encapsulated by the example of the Lebensborn project. Lebensborn, a project designed by Himmler himself, launched in 1936 with the aim of caring for pregnant Aryan women who would give birth to "quintessential" sons. They would be cared for in special homes, breeding grounds for perfect Nazi children, while those not-so-perfect children, those who were mentally ill or invalids, were sent far away or euthanized – the literal farming of the new man. Lebensborn was very much up and running with houses all over Europe when the Nazi regime fell. The files containing the details of where the children were housed were destroyed, so the Lebensborn children, many of whom were stolen or illegitimate, were left to roam the world, their true origins a mystery: "We are a lot unto ourselves, an ilk that has unhooked itself from Earth and now wanders through space."
Is there anger here? Lebensborn, the cataloguing of the crimes of SS men active in the region, splitting the book in half with a list of 9,000 murdered Jews – surely there is anger here. But as vast as anger is, maybe something beyond anger and larger still is at play; what else could drive a project like this, especially now? Whatever the case, it is the trimming at the narrative's edges, the filigree, manifesting itself as anger finally, and, only truly, in the voice of Antonio Tedeschi, Haya's lost son. But this is the anger of coming into the knowledge that your life, and the world, is a lie, and of being left in a state of limbo by this knowledge:
Nazis, many of them with blood-stained hands, some condemned to death, some sentenced to years in prison, a sentence they often didn't serve out, many who were never brought to justice, who went on working as physicians and judges, engineers and architects, living "distinguished" lives, these Nazis colluded in conspiratorial silence as weighty as a millstone under which life lies crushed beyond recognition.
A pile of ashes from the crematorium in the Treblinka death camp
It is the rootless children – those who were part of the twisted plan that was Lebensborn – for whom Drndić writes; it is the crushing of life beyond recognition, under the weight of profound silence, that Drndić writes against.
"We don't exist, we get existed," Thomas Bernhard famously said. It is through Trieste's project of vocalization that ghosts with empty names "get existed." It begins simply, but it quickly swells to fill the borders of densely-peopled lands. The story grows so large that it doesn't even end – it just stops. Drndić knows, intimately, that a story cannot meet its end through forgetting, and certainly not by ignoring. And Trieste is not a book to be ignored.
Tristan Foster is a writer from Sydney, Australia. His writing has appeared or is forthcoming in Music & Literature, Verity La, Seizure, gorse and Black Sun Lit. He tweets at @tristan_foster.
First published in 3:AM Magazine: Thursday, July 17th, 2014.


text:
Римська комуна () — спроба створення уряду за зразком старої Римської республіки на противагу світській владі вищої знаті й папи, яку було здійснено 1144 року. Революціонери створили сенат за зразком стародавнього попередника та розділили Рим на 14 районів, від кожного з яких обирались по чотири сенатори (загалом 56). Ці сенатори обрали своїм лідером Джордано П'єрлеоні, сина римського консула П'єра Леоні, й надали йому титул патриція, оскільки консул також вважався застарілим шляхетським званням.

Комуна проголосила про свою вірність більш віддаленій владі — імператору Священної Римської імперії. Після цього вона почала перемовини з новообраним папою Луцієм II, вимагаючи, щоб він відмовився від світської влади та залишив за собою винятково церковні функції.

Луцій зібрав сили й здійснив напад на Вічне Місто, проте захисники республіки відбили напад, а сам папа загинув від поранення після того, як йому в голову влучили каменем.

Наступний папа, Євгеній III, не міг прийняти посвяту в місті, але зрештою досяг домовленості з новою владою, яка змістила П'єрлеоні. Папа повернувся в Рим на Різдво 1145 року. Втім, у березні наступного року був змушений знову залишити місто.

Папа повернувся 1148 року й відлучив від церкви Арнольда Брешіанського, політичного терориста, який вступив до комуни та став її головним ідеологом.

Папа проживав у Тоскані з 1149-го. Тому папська влада в Римі не була встановлена до 1152. Однак, існування Республіки було нестабільним, і наступний папа, Адріан IV, умовив імператора Фрідріха Барбароссу надати йому армію, щоб виступити проти міста. В результаті Арнольд з Брешії був заарештований, засуджений та спалений на вогнищі 1155 року.

1188 року, невдовзі після вступу на посаду, папа Климент III зміг нівелювати півсторічний конфлікт між папством та громадянами Рима, підписавши Конкордський пакт, за яким громадянам було дозволено обирати суддів, префекта призначав імператор, а папа мав суверенні права на його території.

Джерела

 Gregorovius, Ferdinand. History of the City of Rome in the Middle Ages.

Історія Рима
Середньовічні держави Італії
Держави і території, засновані 1144
1144 у Європі
1193 у Європі
зникли 1193
Колишні республіки

redpajama_set_name: RedPajamaWikipedia


This weekend I attended the annual Daguerreian Society 24th annual symposium in Baltimore, Maryland. I love those early images. The shiny reflective surface makes the viewer a part of the image because you can see your reflection. There were approximately 56 vendor tables full of mostly unidentified images. These pictures meant something to their original families, but now they are appreciated for their picture quality. With the 150th anniversary of the Civil War, one of the most sought-after type of picture were military images.
In honor of Veterans Day, here's a look back at some of the men (and women) in uniform featured in this blog.
Deb Wilson's great aunt Mary L. Keeler served as a nurse during the Spanish American War. Her photo appeared as a Women's History Month tribute.
There are thousands of photographs of soldiers who posed in uniform during the War Between the States.
Here are some pointers for deciphering the Civil War photos in your collection. Look for uniform clues, research the photographers and study your family history documents.
There were two blog posts of Civil War-era photos submitted by readers. Part 2 looks at clues in a piece of photographic jewelry and in a veteran's badges.
One of my favorite photo mysteries belongs to Justin Piccirilli. It depicts a member of his family in an Italian uniform.
If you want to find more military-themed blog columns, use the keyword list to the left. Click "military" to scroll through all the appropriate columns.
Next week I'll tackle two multigenerational family photos.
This entry was posted in 1890s Photos, Civil War Genealogy, Photo Detective and tagged military photos. Bookmark the permalink.


Mostly Books bookshop in Abingdon : Too many books!
working out how the price gun works for non-book items.
getting in a blue funk 'cos the Gaggia is dispensing coffee that we can't, in all honesty, sell because it tastes foul.
However, these are very minor grumbles. We are still having a great time in our honeymoon period. And despite some doubts posted in response to our last blog about the wisdom of "cooks and books" it is at least proving a novelty amongst a significant number of customers who seem to like the concept. We're monitoring it closely however.
We experimented with late-night opening tonight (Thursday), to be rewarded with a sale of the Hairy Bikers Cookbook at 8.30pm (I would have been in the shop anyway, and the people who bought it were a delight to serve). As complete novice booksellers, one thing that is very disconcerting is the hole left after you sell a book. We have worked very hard over the last few days to use face-out boxes, shuffling up authors to have the shelves looking good, and then the books get sold, and you have to shuffle everyone up again. Then more books come in. I'm sure this Sisyphean challenge is well appreciated by other booksellers. I've come to see it as an opportunity for some of our lowlier books to have 'their chance' once others are sold. We now officially have "too many books". Two more bookshelves are going up, but we are now going to have to exercise extreme discipline to stop ordering large numbers of new books, and start intelligently selling what we have. We have also well and truly entered the sometimes strange world of "customer requests". I thought we'd share some with you in the hope of advice and recommendations from the blogosphere: 1. Customer listened to Sandy Tostvig on Radio 4, and there was a book "confession of..." but that's as far as she got. Anyone know what book was discussed? The website didn't yield anything. If you type "confessions of" into the Gardners system you get some very exotic possibilities. I'm sure Sandy wouldn't discuss *those* on radio 4... 2. Customer has requested help to find a book that has detailed instructions on how to prepare cuts of meat. Hugh Fernley-Wittingstall perhaps? 3. Customer has a 15 year old boy who is a reluctant reader. His teacher had suggested getting hold of a book containing short stories from classic authors that can be read in one sitting (a story, not the whole book). He's very into computer games. This last one is quite important. I was a reluctant reader at school (I used to read the first two chapters and then get my mates to tell me what happened) and the intervention of a few key people got me back into books. Anyway - Nicki and I will endeavour to sort the coffee machine out tomorrow. In the meantime, here's how the shop is looking after the book sorting (and our mona lisa curtain into the stock room which has suffered a lot in the last week and may have to go): P.S. BT royally screwed up the broadband installation today. They went to the wrong address on Stert Street. The engineer actually came round to apologise, but because the address didn't match his paperwork he couldn't do the line installation. Several calls to BT later, no-one seemed able to rectify the error. Smashing.
I caught the end of Sandy Toksvig on A Good Read, Radio 4 a few weeks ago might this be the one?
Confessions of a Failed Southern Lady by Florence King.
as a bookseller of 28 years in a small town in Canada, I can't tell you how much i've enjoyed being part of your store opening. your enthusiasm is infectious and i'm sure your new business will be a great success. you have all the right qualities--i'm thinking particularly of your tenacity and persistence here--to make a living/life in your chosen field. congratulations!
Thanks so much - both for the help with the confessions (I'm sure that's the right one - you are utterly brilliant) and with all the kind comments.
We're getting the hang of books (we think) and have to stop ourselves giving a big whoop if something we liked but thought a little risky is sold to one of our very discerning customers. But coffee is foul and definitely off the menu at the moment.
1) Deep Water by Ann Turnbull (I've just remembered it's gone out of print, but I know the author and may be able to help). Its a beautifully written book by the author of No Shame No Fear, which was shortlisted for both the Guardian and the Whitbread children's prizes a couple of years ago. It's a deceptively light story (around 100 pages or less) about two boys who play truant. Brilliant issues about friendship, loyalty, parenting, but done in such a way that the story can simply be read as an adventure and a dilemma! I think its strength is that the writing is SO good it can be enjoyed by reluctant readers AND people like me who read all the time!
2) Holes by Louis Sachar. See wenlockbooks.blogspot.com to see what our children's reading group thought of this. It's very, very good.
If you can get it, try Guys Write for Guys Read edited by Jon Scieszka. It is targeted for 9-12 year-olds, but might still do for a reluctant reader. It has short stories by a wide range of authors, incliding Neil Gaiman, Brian Jacques, and Steven King. For more info, here's a website: www.guysread.com.


text:
using System;
using System.Collections.Generic;
using System.Configuration;
using System.Linq;
using System.Text;

namespace GymFitnessOlympic.Utils
{
    class ConnectionUtils
    {
        /// <summary>
        /// Lấy chuỗi kết nối
        /// </summary>
        public static string AppDbConnection
        {
            get
            {
                var connectionString = ReadConnectionString();
                if (connectionString == null)
                    return ConfigurationManager.ConnectionStrings["DBContext"].ConnectionString;
                else
                    return connectionString;
            }
        }

        /// <summary>
        /// Đọc chuỗi kết nối từ file
        /// </summary>
        /// <returns></returns>
        public static string ReadConnectionString()
        {
            var appPath = System.IO.Path.GetDirectoryName(System.Windows.Forms.Application.ExecutablePath);
            var configPath = System.IO.Path.Combine(appPath, "appConnection.bin");
            if (System.IO.File.Exists(configPath) == false)
                return null;
            using (var sr = new System.IO.StreamReader(configPath))
            {
                var st = sr.ReadToEnd();
                var st2 = "";
                for (int i = 0; i < st.Length; i++)
                    st2 += Convert.ToChar(Convert.ToInt32(st[i]) - 255);
                sr.Close();
                return st2;
            }
        }

        /// <summary>
        /// Ghi chuỗi kết nối xuống file theo dạng được mã hóa
        /// </summary>
        /// <param name="st"></param>
        public static void WriteConnectionString(string st)
        {
            //string folderPath = System.IO.Path.Combine(Environment.GetFolderPath(Environment.SpecialFolder.ApplicationData), "QLHP");
            var appPath = System.IO.Path.GetDirectoryName(System.Windows.Forms.Application.ExecutablePath);
            var configPath = System.IO.Path.Combine(appPath, "appConnection.bin");
            using (var sw = new System.IO.StreamWriter(configPath))
            {
                var st2 = "";
                for (int i = 0; i < st.Length; i++)
                    st2 += Convert.ToChar(Convert.ToInt32(st[i]) + 255);
                sw.Write(st2);
                sw.Close();
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


Aquitards include low-permeability materials such as clays, shales, siltstones, and many other lithologies. These "tight" formations can be among the most important components of groundwater flow systems, but are often poorly characterized and poorly understood.
This 90-minute webinar will explore the key roles of aquitards in almost all groundwater projects, from water supply to waste disposal to site remediation. The instructors will discuss the definitions, basic categories, and typical hydrogeologic properties of aquitards, and will introduce the concept of evaluating aquitard integrity. The webinar will demonstrate the effects of aquitards on groundwater flow and well response and show how typical monitoring well configurations can yield useless or misleading information in low-permeability settings.
This webinar examines groundwater flow rates in low-permeability systems and show how fractures, macropores or other heterogeneities can control flow. All materials presented will be geared to practical application in the field with the goal of improving hydrogeologic characterization.
Why study aquitards? The importance of aquitards in all groundwater projects.


AKTI is a partner in the 'MALIA' project, ERASMUS+ KA2.
MALIA bases on the creation of transnational networks between Spain, Cyprus, Portugal and Italy aiming to strengthen activities between four schools and four civil society organisations (CSO). Members of this transnational network will be involved in activities related to marine sciences and community participation.
All activities aim to promote interaction between students, teachers and CSOs, sharing experiences and good practices in all project sites. This can positively affect local communities and help in understanding the common problem of marine litter that needs to be addressed.
1st Transnational meeting at Porto/ Paredes, Portugal from the 11th to 15th February 2018.


text:
camac commercial company Limited
Camac Commercial
INE227E01013
AABCC0733E
2,383.56 Crore
ABOUT CAMAC COMMERCIAL COMPANY LIMITED UNLISTED SHARE
Incorporated on 09 July 1980 under the Companies Act, 1956. Camac Commercial Company Limited is registered with the Registrar of Companies, Delhi. Its authorized share capital is Rs. 90,00,000 and its paid-up capital is Rs. 88,28,000. It is involved in owned Real estate and leased property activities, which include buying, selling, renting, and operating self-owned or leased real estate such as apartment buildings and dwellings, non-residential buildings, and developing and subdividing real estate. It also includes in development and sale of land and cemetery lots, operation of apartment hotels, and residential mobile home sites. Camac Commercial Company Limited is one of the holding companies of Bennett Coleman and Company Limited (BCCL). It holds 3,81,61,548 shares i.e.13.30% stake in Bennett Coleman & Co (owner of Times Group, the largest mass media company in India) as of 31/3/2018. The Equity Shares of the Company are listed at the Calcutta Stock Exchange Ltd. The Company does not have any significant business activity as of now alongside its non-business key activity being the deployment of surplus funds.
INCORPORATION DETAILS
L70109DL1980PLC169318
camaccommercial@gmail.com
Category/Sub-category of the Company
Company limited by Shares, Non-govt company
Address of the Registered office & contact details
1st Floor, Express Building, 9-10,
Bahadur Shah Zafar Marg,
Telephone No.: 7303495374
Company Secretary & Compliance Officer
Ms. Surabhi Srivastava
Name, Address & contact details of the Registrar & Transfer Agent, if any
M/s Niche Technologies Private Limited
Flat No. 7A & 7B, 3A Auckland Place,
7th Floor, Kolkata 700 017
Telephone No.: (033) 2280-6616 / 17 / 18
PARTICULARS OF SUBSIDIARY COMPANIES
Name of the Company
%of shares held
Ashoka Viniyoga Limited
Associate Company
Combine Holding Limited
Artee Viniyoga Limited
Sahu Jain Services Limited
Times Publishing House Limited
Sahu Jain Limited
Name of the Directors
Ms. Monisha Saraf
Non-Executive &Independent Director
Mr. Abhinav Srivastava
Ms. Swati Srivastava
Mr. Sanjay Kumar
Mr. Sunil Singh
SHAREHOLDING PATTERN (As of 31-03-2022)
S. No.
Shareholder's Category
% of total Shares of the company
The Pandemic covid-19 has not only challenged the existence of humankind but also impacted the global economy worldwide.
Since major earnings of the company are yielded through investment in debt mutual funds, the risk of this pandemic is lesser for the company compared to companies engaged in manufacturing, service, and other industries. Although the company has always taken prudent decisions for investment and redemptions, now considering the economic factors, the company is taking investment and redemptions decisions even more cautiously to protect the interest of the stakeholders in the company. The Company continued with its policy of investing in low-risk debt products offered by the various mutual fund houses and in fixed deposits. The company is duly registered with the Reserve Bank of India (RBI) as a non-deposit-taking NBFC categorized as "Non-Systemically Important Non-Deposit taking NBFC" having an asset size below ₹ 100 crores. On account of the applicability of Indian Accounting Standards (Ind AS) w.e.f. April 1, 2019, on the company. The RBI has been continually strengthening the supervisory framework for NBFCs in order to ensure sound and healthy functioning and avoid excessive risk-taking.
The Company has earned a net profit of ₹ 286.98 lakhs during the year 2020-21. The Company has generated major income this year due to the decision to churn the portfolio of low-yield investments in anticipation of higher returns in the future.
PROFIT & LOSS STATEMENT OF CAMAC COMMERCIAL COMPANY LIMITED ( Amount In Lakh) (As of 31-03-2017 to 31-03-2021)
Dividend Income From Equity Instruments
Net gain/Loss on fair value change
Employee Benefits Expense
Finance cost
Depreciation and amortization expense
Tax expenses
Current tax
Earlier year tax provision(net)
Reversal of MAT credit entitlements of earlier years
Total Tax Expenses
Profit After-tax
Other Comprehensive Income (OCI)
1. Items that will not be reclassified to profit and loss
Fair value changes in equity instruments through OCI
Less-Income tax effect on above
Re-measurement of the defined benefit plans
2. Items that will be reclassified to profit and loss
Fair value changes in debt instruments through OCI
Less-Reclassified to profit or loss from OCI on sale
(169.86)
Total Other Comprehensive Income, net of tax (B+1+2)
Total Comprehensive Income of the year(1+2)
Earnings Per Share - Basic
Earnings Per Share - Diluted
BALANCE SHEET OF CAMAC COMMERCIAL COMPANY LIMITED (Amount In Lakh ) (As of 31-03-2017 to 31-03-2021)
Equity and Liabilities
Other Equity & Reserves
1,57,099.28
50,97,62,059
Financial Liabilities
Total outstanding dues of micro and small enterprises
Total outstanding dues of creditors other than micro and small enterprises
Short term Provisions
Non-Financial Liabilities
Long term Provisions
Other Non-Financial Liabilities
Financial Assets
Bank balance other than above
4,58,37,750
Other Financial Current Assets
Short-term loans & advances
Non-Financial Assets
Current tax Assets(Net)
Property, Plants, and equipment
Non-Current Investments
Long-term loans and advances
Other Non-Financial Assets
DIVIDEND AND RETAINED EARNINGS (As of 31-03-2017 to 31-03-2021)
Retained Earnings (In Lakhs)
PERFORMANCE OF THE COMPANY
Revenue from Operations decreased from 528.72 Lakhs in FY 2020 to 428.14 Lakhs in FY 2021, showing a decline of 19.02 % as compared to the previous financial year.
The company's Net Profit decreased from 386.69 Lakhs in FY 2020 to 286.98 Lakhs in FY 2021, showing a decline of 25.79% as compared to the previous financial year.
The current Ratio of the company as of 31st March 2021 was 1.12%.
The debt-to-equity ratio of the company as of 31st March 2021 was 1.27%.
The Company has not paid a dividend in the last 5 years.

redpajama_set_name: RedPajamaCommonCrawl


Jul 11, 2017 ... based Heritage Bank with paying a female employee lower wages because ... filed suit in June (Equal Employment Opportunity Commission v.
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Jul 17, 2018 ... The EEOC filed suit in the U.S. District Court for the Southern District of California (U.S. EEOC v. Mueller Industries, Inc., Case No.


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"Yes, he'd fought for me—but I'd fought harder for him.
5 – More, More, More Stars!
I will admit the 626 pages were daunting as Hell! I feel like I may have put off reading this book for that reason (and I know I am not the only one). I am so unbelievably happy I jumped on this bandwagon. Sarah Maas is a great story teller. The best!
I think I heard it in a review before – but Sarah DID give us everything we didn't know we needed or wanted. My heart was breaking for Feyre. Literally breaking. She was suffering from some pretty serious depression, and no one was there for her except Rhys. I will admit in the beginning- I was so mad, angry and what Miss Maas was doing with Tamlin's character. Book one was dedicated to Tamlin. We had to watch this little helpless human girl fight (die) for everyone's freedom. Including Tamlin. I don't know if the fact that I can remember so little of Tamlin's character in book one is because of the second book – or because he really wasn't that great. I am so confused!!
Tamlin became the villain right before our eyes. Not because he was a bad person per say – but because of his neglect of Feyre. Feyre tried to tell him what she needed, and he wouldn't listen. They had a passionate physical relationship, but the mental one was nonexistent. He didn't notice her weight loss, her disinterest in painting, her soul was deteriorating and he did nothing. So for as much as I hate the swapping of love interests in a book – this one was so warranted – I bow down to you Miss Maas. Especially after Tamlin went nutso in the end – well kinda, you'll just have to see for yourself.
Tamlin returned eight days later, brushing a kiss over my brow and looking me over, and then headed into the study. Where Ianthe had news for him. That I was also not to hear.
You stupid schmuck! She was in a cage for months! ARGGG I cried at this part. I cried because Tamlin let me down. I cried because he let Feyre down. I cried because if he really loved her his actions would say so. There has to be more to his story. I am actually kind-of dreading book 3 for this reason alone.
Rhysand. Oh SWOON. Obviously I fall into the population of women who like the dark, tempting and forbidden men. But at the same time, HE was there for Feyre. He held her hair as she puked her guts out. He taught her to read. He pushed her to be better, challenged her, and embraced all that she is and all that she has become. He trusted her, had faith in her. He made time for her. Team Rhys ALL the way.
The story was written SO well. I freaking loved Every. Single. Word. Every single event, every single adventure. The fantasy was epic, the story line was amazing and the characters were everything I wanted.
Cassian. I love him. The fact that he stood up for Feyre deserves an excerpt in my review.


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