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Flannery O'Connor's challenge to the Lost Cause myths of the Confederacy
A little-known O'Connor story explores the human cost of self-deception.
by Pete Candler
Unveiling the Confederate monument at Arlington National Cemetery in June 1914. Library of Congress.
Imagine that you or someone you know participated in or in some way enabled a horrific act of sustained brutality and that, in order to erase the memory of these misdeeds, you then attempted to convince others that what was done was in fact a heroic defense of a noble ideal. Imagine the extent you would go to in order to convince others that what you fought for was not a reason for penitence but rather a cause that God would vindicate. Imagine that this historical erasure was so thorough that many people came to believe your cause was morally pure. And imagine that you then built monuments to your self-deception and were able to convince others that these monuments were now a sacred part of the landscape of the very same nation that you sought to extricate yourself from.
This, arguably, is the logic behind the Lost Cause and its many monuments to the Confederacy—totems of a 150-year campaign to historically reimagine the meaning of the Civil War. The years from 1890 to 1920 marked the high point of this campaign, led by the United Daughters of the Confederacy, the Sons of Confederate Veterans, and other groups which today protest "heritage violations" of their ongoing program of public commemoration. And they have not lost: Confederate revisionism, in the soft form of preservationism, as opposed to the blunt-force tactics of rallies and protests, is now the provenance of local, state, and even federal governments.
Pete Candler
@tweetcandler
Pete Candler is a writer in Asheville, North Carolina. He is currently working on a book about the American South.
Two weeks after the Confederate battle flag was removed from statehouse grounds in Columbia, South Carolina, in July 2015, the North Carolina General Assembly passed a law protecting "monuments and memorials commemorating events, persons, and military service in North Carolina history." Despite the apparent catholicity of its protections, the Cultural History Artifact Management and Patriotism Act was clearly aimed at granting asylum to Confederate monuments and memorials around the state, based on the notion that, as its proponents argued, to remove them from courthouse lawns and university quadrangles would be to "erase history." The flag episode in Columbia was a catalyst for a storm of neo-Confederate protest, which intensified during the 2016 election cycle and came to a head at the Unite the Right rally in Charlottesville in 2017. The sharp reaction against the Charlottesville rally did not mean that all was lost for the Lost Cause. Far from it.
In December 2018, the Smithsonian Institution found that taxpayers had contributed over $40 million to the preservations of Confederate sites. The Department of Veterans Affairs, a federal agency, spends millions of dollars each year in order to secure Confederate cemeteries in Virginia, and the Federal Emergency Management Agency contributes thousands for "protective measures" for Jefferson Davis's former home in Biloxi, Mississippi.
Federal curacy of Confederate burial grounds is not a new phenomenon: it goes back at least to 1900, when a couple hundred Confederate soldiers were reinterred in Arlington National Cemetery. Within 15 years, President Woodrow Wilson was at the site to dedicate a monument to the Confederate dead, confident the nation was ready to put behind it the "fraternal misunderstandings" that led to war. By the end of World War I, the specious history of the Lost Cause had become a popular fiction serviceable for advancing the military and political interests of white Americans both at home and overseas. A hundred years later, the federal government would be paying to protect memorials to honor people it had once regarded as treasonous. It was a stunning if slow-moving turnabout: a version of history that could objectively be called white supremacist propaganda now has legal protection from the government against whose authority the patrons of that mythology originally revolted.
Propping up an illusory history has a price, and not just on balance sheets. The human cost of such self-deception is the subject of an early and little-known story by Flannery O'Connor, "A Late Encounter with the Enemy." Originally published in Harper's Bazaar in 1953 and included in A Good Man Is Hard to Find two years later, the story is about the ways in which the burdens of history, when honestly confronted, can bring not enlightenment but devastation.
"Late Encounter" is barely ten pages in the Library of America edition. It is hardly one of her major works (O'Connor described it as "not so bad"), and it rarely figures in critical studies of her work. But it is notable for being the only piece of her fiction that directly treats the Civil War and its legacy. The story is only superficially about the war, though; it is really about the way in which the war is—or is not—remembered. It is a story about memory and the deep conflict between public commemoration, sectarian mythology, and historical reality.
"Late Encounter" is structurally simple: there is a single main scene framing one flashback. Sally Poker Sash is about to attend her college graduation, the joyful fruit of a protracted education spread out over 20 summers while she was teaching school. It's such a big deal that she has invited her 104-year-old grandfather, a Confederate veteran, to attend in full military dress. Sally arranges for him to sit up on stage—not so that he will have a good view of the proceedings but because she wants him to be seen: "she wanted to show what she stood for, or, as she said, 'what all was behind her,' and was not behind them. This them was not anybody in particular. It was just all the upstarts who had turned the world on its head and unsettled the ways of decent living." She wants the crowd to see him, and herself through him—"Glorious upright old man stand-in for the old traditions! Dignity! Honor! Courage!"—as a rebuke to their wanton ways.
It's not hard to hear in this passage the ways in which O'Connor herself wrestled with the tension between the traditions of white Southern society and the expanding movement for rights for African Americans. O'Connor was hardly a radical integrationist and was not innocent of racist prejudice. She was often condescending toward blacks and—in 1952 at least—could not honestly be called a diligent student of racial equality and the traditions of African American literature.
On the other hand, her work often gestures beyond the narrow racial imaginary of Georgia in the 1950s, and at its most cutting and poignant it ruthlessly undermines the heritage of white supremacy and the mythologies that support it. Her most powerful stories, such as "Revelation," include a radical vision of the kingdom of God and a savage and hilarious mockery of white pieties.
"Late Encounter" is one of these stories. It offers a brief but profound meditation on the debilitating nature of selective memory, the personal and public costs of self-serving falsehoods, and indifference to the past. This indifference is concentrated into "five feet four inches of pure game cock," General Tennessee Flintlock Sash of the Confederacy. Sally Sash is aware that her grandfather had not actually been a general at all. The general himself neither knows nor cares what he is or was: "He had probably been a foot soldier; he didn't remember what he had been; in fact, he didn't remember that war at all." The memory of the war is like a dead appendage that does and does not belong to him:
It was like his feet, which hung down now shriveled at the very end of him, without feeling, covered with a blue-gray afghan that Sally Poker had crocheted when she was a little girl. He didn't remember the Spanish-American War in which he had lost a son; he didn't even remember the son. He didn't have any use for history because he never expected to meet it again. To his mind, history was connected with processions and life with parades and he liked parades.
General Sash prefers "parades with floats full of Miss Americas and Miss Daytona Beaches and Miss Queen Cotton Products" to processions, especially "dreary black" ones with their interminable obsession with the past.
The only episode from the past that General Sash bothers to hang on to is "that preemy they had in Atlanta" 12 years earlier, when he was first given the general's uniform. The event alluded to is the official premiere of Gone with the Wind in Atlanta on December 15, 1939, attended by Clark Gable, Vivien Leigh, and a starstruck Margaret Mitchell. Seated next to glammed-up Hollywood stars and starlets that night, the Atlanta Constitution reported, were four men in their nineties "in freshly pressed, be-medalled grey uniforms. They sat alone, huddled in companionable silence, lost in thoughts brought back sharply by the raw scenes of a ravished Georgia countryside."
O'Connor makes the scene even more theatrical: before the picture, General Sash is trotted out before the gala audience, a Hollywood "gul" on each arm. In describing the way Sash is "lent" to the city museum every Confederate Memorial Day, O'Connor's language is cinematic: Sash is like a stage prop intended to "lend atmosphere to the scene." Sash is a totem of public memory, drained of life to the degree to which he is indifferent to the past.
As O'Connor tells it, when General Sash made his entrance into the theater, members of the United Daughters of the Confederacy began to clap, and later they "rose as a group and did not sit down again until the general was on the stage." O'Connor is slyly mocking the overtly religious groupthink of the UDC, which acts almost automatically, as if with a single mind. When his moment has passed, the general is whisked off stage and back to his seat, where he sleeps through the entire movie.
On the stage for his granddaughter's graduation, the general is in a different mood. He is attended to by Sally's nephew, John Wesley Poker Sash—"a fat blond boy of ten with an executive expression"—and they make quite a pair, the general in his "courageous gray" and the "clean" young blond boy in his Scout khakis. The neutral colors of white Southern memory—blond, grey, khaki—are bland, flat, and dull but loaded with historical symbolism: a visual convergence of the grey of Confederate soldiers and the tan of Nazi brownshirts. Together they are threatened by the "black procession" that winds its way across the campus and into the auditorium. It is a reprise of the movie premiere a dozen years earlier, but this time the scene is framed not in terms of entertainment but of education: "The graduates in their heavy robes looked as if the last beads of ignorance were being sweated out of them."
O'Connor repeats the word black over and over again as General Sash sits on the stage watching the black procession relentlessly pressing toward him and forming a "black pool" in front of him. The general has the sensation of a tiny hole opening up in his skull and of knowledge being poured into it against his will. At the beginning of the ceremony itself, a "black figure" begins "telling something about history and the General made up his mind he wouldn't listen, but the words kept seeping through the little hole in his head."
The words come on all the same, bearing down on and into Sash. He tries to resist. "He had forgotten history and he didn't intend to remember it. He had forgotten the name and face of his wife and the names and faces of his children or even if he had a wife and children, and he had forgotten the names of places and the places themselves and what had happened at them."
Along with the "slow black music" of the graduation ceremony, names keep coming in a relentless march: Chickamauga, Shiloh, Johnston, Lee. General Sash tries to shore himself against the onslaught of historical particularity by summoning up again the memory of the premiere in Atlanta, the city that for O'Connor represents fake history, collective memory as processed by Disney and Hollywood. Like the black procession itself, the words continue to press toward him.
"Dammit!" he thinks to himself, "I ain't going to have it!" Against the encroaching tidal wave of blackness—the "figure in the black robe," the "black pool in front of him," the "black slow music"—the artificiality of Sash's memory begins frantically to retreat, then to yield. The unacknowledged hellhound on his trail, the reality of history begins to crash upon him: "He recognized it, for it had been dogging all his days. He made such a desperate effort to see over it and find out what comes after the past that his hand clenched the sword until the blade touched bone."
Ultimately the contest in "Late Encounter" is between the soothing, mythologized version of history we wish to remember and the ugly reality that we cannot ignore. The general's recognition of his own complicity in real history—and the implicit costs of Lost Cause mythology in contributing to the disfranchisement of African Americans—is overpowering. When Sally crosses the stage she sees her grandfather "sitting fixed and fierce, his eyes wide open." Historical truth has brought Sash to a kind of new awareness—but it has also cost him his life. Sally mistakes his wide-eyed expression for grandfatherly pride, but in fact it is the death-stare of an existential scouring, a religious encounter with truth's violent steamrolling of pious falsehood.
Sally Poker is not alone in mistaking an expression of horror for one of adulation. Americans in general have excelled at this sort of category error, and while the Lost Cause represents the most prominent contemporary example of a fake history that still survives under the guise of a story of heroic resistance, the phenomenon is not limited to Lost Causers.
What if history is not at all the way we prefer to remember it? Could it be that monuments—not just public ones but also those our own personal histories are made of—are tokens of a tacit agreement to forget certain difficult truths? Directed both generally at an inveterate human skill for self-deception and specifically at the mythology of the Lost Cause, the question that O'Connor's "Late Encounter" puts to the reader is both blunt and surgical: What if you are wrong about what it is you think you were fighting for?
A version of this article appears in the print edition under the title "Monuments to a lie."
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RiNo stands for "River North" because it's north (and a little south) of the South Platte River that runs just north of downtown. Lately though, it seems that RiNo has been standing for "Restaurants Increasing! New Openings!" There's been a crazy influx of restaurant openings in this neighborhood, and it's become the new "go-to" place to eat. There is so much variety that even if you have one person in your group that's super particular, there's a chance that even they'll be satisfied.
The Source is cool because of all the variety. Inside there's Acorn (New American) and Comida (Mexican street food), plus Crooked Stave (sour beer brewery) and Boxcar Coffee Roasters. There's also Babettes, which supplies pastries to coffee shops around Denver (including the new Pigtrain Coffee in Union Station). The Source also houses charity organizations like Heroes Like Us and Slow Food Denver.
Another collaborative workspace in RiNo is Industry, a 120,000 square foot building that will house many different types of businesses. It is located between the 29th and 31st blocks of Brighton Blvd. In the first phase of the project, it'll have at least four restaurants. In the future, their hope is to have about 65 townhomes – what a sweet place to live!
The first restaurant to open in Industry is The Griffin, a German beer hall specializing in German, Alsacian and Danish style eats. They say they don't want to do "classic" German food, so they're doing a more modern style of German, which includes all of the other cultural influences. The Griffin will also feature the doner kebab, which is the most popular street food in Germany right now. Of course, it also includes schnitzel because it wouldn't be "German" without this popular staple. It also wouldn't be "German" without a TON of beer taps, 40 to be exact! The restaurant wants their food to complement their beer instead of the other way around. Awesome.
Another restaurant coming soon to the Industry building is Tengu, a "modern casual Asian noddle shop." The market wants another noodle shop since Uncle is so busy now, and for good reason! Tengu should do very well. It will be a tiny, intimate space for diners (the eating space is 750 sq.ft.) to choose from a nine-item menu. Yep, nine items. That's extremely nice for simplicity, timeliness, and all around good-tastiness. In my opinion, restaurants with novels for menus are overselling and often times under delivering. Tengu's goal is to become a quick lunch stop for ramen bowls and not necessarily have a chef-driven cuisine. My guess is that simplicity will be their "thing", as their website right now is a picture of a waving cat with the phrase, "Meowtains and meowtains of ramen" next to it. That's it. Well, I'm hooked. I'll be there when it opens!
RiNo is booming so much right now that it's quickly becoming the destination spot for new, cool, hip food concepts. So much so, that RiNo should probably stand for RIght NOw. I, for one, can't wait for more.


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Hit the streets: Chalk It Up! celebrates a decade of street art
Mar 30, 18 • ndemarino • 5enses, Feature • No Comments • Read More »
By James Dungeon [Editor's note: The following interview was culled from conversations between the reporter and Susan Crutcher, longtime volunteer and event committee member of Chalk It Up!. The 10th annual street art festival is 10 a.m.-4 p.m. Friday & Saturday, April 21 & 22, in the parking lot of National Bank of Arizona, 201 N. Montezuma St. Find out more at PrescottChalkArt.Com.] ou've been involved with Chalk It Up! since the beginning, correct? I'm not an original founder, but I've been involved since the first year. I drove by, saw it, said, 'whoa, what's that?' stopped and started talking to people, and volunteered to help. … Everybody from the originally committee has dispersed. There was the group of people who started it, then, four years ago, it changed hands and became a fundraiser for the West Yavapai Guidance Clinic. How has the event changed over the past decade? I don't know that it's really changed all that much. The things that were originally established have remained. It's continued to be a free community, family event. It's still accepting of a range of ages and artistic abilities and physical abilities. One of the benchmarks has always been how inclusive this event is. You see people interacting at Chalk It Up! that you don't typically see interact. You might see a grandfather on the ground with his grandkids and, next to
Perceivings: Who steals unsellable art?
Mar 30, 18 • ndemarino • 5enses, Alan Dean Foster's Perceivings • No Comments • Read More »
By Alan Dean Foster I love art, and I like to think I have reasonably wide-ranging tastes. As I've said before in these columns, I don't have much use for modern art of the Koons/Johns/Lichtenstein variety because I don't think "repurposing" another artist's work constitutes a valid expression of originality. Or to put it another way, it's plagiarism. The "art world" apparently thinks otherwise, and who am I to criticize when someone takes a panel of a comic strip (drawn by a real artist, who can actually like, you know … draw), blows it up to giant size, and puts a six-figure price tag on the bottom? I do confess to a certain liking for Jackson Pollock's work, perhaps because my wife does a better Pollock than Pollock (the artist, not the fish). Notwithstanding that, I'm still waiting for someone to explain the difference to me between a Koons balloon dog and one from the Macy's Thanksgiving Day parade. Come to think of it, if Macy's blew up a balloon dog and used it in the parade, would it count as a parade balloon or art? If I had the money (and more wall space), there is certain art I'd like to own. I'd love to have a Margaret Brundage, and a Chesley Bonestell, and a Bierstadt or a Church. But it's not necessary, because you can now purchase reproductions
News From the Wilds: April 2018
Mar 30, 18 • ndemarino • 5enses, News From the Wilds • No Comments • Read More »
By Ty Fitzmorris April arrives in a thunderous proliferation of life — a raucous, enlivening yawp in the wilds after the long quiet of winter. Snowstorms are an increasingly remote possibility, and the majority of the month is sunny and warm with butterflies, returning migratory birds, native bees, growing and flowering plants, and mammals in the thrall of mating and bearing young. There's more activity in the natural world than can be easily followed, and the flowering of plants, emergence of insects, return of migrant birds and bats, and the appearance of mammalian young all begin now. The verdant wave of spring swells up from the deserts along south- and westfacing slopes and riparian corridors, as the new leaves of riverside trees unfurl and the earliest flowers unclasp. These first flowers provide nectar and pollen for butterflies, solitary bees, flies, and damselflies that are looking to find mates and lay eggs. Many species of mammals are giving birth, such as the Beavers and Porcupines, while the young of other species, such as the Black Bears, are emerging from their dens and beginning the long process of learning to forage and navigate their landscapes, preying on these early insects and plants. The wave of spring migration gains in volume through April as the murmurs of the first swallows and bats trickling quietly northward along the creeks grows into a roar of
A Sedona Sojourn: Take another trip on the Sedona Open Studios Tour
By James Dungeon [Editor's note: The following interview was culled from conversations between the reporter and Mike Upp, potter and Sedona Open Studios Tour organizer. Find out more about the tour, April 27-29 at studios in Sedona, Cornville, Cottonwood, Clarkdale, and Camp Verde, at SedonaArtistsCoalition.Org and Facebook.] What's your pitch for this year's Sedona Open Studios Tour? The unique hook of the open studios tour is that you're getting to interact with the artists in their workspace instead of seeing their work in a gallery or seeing it at an arts festival. This time there are 67 artists and approximately 42 physical studios for the tour, which is April 27, 28, and 29. Some of those studios have numerous people. You actually get to see what the artists' workspaces look like and, in many spaces, there are demos of people at work. It makes it more of a learning experience, more than just a passive thing. The tour is quite sprawling, geographically. It's safe to assume this is self-directed? Absolutely. People tend to get the brochure and say, OK, I like glass, ceramics, and photography, so I'm going to go to these studios. We do have a few people who pride themselves on going to all of them, but it's mostly self-selective. You go to the art forms that you appreciate and collect, and you see what else is in
Toys: A patented approach
Mar 30, 18 • ndemarino • 5enses, Something Else • No Comments • Read More »
By Markoff Chaney From the U.S. Patent & Trademark Office, USPTO.Gov/terms-use-uspto-websites Patent Information Patents are published as part of the terms of granting the patent to the inventor. Subject to limited exceptions reflected in 37 CFR 1.71(d) & (e) and 1.84(s), the text and drawings of a patent are typically not subject to copyright restrictions. The inventors' rights to exclude others from making, using, offering for sale, or selling the invention throughout the United States or importing the invention into the United States for a limited time is not compromised by the publication of the description of the invention. In other words, the fact that a patent's description may have been published without copyright restrictions does not give you permission to manufacture or use the invention without permission from the inventor during the active life of the patent. See MPEP § 600 – 608.01(v) regarding the right to include a copyright or mask work notice in patents. US7488231B2, "Children's toy with wireless tag/transponder," Inventor: Denise Chapman Weston, Current assignee: MQ Gaming LLC, Original assignee: Creative Kingdoms LLC, Priority date: 2000-10-20 US6360693B1, "Animal toy," Inventor: Ross Eugene Long III, Original assignee: Ross Eugene III, Priority date: 1999-12-02. US6887120B2, "Snappable toy with interchangeable portions," Inventor: Joel B. Shamitoff, Original assignee: Joel B. Shamitoff, Priority date: 2001-08-14. US4673374A, "Articulated limb assembly for figure toy," Inventor: William Kelley, Current assignee: Mattel Inc., Priority
Two-bit Column: Cut to the quick: Considering the cable cabal
Mar 30, 18 • ndemarino • 5enses, Two-bit Column • No Comments • Read More »
By Justin Agrell We were stunned. How long had it been? Four years? At least three, to be sure. We were over at my wife's family's house and had just settled in to watch a program. Suddenly, the show stopped and commercials started to play (and play (and play)). We must've spent at least five minutes staring at advertisements until we finally just left the room. Was this really the norm that everyone dealt with for so many years? Yes, for many of us, it is clear that cable television is dead. Technology will always evolve and moving pictures are no exception. From silent films to drive-in movies to large air-conditioned theaters, we've witnessed a steady change in how we consume video. First, we were forced to go to theaters. Eventually, we took in video at home. Television grew more advanced as we demanded more channels and bigger screens. We fought ads and annoying antenna alignments by adopting a shiny new technology called cable. The cable companies promised an advertisement-free experience without the need for antennas via cable boxes and monthly payments. Later, a technology war ensued and we watched a to-the-death struggle between Sony's Betamax and JVC's VHS portable video tape standards and we bought movies to watch at home. By then, cable had somehow snuck commercials back in to the viewing experience. By the time DVDs became popular,
Oddly Enough: April 2018
Mar 30, 18 • ndemarino • 5enses, Russ Miller's Oddly Enough • No Comments • Read More »
By Russell Miller The first known air powered rifles were designed around 1580. These very rare, large caliber weapons were used to hunt game by the very rich. Around 1779, a Tyrolean inventor named Girandoni came up with a much more robust and practical model called a "wind rifle." It had an effective accurate range of 100 yards and was used in the service of the Austrian army from 1780 until 1815. The compressed air reservoirs required 1,500 pumps by hand to fill and were sufficient for about 30 rounds of .46 caliber balls. This was a staggering rate of fire for the times. The interchangeable gas canisters were built into the butt-stock, or hung from the fore-stock in front of the trigger guard. ODDLY ENOUGH … These guns were carried by Lewis and Clark on their famous expedition (1804-06) and demonstrated to every new Native American tribe they encountered. This was done primarily to invoke awe and respect. Many natives referred to this wonder as "something from the gods." ***** The "Arkansas" was a Confederate ironclad ship that experienced a stellar career during the American Civil War while fighting on the Mississippi River. She was cobbled together with scraps and hastily painted brown to cover the rust on her uneven sheet metal paneling. Even her 10 salvaged guns were comprised of four different calibers. Amazingly, the "Arkansas" disabled Union
Tally Ho, Trismegistus!: April 2018
Mar 30, 18 • ndemarino • 5enses, Tally Ho Trismegistus! • No Comments • Read More »
By Clay Smith ***** Clay Smith is an inveterate absurdist with an ear for cognitive dissonance, an eye for Italian horror movies, and a taste for jalapeño bacon. You can reach him at ClayIsNapping@Gmail.Com
Peregrine Book Co. Staff Picks: April 2018
Mar 30, 18 • ndemarino • 5enses, Peregrine Book Co. Staff Picks • No Comments • Read More »
Catered by Reva Sherrard "How to Build a Girl," by Caitlin Moran Sincere to the point of (hilarious) obscenity. A sweet-and-sour story about growing up and the ultimately brutal reality of what it means to be a woman. ~Bekah "The Child Finder," by Rene Denfield Shining light in the darkest of places, "The Child Finder" is a terrifying, beautiful book. I couldn't put it down. ~Michaela "Bad Feminist," by Roxane Gay Reading this book is like hanging out with your best friend. Brilliant, honest, and hilarious. ~Michaela "City on Fire," by Garth Risk Hallberg This novel, Hallberg's first, is stellar. I marveled at the beauty of his sentences, fell in love with his characters, and didn't want it to end. ~Michaela "Nadja," by André Breton The author of "The Surrealist Manifesto" forays into fiction. He uses Dadaist and Surrealist techniques in an interesting juxtaposition of images and words that strongly influenced the "illustrated novel" of today. ~Joe "Binti," by Nnedi Okorafor This story is heartwarming in the most surreal way possible. From the first paragraph I was swept into an absolutely alien, but still somehow comprehensible world. And from there I traveled with Binti — I was afraid of Binti — and eventually, I found peace with Binti. ~Jon "The Pelican Tree," by Marnie Devereux Local author Devereux is back with her second book of poetry. Her sincerity is refreshing,
Photographic Memories: The story of the shoe tree
Mar 30, 18 • ndemarino • 5enses, Photographic Memories • No Comments • Read More »
By Dale O'Dell A shoe tree is a tree with shoes on it. It's kind of like a Christmas tree, except it's decorated with footwear instead of ornaments. According to my internet research, there are more than 50 shoe trees in the United States — one or more for each state. Because they're such bizarre sights, I always stop and photograph shoe trees when I find them during my travels. I've photographed shoe trees (and one "shoe fence") in Arizona, Nevada, California, Oregon, Washington, Colorado, Texas, and Utah. And it's not always shoes in the trees. I've seen trees with socks, hats, T-shirts, and even bras hanging from them. So what's the deal with shoe trees? How did this practice of tossing shoes into trees get started? The most common story I've found comes from American folklore. According to legend, a newlywed couple had an argument while driving to their honeymoon and the bride became so angry she threw her new husband's shoes into a tree. He never got his shoes back, and when others came along later they added their shoes to the collection and the shoe tree was born. Other urban legends about the origin of the shoe tree: throwing shoes into trees on the last day of school; hanging shoes from tree branches to denote a place where you can buy illegal drugs; discharged soldiers throwing combat
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redpajama_set_name: RedPajamaCommonCrawl


My name is Sanjana Rasal , i am 11 years old and i am studying in Vivek Vidhyalay , Vikhroli - Mumbai - 79 in 6th standard.
My Father is hard worker and working as a watchman/house keeping employee in one of the private companies in Mumbai. My mother is a housewife and looks after me.
I would have lived a healthy life like all of the kids of my age but unfortunately something else was written in my fate. I was born with Thalassemia Blood Cancer which is an inherited blood disorder caused by abnormality in the genes.
My treatment is going on regularly in govt hospitals and i am on the dosage of Desirox - 500. My monthly treatment cost is approximately Rs.10,000 and my Father earns around Rs.7000 per month. We are facing financial crisis due to my ongoing treatment but i am proud of my father that he strives hard to arrange the financial aid required for my treatment.
Please contact my well wisher Mahesh Bandel Uncle who helped me to write this request. for further details and authenticity of my plea. You can contact him by clicking on ' Contact Organiser' button below.
May you fight this disease and rise to be a fighter. Best wishes and blessings. God bless you!
Hope she gets well soon!!


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La perinola o pirinola es un trompo de material duro que tiene en sus contornos distintas escrituras. Al hacerla girar y al detenerse deja una cara con la inscripción de la suerte por lo que se utiliza para jugar y hacer apuestas.

Preparativos: los jugadores fijan el valor de una apuesta y arman el pozo inicial colocando una apuesta cada uno. Se determina quien va a ser el primer jugador.

El juego comienza cuando el primer jugador hace girar la perinola con la mano, que es una especie de peonza con seis caras planas, en cada una de las cuales hay escrita una leyenda. Cuando la perinola deja de girar, el jugador en turno hace lo que dice la leyenda de la cara que haya quedado boca arriba; ésta, generalmente, ordena al jugador que tome o que deje cierta cantidad de fichas de la pila inicial.  En caso de que la cantidad a tomar sea todo, el montón se vuelve a formar como al inicio del juego.

Queda fuera del juego aquel jugador que se queda sin elementos para apostar.
Resulta ganador quien se queda con todos los elementos.

Véase también
Dreidel

Bibliografía

Enlaces externos

 - 29kJuegos tradicionales La perinola

Juegos de azar
Juegos infantiles
Juegos de Colombia
Juguetes típicos de México
Juegos tradicionales

redpajama_set_name: RedPajamaWikipedia


As you may know, I love cloudy skies, so I just had to take a photo of this fascinating cloudy sky over a glacial lake. I can't remember exactly where this was, but I think somewhere in Mackenzie country. The colours of this landscape are so different from what I'm used to so I really loved being here.
What does the landscape look like where you live? Any interesting features unique to your area?


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Edward M. Lennie dit Eddie Lennie, dit le , est un arbitre australien de football. Il commence en 1991, devient international en 1996 et arrête en 2004.

Carrière
Il a officié dans des compétitions majeures :
JO 1996 (2 matchs)
Coupe du monde de football de 1998 (2 matchs)
Coupe d'Océanie de football 2000 (4 matchs)

Références

Liens externes

Naissance en octobre 1959
Arbitre australien de football
Arbitre de la Coupe du monde de football 1998


Renowned blues musician, Walter Trout, has proudly become a Patron of the British Liver Trust.
Walter received a liver transplant after nearly facing death in 2014. He now feels like a new man and has immense gratitude for his supporters, his donor and the medical community who gave him a second chance at life. Recognizing that liver disease is a 'silent killer' and many people are unaware of it until it is too late, he has become a Patron of the Trust because he wants to help raise awareness, much needed funding and encourage everyone to ensure that their loved ones know their wishes regarding becoming a donor. Walter is supporting the Trust in his upcoming November UK tour.
His new album Battle Scars, released on Provogue/Mascot Label Group chronicles his battle with liver failure. Walter found out that he had liver disease in 2013. His health deteriorated and he almost died. He spent a month in intensive care and then a further five months on a liver ward first waiting for a transplant and then recovering after surgery. His fans – many of them from England – used the internet to support Walter and help him raise $250,000 needed to help towards his medical bills for his liver transplant in 2014.
Liver disease is currently the third commonest cause of premature death in the UK – more than 12 million of us are at risk of liver disease yet we have very few resources compared with other conditions. With more funding into better research and care and by encouraging many more people to become a donor we can save more people's lives. Without the funding that supports research and new developments in care and without people agreeing to donate their organs, Walter would not be alive today. He now feels he wants to give something back and raise awareness for the condition.
At the end of each of each show on the tour, there will be leaflets at the merchandise booth with more information, where Walter will also be signing records.


MemSQL supports Kerberos third-party authentication using the Generic Security Services API (GSSAPI). When a Kerberos-authenticated user attempts to connect to MemSQL, their credentials are automatically validated and they are optionally granted access to MemSQL.
This document explains how to enable, configure, and troubleshoot this feature.
This document assumes that you are familiar with Kerberos concepts and know how to administer a realm. Depending on your Kerberos environment, some of the guidance in this document may require changes to adhere to your realm's configuration.
MariaDB Client Version: Currently, no official MySQL clients support Kerberos/GSSAPI authentication; however, specific MariaDB clients do support Kerberos, and they are compatible with MemSQL. See Client Driver Downloads for the ODBC, JDBC, and C++ clients that you can use to authenticate MemSQL users.
MariaDB GSSAPI Authentication Plugin: In addition to a MariaDB client or connector, you must also have the GSSAPI Authentication Plugin available on the connecting machine. The plugin is then referenced in the connection string when connecting with a client or connector. The GSSAPI plugin is packaged with the MariaDB database software itself, so you must download one of the stable or prerelease versions here. Once downloaded, the plugin is located in a path such as mariadb-<version>/plugin for Unix/Linux, or mariadb-<version>\lib\plugin for Windows. For more information about the plugin, see the MariaDB documentation.
To authenticate users with the Kerberos tickets, MemSQL must be provided with a service principal name (SPN) stored in a keytab. The SPN is a unique identifier for MemSQL, and the keytab file contains the encrypted keys for the MemSQL SPN. Together, the SPN and keytab file serve as a credential for MemSQL that allows your cluster to automatically authenticate Kerberos users.
Your MemSQL deployment environment may affect the way your SPNs and keytab files are generated. For example, if you are using a load balancer in front of your MemSQL cluster, its SPN may need to be added to the keytab file that will be copied to each aggregator node in the cluster.
The following sections describe how to create an SPN and keytab file for KDC servers running on Unix/Linux and Windows.
To create a SPN for MemSQL, you must have sufficient permissions to access the KDC server's terminal and to create new SPNs.
A keytab file is a credential that must be handled in a secure manner. Ensure that you always take the appropriate precautions when storing or copying a keytab file.
The following steps use the kadmin command-line interface to create a SPN and keytab file on a Unix-based or Linux-based KDC server. See the kadmin documentation for more information.
$ kadmin -q "addprinc -randkey memsql/host.domain.com"
$ kadmin -q "getprinc memsql/host.domain.com"
$ kadmin -q "ktadd -k /path/to/memsql.keytab memsql/host.domain.com"
Note the KVNO value, which represents the Key Version Number (KVNO). If you create a new keytab in the future, the encryption keys stored in the older keytab will be invalidated. You can use this KVNO value to compare an older and newer keytab file for versioning purposes.
The following steps use ktpass.exe, which is a command-line tool available for Windows versions configured with Active Directory Domain Services (AD DS). When ktpass.exe is executed with the appropriate parameters, it generates a keytab file that maps an existing Active Directory user principal name (UPN) to a MemSQL service principal name (SPN) and allows Kerberos-authenticated users to connect to the cluster. See the ktpass.exe documentation for more information.
Once you have generated a SPN and a keytab on the Kerberos KDC server, you can configure MemSQL to allow access for Kerberos-authenticated users.
Depending on your MemSQL cluster configuration, the SPN and keytab file may need to be configured on one or many aggregator nodes. For example, if your cluster contains one master aggregator and one child aggregator, you must configure both nodes to allow client connections for Kerberos-authenticated users.
The following steps describe how to use the SPN and keytab file you created in earlier sections.
A keytab file is a credential that can be used to access network resources, so it is important to consider the security implications of copying it from one location to another. Additionally, since a keytab is a binary file, you must use a transfer method that will not corrupt the file. For example, if FTP is configured to transfer as an ASCII file type instead of a binary file type, the keytab will be corrupted.
Use a secure file transfer method, such as scp, to copy the keytab file from the KDC to each MemSQL aggregator node. After the keytab file has been copied, its filepath on the aggregator node will be used to configure the memsql.cnf file in the next step.
You cannot use the SET GLOBAL VARIABLE command when setting these variables. They must be configured in the memsql.cnf file on the applicable node using the steps described below.
Ensure that the cluster is in a stopped state before continuing.
Open the node's memsql.cnf file in a text editor.
Repeat this process for each aggregator node's memsql.cnf file.
After the memsql.cnf file has been updated for each aggregator node in the cluster, start the cluster.
Now that the MemSQL cluster has been configured, you can grant permissions for a Kerberos-authenticated user to connect to MemSQL. To grant permissions, you simply map a MemSQL user to their Kerberos SPN. You can map Kerberos SPNs in two ways: by providing the name of a single Kerberos SPN, or by using regular expressions to match with or more Kerberos SPNs.
When this command is executed, the 'user1'@'%' MemSQL user is mapped to the user1@EXAMPLE.COM Kerberos SPN. After the command is executed, all subsequent MemSQL connection attempts for 'user1'@'%' will require a ticket-granting-ticket (TGT) from the KDC for the user1@EXAMPLE.COM SPN. If a user attempts to connect with a TGT for a different SPN, the connection will fail.
You can optionally use regular expressions in the AS clause of the GRANT statement. This functionality is useful if you want to map a single MemSQL user to one or more Kerberos SPNs across multiple domains, or if you have other unique realm requirements.
By using regular expressions in your GRANT statement, ensure that you have validated that the expression evaluates in an expected manner. Without thorough validation of your regular expression, unintended results may occur.
Regular expressions can only be used in the AS clause of the GRANT statement. By default, regular expressions are disabled in the AS clause.
To enable regular expressions support, the first character in your AS clause must start with a forward slash: /. We recommend that the string should use standard ^ (start of line) and $ (end of line) operators to indicate when the regular expression should start and end.
The example above differs from the previous example by omitting the ^ start of line operator. This simple omission introduces significant security implications, because another Kerberos SPN might contain the substring of user1@EXAMPLE.COM, such as other_user1@EXAMPLE.COM. Always ensure that your regular expression produces the intended result.
After a MemSQL user has been associated with a Kerberos SPN, you can connect to MemSQL as that user. Before authenticating however, you must have a valid TGT in your credential cache. Depending on your domain and system configuration, there are many different ways to acquire a valid TGT. For example, the most common method on Linux/Unix is to execute kinit from the terminal. On Windows, TGT acquisition and renewal is typically done automatically, as per the Active Directory group policy configuration.
mysql --plugin-dir=/path/to/plugin-dir -u user1 --prompt="memsql> "
Note that this authentication method requires you to specify the plugin directory that contains the auth_gssapi plugin for MariaDB, as described in the Prerequisites section above. Depending on the host operating system, you must provide the appropriate GSSAPI authentication plugin version. MariaDB provides authentication plugins for 32-bit and 64-bit versions of each supported operating system.
You may encounter errors during initial configuration or when attempting to connect to MemSQL as a Kerberos-authenticated user. This section describes common error scenarios and how to resolve them.
This error scenario is caused by attempting to connect as a MemSQL user with a SPN that differs from the SPN to which the MemSQL user is bound. For example, a MemSQL user ('user1'@'%') is bound to the user1@EXAMPLE.COM SPN. The client's currently initialized SPN is user2@EXAMPLE.COM. If you attempt to connect to MemSQL as the 'user1'@'%' user, MemSQL will deny access because 'user1'@'%' is not bound to user2@EXAMPLE.COM. To resolve this error, retrieve a TGT using kinit for the correct user1@EXAMPLE.COM SPN and try the connection again.


text:
Q: Perl, Compare two hashes - Can't use string ("1") as a HASH ref Please bear with me, I've never asked a programming question on the internet, so I am not sure how to explain myself.  In any case, on with the questions.
My goal is to compare two hashes, each of which is the contents of a database, and update the local database's record of the remote database's entry where the value of the remote db's ident doesn't match local's record of ident, which is named unqiue_ident.
I currently have to update the local database's status to disabled when the remote no longer matches. I need to use local db's ident as the conidtion.  e.g. update local set status = 'disabled' where ident = '1'.
I am able to compare the hashes with positive results using the code below.
use strict;

my %remote_hash = (
    ident    => '1001',
    name     => 'remote hash name',
);
my %local_hash  = (
    ident         => '1',
    remote_ident  => '1001',
    name          => 'remote hash name',
    status        => 'active'
);

foreach (sort keys %local_hash){
    unless (exists $remote_hash{$_}){
        print "$_: not found in Remote hash\n";
        next;
    }
}

But, I do not understand how to use the code to pull out the ident for updating the db entry.  One of the method's I've tried, and what seemed to make the most sense to me was:
foreach my $test (sort keys %local_hash){
    unless (exists $remote_hash{$_}){
        print "$_: not found in Remote hash\n";
        print $test{ident};
        next;
    }
}

With this, I will receive the following error: Can't use string ("1") as a HASH ref while "strict refs" in use
Additionally, if I don't call the ident, and run the code as:
foreach my $test (sort keys %local_hash){
    unless (exists $remote_hash{$_}){
        print "$_: not found in Remote hash\n";
        next;
    }
}

It breaks the whole thing, and sees all records as a mismatch.
I am not sure how to approach this further.  Can some one assist me in the direction to correct the problem I am having?

Edit - In reply to simbabque.  I think I made a gross misrepresentation of the hashes.
Here is a better breakdown of the hashes in question.
When dumping the remote hash, this what I get.
$VAR1 = '1001';
$VAR2 = 'NAME 1';
$VAR3 = '1002';
$VAR4 = 'NAME 2';
$VAR5 = '1003';
$VAR6 = 'NAME 3';
$VAR7 = '1004';
$VAR8 = 'NAME 4';
$VAR9 = '1005';

When dumping the local hash, I get:
$VAR1 = [
          {
            'ident'             => '1',
            'group_name'            => 'NAME 1',
            'status'        => 'active',
            'unique_id'             => '1001',
          },

For the remote hash I turned an array into a hash by doing the following:
my %remote_hash;
foreach my $data_pair( @remote_hash_list){
    my $ident = $data_pair->{ident};
    my $group_name = $data_pair->{sched_group};
       $group_name =~ s/\s+$//g;

    $remote_hash{$ident} = $group_name;
}

I am kinda of winging this, so I am not sure if this is even the right method of turning an array into a hash.  If I dump the array @remote_hash_list I get:
$VAR1 = {
          'ident'       => 1001,
          'sched_group' => 'NAME 1',
        };

When I tried the method you've explained, the $hash{value}; is empty.
I assume though, this has to do with how the hashes are built?

A: There are a few issues here:

*

*you are iterating over a list of keys and you put each key in $test, but you are looking at $_; that variable is not used in your loop. It probably has old data.

*you are using the scalar $test (which is one of the keys from %local_hash) as another hash.

What you want to do is look at the remote key ident after you have compared your hashes.
According to your description of the problem, all you need to do is this:
if ($local_hash{status} ne $remote_hash{status}){
  update( $remote_hash{ident}, $remote_hash{status} );
}

For those two hashes you do not even need a loop.
If you have a bunch of hashes, you would do that in a loop over the hashes, like the result of your remote query.

redpajama_set_name: RedPajamaStackExchange


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Join us for an Easter Sunrise Service in Town Square on Sunday, April 21st at 6am adjacent to Corcoran Pond (rain location is in the Brookside Room). There will be coffee and pastries in the Brookside Room immediately following the service.
It's time to clean up our backyard! Working up a sweat as we hike down and clean up the slopes we love. Then it is time to pig out on pulled pork! Your bag of trash is your ticket to the free Pig Roast BBQ with music, games, food, and $1 brews!
9:30-12:30am Clean up in base area and on MTN.
Gloves and trash bags provided. We will meet at the base of the Green Peak Lift.
Everyone welcome & it's FREE! Meet at Packard Field to decorate at 10am. We will provide some decorating materials, but feel free to bring your own. Parade float competition winners not only have braggin rights for a year, but will have their victory forever commemorated on our 'Spirit Cup' trophy. $10 entry for float. Contact the Rec Dept. with your float entry information at (603) 236-4695.
Start your holiday with a bang during Waterville Valley's famous Fireworks show over Corcoran Pond.
It is everything you have ever wanted. Enjoy an evening of chocolate temptations in Town Square accompanied by a free outdoor concert as the sun sets! Pack a picnic or just bring a bottle of your favorite red or white libation and enjoy an indulgent evening in the square, on a blanket, or with your toes in the sand!
Our Season Passholder Appreciation BBQ is Saturday, March 30th outside of the Freestyle Lounge. Meet at the White Peaks Quad for first tracks at 7:30am, then refuel at the BBQ.
The next generation of Alpine stars will race Giant Slalom and Slalom here on Tommy's World Cup run!
The nation's best alpine ski racers will descend upon New Hampshire's Waterville Valley Resort in 2019 and 2021 for the Toyota U.S. Alpine Tech Championships - the biggest race the resort has hosted since the White Circus visited in 1991 when Julie Parisien won the World Cup giant slalom.
We're now accepting volunteers for these events! Register here to volunteer.
Please join us for an evening of celebration as we recognize Paul and Marcia Leavitt, Bill Cantlin, and Tom Gross Jr. for their decades of devoted service and contributions to the Waterville Valley community.
This year's induction ceremony will take place on Saturday March 9th, 2019 at the Waterville Valley Conference Center.
Doors open at 5pm, cocktails and appetizers from 5:30-6pm, Dinner will be served at 6pm, and the induction program starts at 7pm.
The cost is $49 per ticket or $490 for a reserved table of 10. Tickets will be on sale soon.
Carve it up with BMW March 1-3 and March 8-10 at Waterville Valley Resort.
On Sunday, February 24th from 8am-2pm come test out Parlor's fleet of skis and snowboards. Parlor is New England's premier custom ski builder, creating skis customized for you, by you and with you, each one as individual as you are.
Specials on Coors Light and live entertainment from Corey Brackett.
The Radio Indie617 Coors Light Drafters are an elite team of skiers and riders bringing you some of the greatest après parties in New England! Prepare yourselves for a blizzardy season of music, games, shenanigans and your chance to win lift tickets and tons of amazing ski gear.
We're talking skis, poles, gloves, goggles, jackets, t-shirts and much more! Accept no substitutes.
Sign up as an individual or team, raise or donate $100 ($150 if you need a ski pass for the day), and enjoy:"No Wait" Express Lift Line Privileges! Souvenir Ski-A-Thon Tee Shirt!All participants receive a commemorative Tee Shirt, but the prizes just build from there.
Join us at T-Bars for live entertainment from Eric Grant.
Join us at The Freestyle Lounge for live entertainment from Corey Brackett.
This event is sold out. Celebrating 20 years as a stand-up comic, Bob Marley is one of the hottest and most sought-after comedians in the country. He has been featured in his own special on Comedy Central, and has appeared on nearly every show on the late-night TV circuit including The Late Show with David Letterman, "The Tonight Show" with Jay Leno, "Late Night" with Conan O'Brien, and "The Late Late Show" with Craig Ferguson and Craig Kilborn. Don't know Bob? Check out his website.
Join us at The Freestyle Lounge for live music from Eric Ryan Williamson.


Nominated by their peers and team members, here are Top 10 Chiropractors who are using social media effectively in their community and a quick look at their main Facebook Page with Tristan and Nicole's lively commentary!
Enjoy the show. Nominate your chiropractor for the next Top 10 List in the Fall by email nicole@chirosocialtech.com. We need their name and location. They should be easily found from there given their social media success!
KUDOS to those we name and everyone sharing your message out there!!
Have you registered your team for the ChiroSushi Summit this year?! It is guaranteed to impress. The lineup of speakers, the high caliber vendors and actionable breakout sessions will give your team the tools they need to 10X your chiropractic office!
Every Thursday around 12:30 PM EST for Your weekly BYTE of Chiropractic Social Media Marketing and Technology Tools to implement and elevate your practice growth.