Biohazards need to be eliminated, cleaned, decontaminated, transferred and properly gotten rid of to ensure the health and safety of all involved. Biohazards include bacteria and viruses that present health risks to family, good friends or staff members who may come in contact with biohazards. Blood-borne illness, bacteria, and viruses discovered in blood and other physical fluids can live outside the body for days and in some cases weeks. HIV & Hepatitis are the most frequently understood threats that can be contracted from biohazards. When a traumatic accident, suicide, criminal activity, death occurs in Milwaukee or you have biohazards on your home it must be cleaned and decontaminated correctly.
In the house, in the office, as well as in a car, boat or aircraft, safeguarding yourself and others from direct exposure to biohazards and blood-borne pathogens need to be your number one concern and concern. When blood does not get cleaned correctly the biomaterial starts to break down, a strong odor originates and flies are drawn in to the scene that spread out contaminates to other locations that must also be found and cleaned up. We will check the property and recognize all locations that have actually been exposed to biohazards and get rid of, decontaminate, and clean up everything to reduce the health risk.
We are an expert biohazard cleanup business in Milwaukee 53202 certified by the Department of Public Health that will ensure the clean-up is done properly to minimize future danger on infection to others. Our expertly experienced team will clean, decontaminate, and dispose of all blood and biohazard materials so you can progress and be assured that you, your family, pals or coworkers are safe.
Can My Employee Cleanup Biohazards In Milwaukee 53202?
Companies must follow strict standards which mandates that workers have proper and comprehensive training before they are positioned in a position to clean up or deal with any event that might expose.
We sanitize, tidy and get rid of all biohazards that are present. Cleanup is required from top to bottom; ceiling, walls, furniture, individual items and even lights. Each small spot and square inch in a room that is exposed to biohazards is considered a potential source of infection and must be properly decontaminated and cleaned up.
There is more than exactly what meets the eye and our technicians are trained to identify, tidy and decontaminate the tiniest droplets of biohazard material. A thumbnail spot on the floor or carpet might suggest a two-foot size bloodstain on the sub flooring under it or on the floorboard. A tiny droplet of blood on the top of a cabinet drawer or counter top is a sign of more blood inside the drawer or beneath the handle. With time biohazards begin to cause an odor and should be discovered, disinfected and cleaned up to be sure that the environment is safe, safe and ready for use.
Each and every cleanup is special and poses various challenges. In the majority of hoarded homes we discover biohazards and conditions that present a biological concern that must be resolved so nobody gets ill. We are a Biohazard business that concentrates on Hoarding remediation when there is a lot of debris, which in many cases includes biohazards.
When residents of a house can not freely move about the house, should climb up over debris to obtain from one room to another, or are not able to use the bathroom, shower, or safety store and cook food in the kitchen area it poses a considerable risk to their health and safety. We frequently get calls from a member of the family or buddy of someone who has fallen or became ill due to the excess debris in the home. Extreme hoarding is also a fire threat and a danger to the local and their neighbors.
We securely navigate threats such as rodent feces, human waste, bed bugs, fleas, animals, mold, asbestos, and years of dirt and dust concealed beneath, in or behind the debris. Rodents and their droppings present the risk of Hantavirus, a breathing illness that can be fatal if not dealt with effectively.
Exactly What Do Forensic Crime Scene & Hazmat Cleaners In Milwaukee 53202 Do?
Our focus as forensic and aftermath cleaners is to tidy up biohazards such as blood, physical fluids and the contaminated environments at a criminal activity scene, or other trauma scene. An enormously dangerous job for those who do not have the training, protective gear and specialized devices to deal with biohazard material. We use our extensive knowledge to thoroughly clean-up a trauma scene with careful focus on detail and vast experience along with the legal permits required to dispose of any biohazards. When we're done, you can be positive the area is thoroughly cleaned, disinfected, and safe to utilize.
Most people handling a circumstance that needs forensic cleaning and repair don't understand what it requires to thoroughly clean and restore a location where there has actually been a traumatic event. Once we become aware of your specific circumstance, we will describe to you exactly what our procedure would be to effectuate a correct cleanup for your particular scenario. With our detailed knowledge and wealth of experience, we make certain the location is without biohazards and safe to use giving you a new beginning and comfort.
Supplying Forensic Cleaning service across all Wisconsin has a group of professional forensic cleaning technicians readily available 24/7 to assist in the removal and restoration of your home or business. Our professionals are passionate about improving the biohazard removal industry standards and offering a rapid and inclusive service to all regions in full. Our professionals are the industry leaders in forensic cleansing, using blood and trauma clean ups, death and suicide cleansing, sewage leak repair, meth lab decontamination and biohazard removal. Utilising ingenious biohazard cleaning processes coupled with advanced equipment, we provide our clients with an exceptional service by the application of tried and tested, job-specific removal procedures for a timely, dependable and effective biohazard remediation and forensic cleaning service. When it pertains to biohazard restoration services, we are devoted to using our technicians with continuous training, managing our clients with a service where safety and professionalism is second to none.
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✎ About Werner von Siemens
Who is it?: Inventor
Birth Day: December 13, 1816
Birth Place: Gehrden, German
Fields: Inventor
Werner von Siemens was born on December 13, 1816 in Gehrden, German, is Inventor. There are certain men who not only have the natural knack towards the sciences but are also capable of turning that natural aptitude into a viable business and although there have been many men who have done it since; German engineer Werner von Siemens remains one of the very first among those inventor-entrepreneurs. Siemens, after whom the famous telecommunications company is named, is regarded as one of the most important visionaries in the history of the industry. It was his ideas that laid the foundations for the company that became a global behemoth in the field of telecommunications. Werner rose from poverty and went through plenty of hardships in his life before he could become an engineer. He joined the German Army in order to complete his education but ended up contributing decisively in the war by building communication channels that were way ahead of their time. Siemens will forever be remembered as someone who worked hard and persevered in order to accomplish all his lofty achievements.His biggest legacy will certainly remain the multinational telecommunication company 'Siemens AG' that he founded, of which the majority shares of the multibillion dollar company are still owned by his descendants. Read on to learn more about the life, works and achievements of this erudite inventor and entrepreneur
Werner von Siemens is a member of Telecommunication
Does Werner von Siemens Dead or Alive?
As per our current Database, Werner von Siemens has been died on 6 December 1892(1892-12-06) (aged 75)\nBerlin, Province of Brandenburg, Kingdom of Prussia in the German Empire.
🎂 Werner von Siemens - Age, Bio, Faces and Birthday
When Werner von Siemens die, Werner von Siemens was 75 years old.
Popular As Werner von Siemens
Occupation Telecommunication
Born December 13, 1816 (Gehrden, German)
Town/City Gehrden, German
Nationality German
Werner von Siemens's zodiac sign is Capricorn. According to astrologers, Capricorn is a sign that represents time and responsibility, and its representatives are traditional and often very serious by nature. These individuals possess an inner state of independence that enables significant progress both in their personal and professional lives. They are masters of self-control and have the ability to lead the way, make solid and realistic plans, and manage many people who work for them at any time. They will learn from their mistakes and get to the top based solely on their experience and expertise.
Werner von Siemens was born in the Year of the Rat. Those born under the Chinese Zodiac sign of the Rat are quick-witted, clever, charming, sharp and funny. They have excellent taste, are a good friend and are generous and loyal to others considered part of its pack. Motivated by money, can be greedy, is ever curious, seeks knowledge and welcomes challenges. Compatible with Dragon or Monkey.
Some Werner von Siemens images
Famous Quotes:
A number of great factories in the hands of rich capitalists, in which "slaves of work" drag out their miserable existence, is not, therefore, the goal of the development of the age of natural science, but a return to individual labour, or where the nature of things demands it, the carrying on of common workshops by unions of workmen, who will receive a sound basis only through the general extension of knowledge and civilization, and through the possibility of obtaining cheaper capital.
Ernst Werner Siemens was born in Lenthe, today part of Gehrden, near Hannover, in the Kingdom of Hanover in the German Confederation, the fourth child (of fourteen) of a tenant farmer of the Siemens family, an old family of Goslar, documented since 1384. He was a brother of Carl Heinrich von Siemens and Carl Wilhelm Siemens, sons of Christian Ferdinand Siemens (31 July 1787 – 16 January 1840) and wife Eleonore Deichmann (1792 – 8 July 1839).
After finishing school, Siemens intended to study at the Bauakademie Berlin. However, since his family was highly indebted and thus could not afford to pay the tuition fees, he chose to join the Prussian Military Academy's School of Artillery and Engineering, between the years 1835-1838, instead, where he received his officers training. Siemens was thought of as a good soldier, receiving various medals, and inventing electrically-charged sea mines, which were used to combat a Danish blockade of Kiel.
Upon returning home from war, he chose to work on perfecting technologies that had already been established and eventually became known world-wide for his advances in various technologies. In 1843 he sold the rights to his first invention to Elkington of Birmingham. Siemens invented a telegraph that used a needle to point to the right letter, instead of using Morse code. Based on this invention, he founded the company Telegraphen-Bauanstalt von Siemens & Halske on 1 October 1847, with the company opening a workshop on 12 October.
He was married twice, first in 1852 to Mathilde Duman (died 1 July 1867) and second in 1869 to his relative Antonie Siemens (1840–1900). His children from first marriage were Arnold von Siemens and Georg Wilhelm von Siemens, and his children from second marriage were Hertha von Siemens (1870 - 5 January 1939), married in 1899 to Carl Dietrich Harries, and Carl Friedrich von Siemens.
Apart from the pointer telegraph Siemens made several contributions to the development of electrical engineering and is therefore known as the founding Father of the discipline in Germany. He built the world's first electric elevator in 1880. His company produced the tubes with which Wilhelm Conrad Röntgen investigated x-rays. He claimed invention of the dynamo although others invented it earlier. On 14 December 1877 he received German patent No. 2355 for an electromechanical "dynamic" or moving-coil transducer, which was adapted by A. L. Thuras and E. C. Wente for the Bell System in the late 1920s for use as a loudspeaker. Wente's adaptation was issued US patent 1,707,545 in 1929. Siemens is also the Father of the trolleybus which he initially tried and tested with his "Elektromote" on 29 April 1882.
The company was internationalised soon after its founding. One brother of Werner represented him in England (Sir william Siemens) and another in St. Petersburg, Russia (Carl von Siemens), each earning recognition. Following his industrial career, he was ennobled in 1888, becoming Werner von Siemens. He retired from his company in 1890 and died in 1892 in Berlin.
The company, reorganized as Siemens & Halske AG, Siemens-Schuckertwerke and – since 1966 – Siemens AG was later led by his brother Carl, his sons Arnold, Wilhelm, and Carl Friedrich, his grandsons Hermann and Ernst and his great-grandson Peter von Siemens. Siemens AG is one of the largest electrotechnological firms in the world. The von Siemens family still owns 6% of the company shares (as of 2013) and holds a seat on the supervisory board, being the largest shareholder.
Werner von Siemens trend
1816 births 1892 deaths People from Gehrden Siemens German electrical engineers German businesspeople German company founders German inventors German untitled nobility German engineers Members of the Prussian Academy of Sciences Members of the Prussian House of Representatives People from the Kingdom of Hanover German railway mechanical engineers Siemens family Werner von Siemens
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Kanton Landivisiau (fr. Canton de Landivisiau) je francouzský kanton v departementu Finistère v regionu Bretaň. Skládá se z osmi obcí.

Obce kantonu
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Externí odkazy

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redpajama_set_name: RedPajamaWikipedia


The Nigerian Ports Authority (NPA) has been adjudged the Most Productive Government Agency of the year by the Global Excellence Communications, Nigeria's Hottest Celebrity Journal in Lagos.
The representative of the MD, NPA, the General Manager, Corporate and Strategic Communications, Engr. Adams A. Jatto (2nd from right) received the Award from the Chief Executive Officer (CEO), IRACHY PR and Founder, African Women Foundation for Nation Building. Dr. Bukky Bello Jaiyesimi (right), and supported by the GM, SERVICOM, NPA, Hajia Harira Mohammed (4th from left), the Asst. Gen. Mgr, Environment, Khadijat Sheidu Shabi (3rd from left), the Principal Mgr, C&SC, Catherine Ude (2nd from left) and the Snr. Mgr, C&SC, NPA, Victoria Tarfa (left) during the event.


Many months ago "Amanda Webster – New for 62" came across my Facebook page. Along with it was a picture of, to this grandmother's eyes, a very young woman. She was a Democrat so I read on.
In that early list of issues Amanda cited, stability for young families, education, sensible legalization of marijuana, affordable health benefits, economic and environmental issues. All very necessary issues given that our incumbent has pretty much not shown up in our neighborhoods to ask how his constituents feel about any of it.
What I found missing was any mention about needs for Senior Citizens. Given the fact that half of the 62nd District will be over 50 years old by 2020 (with me firmly in that category) I decided to contact this young woman. I was not expecting much. She was, after all, a millennial.
What I got back (within an hour) was an invitation to sit and talk together about the needs of seniors. A few days later Amanda and I talked for three hours about the financial and emotional challenges of being and caring for elders. We talked about the difficulty of medical and social services advocacy during crises, the "crap shoot" element of choosing the most helpful medical insurance plan and even the difficulty of old people safely crossing busy state roads to get their mail. We talked about much, much more.
At the end of our conversation Amanda said there was so much more she needed to know about senior lives and needs. Within a week she had set up The District 62 Senior Advisory Committee and put senior needs in the top three elements of her campaign priorities, along with economic and educational needs.
This is my personal story. I have never worked for a candidate before (although I vote any time I can, the first time for Lyndon Johnson). Amanda is as active, interested, thoughtful and clear on all the issues confronting her district. Most of these issues have been ignored or voted against by our current state representative.
When Amanda is elected this Nov. 6, expect to see changes in our state legislation. Expect to have a representative who will listen to our problems. Expect that she will work to make our lives better in the areas we need: fiscal responsibility and economic revival; advocacy for those who have worked all their lives, put into the system, and feel forgotten; affordable education and health care for all of us; sensible gun safety laws; coexistent expansion and success for business and farming and much more.
Bring Amanda Webster YOUR issue. She listens. In fact, she and her campaign volunteers (and I'm one of them) have knocked on thousands of our doors ASKING about our needs.
Most importantly—VOTE for her on Nov 6.


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Freshmen lead Maryland Eastern Shore to 95-69 win
PRINCESS ANNE, Md. (AP) — Freshmen Cameron Bacote and Sean Hoggs combined for 13 3-pointers and 51 points off the bench to lead Maryland Eastern Shore to a 95-69 win over Division III Valley Forge on Friday night.
Bacote made 6 of 12 behind the arc and 11 of 18 overall for 28 points to go with 11 assists. Hoggs was 7 of 8 behind the arc and 8 of 11 overall for 23 points.
Three starters, Tyler Jones, LeAndre Thomas and Ahman Frost, scored 10 points apiece for the Hawks, who shot 51 percent (36 of 70) for the game. Maryland Eastern Shore finished with 22 assists on 36 baskets and only had six turnovers.
Alex Sanchez had 28 points for Valley Forge, making 14 of 19 from the line. London Bariq added 15 points.


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As mentioned the other day I attended the All Class Reunion last Sat. night (Oct. 11, 2014) at Beverly Woods Restaurant. It was fun, but unfortunately I was the only one from our class attending. The food was good and the D J music before and during the dinner was at a tolerable decibel level so people could visit.
There were people from the class behind us including John Sears and Chick Clam. I sat with Chick and with Bill Trapp (Class of 1963) and others. Bill was a star football player at Mount Carmel and later at Notre Dame and played against the Texas Longhorns (then #1 in the nation) in the 1970 Cotton Bowl which I believe was the first bowl game for Notre Dame in over 40 years ( of course bowls for Notre Dame in recent years are much more common).


Jenna from That Bride, shows how she made this romantic burnt candle look. Her venue didn't allow lit candles, so she came up with this brilliant idea of displaying drippy burnt candles on chandeliers. You can find cheap chandeliers on Ebay, like this one for $22.


Jakarta, Indonesia—12 August 2016—The Lausanne Movement's most 'connected' gathering, the 2016 Lausanne Younger Leaders Gathering, came to a close last night. More than one thousand younger leaders and mentors convened for a week from over 140 countries to connect for global mission, in Jakarta, Indonesia, at the Global Campus of Universitas Pelita Harapan.
In a survey participants took, nine out of ten indicated they had made connections and friendships with other YLG2016 participants before arriving in Jakarta. This was largely facilitated by an online platform called the Connector, launched in the year prior to the gathering to connect participants with each other and the preparation materials. A mobile app version of the Connector was released for the gathering, and was heavily used by a vast majority of participants, far surpassing the expectations of the planning team. The app was accessed over 170,000 times as younger leaders and mentors used the app to communicate throughout YLG2016.
Morning plenaries gave room for Scripture Engagement with Anne Zaki, Richard Chin, and René Breuel as Bible Expositors, and the evening sessions centred around 'Wisdom for World Evangelization', with speakers representing every region including Os Guinness, Ravi Zacharias, Becky Pippert, Marina Silva, David Platt, and others.
'The theme of YLG2016 was "United in the Great Story", centred on the biblical story of God's purposes across human history. We heard afresh the call to create, repent, bless, love, reconcile, and worship. Through sharing our stories in the context of widespread cultural diversity, we have been inspired to re-imagine what it looks like to cultivate God's world, turn from idolatry, respond to redemption, restore peace, and work for God's glory'—says David Benson, Programme Chair for the gathering.
In between the plenary sessions, there was much room for prayer and strategizing for global mission. Over 50 topic-based meetings were spontaneously organized by participants. The programme also included a series of laboratory sessions to guide participants through a creative brainstorming process and work towards tangible ways of partnering together through new missional initiatives. By the end of the gathering, over 59 submissions were received of possible missional partnership projects, some of which will be awarded initial funding through spark grants.
The presence of the Chinese delegation at the YLG after their hindrance to attend the Third Lausanne Congress on World Evangelization in Cape Town 2010 was a particular joy. The Chinese participants intensely pursued strategic discussions with nearly every other region of the world seeking to discover how they could partner for global mission. They have a vision called Mission China 2030 to send 20,000 missionaries overseas by 2030. Their meeting with African participants at YLG2016 was particularly fruitful as more than one million Chinese live in Africa and present a largely unreached people group for the African church. Another strong connection point the Holy Spirit was orienting many to was North Korea (DPRK).
A summary video about YLG2016 is accessible here.
Photos and quote images, freely usable for any reporting on this gathering are available on the Lausanne Movement's Facebook page.
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Good evening, VaultVultures! 'Tis I, your delightfully desiccated TombKeeper, hanging out with the artsy crowd tonight. No kidding! I've managed to snare artist, editor and publisher of the spectacular Graphic Classics illustrated fiction series for an interview in the vault! His illustrated collections of classic fiction and poetry are very sophisticated and polished, but also really fun to read-and that's as good as it gets. I just love these books and I'm sure that horror, science fiction and fantasy fans everywhere will love them, too. Please join me in a big Internet round of applause for my guest, Graphic Classics' man-at-the helm, Tom Pomplun.
TK: Welcome to the Creature Feature Vault, Tom. It has been such a pleasure to read your extraordinary illustrated volumes of classic literature. These are very stylish and fascinating books! And what a wonderful idea! How did Graphic Classics come about, and how did you manage to get such an ambitious project off the ground?
TP: GRAPHIC CLASSICS originally began as a spin-off from ROSEBUD, a literary magazine that I have designed and produced (but not published) for the past ten years. ROSEBUD is a magazine of fiction and poetry that I have also worked to make a showcase for a broad range of visual arts. And starting with Issue 18, in 2000, I began adding comics to the mix. While I had a free hand with the art content in the magazine, I wanted a venue where I had more control over the editorial matter, so I decided to create another publication on my own, and I just recently resigned from ROSEBUD to concentrate on my personal projects.
I decided I would do a series of illustrated books, rather than a periodical, which has a more limited shelf life. I knew I wanted to do something that combined comics stories with heavily-illustrated text stories, and that I wanted to do "graphic anthologies" rather than "graphic novels," though I went through a number of ideas before settling on GRAPHIC CLASSICS.
The idea of illustrating classic literature is of course hardly new, and I was influenced by memories of the CLASSICS ILLUSTRATED comics I read in my youth. But I wanted to do something rather different with the idea. Instead of adapting novels to comics, as had CLASSICS ILLUSTRATED and the many similar series that followed, I wanted to concentrate on the shorter works of great authors. That would allow me to work with many artists within a single book and present a wide range of styles. I also wanted to use artists with strong individual styles who could bring their own interpretations to the works.
The books are created to be accessible to all ages, and many teachers have shown an interest in using them in classrooms. But they are written at an adult level, utilizing as much of the author's original language as possible. I believe that by making the books visually exciting I can encourage children to read above their normal level, rather than by oversimplifying the adaptations. My goal in these books is to create entertainment, in the same way that movies present adaptations of classics. Unlike earlier illustrated classics series, my main mission is not to promote literacy and entice children to "Now read the original," though if I can introduce readers to authors they might not otherwise enjoy, that is a bonus.
TK: How do you decide which author's work will translate well to illustrated format?
TP: I have tended to choose authors whose works fall into the genres of adventure, horror, comedy and science fiction. These are stories that I believe lend themselves best to illustration and comics adaptation. And of course the choices reflect my personal tastes. There are many classic authors whose works I greatly admire, but whose stories would not make good comics. Jane Austen's stories, for example, might make good films, but in comics they would be a succession of talking heads in parlor scenes. I want to do comics that can add something to a story, rather than just reiterate it. This was a problem with the original CLASSICS ILLUSTRATED and similar series. They too often turned exciting literature into dull comics. While GRAPHIC CLASSICS may never reach perfection, I promise they will never be dull.
TK: I can vouch for that! The original fiction is surely protected under copyright laws. How do you go about securing permission for your use and adaptation?
TP: On the contrary, most of the stories to date in GRAPHIC CLASSICS were originally published before 1923, and are thus in the public domain. This was one of the things which originally steered me to adapting classic literature when I was considering options for my book series. Frankly, if I had to pay rights for all the original stories it would be impossible for me to afford to produce the books. There are a couple exceptions within the series. The Clive Barker story in the Poe volume is under copyright and I had to obtain permission both from the author and his publisher. I find that authors are generally rather generous to small publishers like myself. Agents, estates, and the large publishing houses are considerably less so. For the Lovecraft book, most of the stories are in the public domain, but for those that weren't, I obtained permission from the Lovecraft estate. They proved the exception by being very helpful.
While the necessity to utilize public domain material seemed at first a restriction, it has opened my eyes to a vast wealth of turn-of-the-century literature that I had not previously read. And I have made an effort to dig out some relatively obscure pieces from each of the authors. This is most evident in the Jack London book which features many of his little-known short stories, rather than his more famous novels. As the series progresses and (hopefully) begins to turn a profit, I would like to expand into literature still under copyright.
TK: The artists who illustrate Graphic Classics are some of the most famous and well-respected talents in the business: Richard Corben (one of my very favorites!), Gahan Wilson, Maxon Crumb, Rick Geary, just to name a few. The artwork and fiction are always married so perfectly! How do you decide which artist's unique style will best suit a particular piece of fiction or poetry?
TP: I do a lot of reading; I have read more fiction in the last two years I have been working on this than I believe I did in the previous twenty. Before I can decide on an artist I first have to decide if a writer's work will translate well to comics at all. And then I need to read all the material I can find to decide if there are enough stories that I feel will work to fill a book. Many authors that I have started to read I have set aside. I want to choose authors with a wide range of stories that I can assign to a correspondingly wide range of artists.
As I read the stories I try to visualize them in different styles. How would this look illustrated by Richard Corben, or how would this work illustrated by Hunt Emerson? I have a large and continually growing list of artists with whom I have already collaborated as well as artists that I hope to work with in the future. When I have chosen a story I go down the list, trying to visualize it done by each artist. Usually one jumps out as the obvious choice, though occasionally that choice doesn't present itself. In that case I start doing research, going through publications and searching the internet until I find the artist I think can best do the story. I try to involve illustrators, cartoonists and gallery painters as well as comics artists in the books. And among comics artists I have included those from the mainstream, the indie presses, and online comics as well as underground comix greats. I have made a special effort to include women artists, often underrepresented in comics anthologies, and have tried to expand the international scope of GRAPHIC CLASSICS. I am now working with artists from Canada, England, France, Italy, Greece, Australia, South Africa and the Philippines, as well as all over the U.S..
When I have selected the perfect artists, then I of course have to contact them, which is not always simple. Many are easy to find, while others I have found through referrals from artists and writers. And once I reach them I have to convince them to do great work for the ridiculously low payment I can afford. While a number of artists have turned me down, a surprising number are willing to work at lower than their normal rates, because they are interested in the project and feel I am creating a quality product.
The biggest joy in this project is the opportunities I've had to "meet," if only through letters, e-mails, and phone calls, a huge number of artists. Many of them are new to me, while others, such as Gahan Wilson, Richard Corben, Frank Stack, Skip Williamson, Nick Cuti, Spain Rodriguez, Trina Robbins, Dan O'Neill, Shary Flenniken, S. Clay Wilson and Robert Crumb are talents I've admired most of my life. Sadly, a pair of artists I had just begun to know have passed away during the production of the books; Tom Sutton and Vince Fago. Others are becoming growing friendships.
TK: Your own illustrations are quite remarkable. What is your background, and which hat do you prefer wearing most — artist, editor or publisher?
TP: Thank you, I'm flattered, but I don't consider my own abilities as an illustrator to be on a par with the other artists in GRAPHIC CLASSICS, which is why I have (with one exception) resisted the temptation. While I have degrees in both fine and commercial arts and studied illustration at the Art Institute of Boston, I believe I am a much more competent designer and typographer than I am an illustrator. I worked for twelve years as an ad agency art director and still do freelance design work which is mostly how I fund GRAPHIC CLASSICS.
As a small publisher I am everything from designer and editor to shipper and bookkeeper. I most enjoy planning and physically creating the books. The part of the job I dislike most and perform least successfully is the sales and promotion.
TK: Graphic Classics is indisputably your baby and a one-man operation. How is it possible to produce such a polished and professional product without a staff?
TP: While this is a small business, operating from my home, I was determined to produce a product that I feel can compete on a quality level with anything from the large publishers. While I have no staff, I am greatly aided by my wife, Georgene, who is a painter and graphic designer. She provides not only moral support, but also valuable advice as she was for twelve years the art director of a mid-size book publisher in Chicago. And she is a great proofreader. Additional proofreading assistance is provided by Eileen Fitzgerald, a professional editor for University of Wisconsin Publications. And I have had much advice and support from the series' artists and writers, especially author Mort Castle, who contributed comics bios of Jack London and Ambrose Bierce. I have made a number of contacts in the comics industry who have been helpful, particularly Patrick Rosenkranz, author of the underground comix history REBEL VISIONS.
TK: So far, you've produced illustrated works by Edgar Allan Poe, Arthur Conan Doyle, H. G. Wells, H. P. Lovecraft and a truly stunning collection of illustrated and rather arcane little gems by Jack London. What can we look forward to seeing next from Graphic Classics?
TP: The next volume will be stories by Ambrose Bierce, and I think it will be the most impressive collection yet (though I like to think that of each successive volume). A total of 43 artists have contributed to the book, and keeping track of it all has been a monumental task. But nearly all the artwork is in and now I just have to put it all together. English artist John Coulthart has completed a stunning version of Bierce's most famous story, "An Occurrence at Owl Creek Bridge," and new comics adaptations of other stories are by Milton Knight, Frank Cammuso, Stan Shaw, Mark Nelson, Annie Owens, Michael Slack, Rick Geary, and Italian artist Francesca Ghermandi. I have also included a revised version of Gahan Wilson's adaptation of "The Boarded Window." Well-known greeting card artist Leslie Murray has illustrated excerpts from "The Devil's Dictionary," which is also featured on the cover by Justin Hampton. The largest section of the book is dedicated to "Bierce's Fables," a collection of poems and short pieces from Bierce's newspaper columns which are presented in one- and two-page adaptations by 29 great artists including Dan O'Neill, Skip Williamson, Shary Flenniken, Johnny Ryan, Evert Geradts, and political cartoonists Mike Konopacki, P.S. Mueller and William L. Brown. The book will be available in mid-June.
The seventh book in the series will be GRAPHIC CLASSICS: BRAM STOKER. As it has been adapted countless (pun accidental) times and is too lengthy to present properly, I have elected to not adapt DRACULA in its entirety. Instead I am presenting two excerpts from the book, illustrated by John Pierard and British great Hunt Emerson, plus a "Dracula Gallery" with individual illustrations by Spain Rodriguez, Maxon Crumb, S. Clay Wilson, Jeff Gaither, Allen Koszowski, Michael Manning, Mitch O'Connell, Lisa K. Weber, painters Skot Olsen and Todd Schorr, and Australians Neale Blanden and Anton Emdin. The lead story for the book will be an adaptation of LAIR OF THE WHITE WORM by South African artist Rico Schacherl, with additional stories by Richard Sala, Onsmith Jeremi, J.B. Bonivert, Lesley Reppeteaux, Gerry Alanguilan and Evert Geradts. The cover will be by gallery painter Glenn Barr, with an introduction by Mort Castle. All the art is underway, and the book is scheduled for September.
Other volumes are in planning stages, including Mark Twain and Robert Louis Stevenson.
TK: I cannot recommend more highly these amazing collections of illustrated stories and poems. Where do we go to get our copies?
TP: The books are distributed to comics shops and bookstores by Diamond Book Distributors. They are available through Amazon.com, and I particularly appreciate direct orders through my website at www.graphicclassics.com .
TP: This is something I have thought about and hope to offer in the near future. The GRAPHIC CLASSICS website presents short bios of the series' artists and examples of their work, and I plan on adding original art and prints for sale. I still need to work out the logistics with the artists. The main obstacle is finding time to set it up while keeping up on the production of new volumes of GRAPHIC CLASSICS. If enough interest is shown I'll certainly give it a priority. Readers can contact me at tom@graphicclassics.com .
Thanks for the invitation, Judy. This has been a pleasure.
TK: Thank YOU, Tom! The pleasure has been all mine.
And now, here's a special treat for Creature Feature fans: Two full- page illustrations from Graphic Classics' upcoming illustrated collection from the great American author, Ambrose Bierce! Click Here to see a page from "An Occurrence at Owl Creek Bridge" illustrated by John Coulthart, and click here to view a page from "The Race at Left Bower" illustrated by Frank Cammuso. Great stuff, TombRats! You can pre-order a copy of this sure-to-be-collectible Ambrose Bierce collection by clicking on www.graphicclassics.com .
Okay, VaultVultures and TombRats, I want to hear the pitter-patter of tiny claws beating a path down to the Tomb, where I'm featuring my personal evaluations of five-count 'em, FIVE-- of Graphic Classics' outstanding illustrated collections. As always, last one into the Tomb is a rotten vulture's egg.
Inspired by his voracious love of literature, Tom Pomplun started Graphic Classics in 2001 as a series of graphic novels that would allow both adults and children alike an opportunity to enjoy short stories, poems, and novel excerpts written by famous "classic" authors adapted and illustrated by various high-profile illustrators and artists.
Newsarama: Before we get into the nitty-gritty concerning the Graphic Classics series itself, let's talk about you. What are your roots from both a comic book and literary perspective, and how what motivated you to start the Graphic Classics series?
Tom Pomplun: I have degrees in fine and commercial arts and many years of experience as an advertising art director. But the most immediate predecessor to Graphic Classics was Rosebud, a literary magazine I designed and produced for ten years - though I was not the publisher. Rosebud is a magazine of poetry and short fiction which, during my tenure as art director, I strove to make into a showcase for art as well.
Rosebud often hosted "theme" issues, and with Issue #18, I assumed temporary editorial control and assembled the "Rosebud Cartoon Issue". It featured both reprint and original comics and panel cartoons by artists including Robert Crumb, Joost Swarte, Mitch O'Connell and Mark Nelson. From that issue on, I always included comics as part of the literary mix, along with the fiction and poetry, with work from Jack Jackson, Roger Langridge, Brad Teare, Skip Williamson and others. Rick Geary and P.S. Mueller became regular columnists.
But the comics met with mixed reactions from many of the more traditional literary magazine readers. I also found that the comics part of the magazine was becoming much more interesting to me personally than the other literature. Furthermore, after ten years, I wanted a venue where I could produce something that reflected my own tastes, without being subject to committee. Thus I decided to start the Graphic Classics series and to publish it myself. Many of the artists who had worked with me on Rosebud joined in contributing to the early volumes.
NRAMA: Let's make this perfectly clear right off the bat: some comic fans may associate your Graphic Classics series with the now defunct Classics Illustrated series. While Classics Illustrated usually charged one writer and artist with adapting a full-length work, your Graphic Classics series takes a slightly different approach, instead utilizing several artists per volume to illustrate poems or excerpts of short stories. Did you choose this method specifically to differentiate your series from the former, or did other factors play into the decision as well?
TP: Of course I was inspired in part by my childhood memories of the Classics Illustrated comics, but I have taken an intentionally different approach to the idea. First, the books are not simplified for children, as were the original Classics Illustrated, nor do they contain the old "you've read the adaptation, now read the original" message at the end. If reading my books encourages someone to read more by an author, that is great, but I am not on an educational mission. My purpose is to create entertainment. Ironically, I believe that objective ends up creating a product that is more likely to be read by children than one where the content is oversimplified to an insulting level. While the stories are adapted at an adult level, utilizing as much as possible of the author's original language, I take pains to minimize the sexual content of the art and the racism and sexism common in much of this 19th century literature. I want these books to be entertaining for adults, yet accessible to all ages.
As you noted, another difference is that I have concentrated on presenting shorter pieces, rather than the single novel adaptations usually found in Classics Illustrated and the many similar publications which followed. The main reason is that it allows me to use a number of illustrators and to present a wide variety of artistic styles in each book. While there were some great artists in the original Classics Illustrated and the follow-ups, many of them were also rather pedestrian. It is my feeling that many of these succeeded only in taking exciting stories and turning them into dull comics. When I started Graphic Classics I was determined that, whatever other fault my books might have, they would not be dull. I accordingly tend to choose artists with very strong and distinctive styles, who can bring their own interpretations to the works. Because these styles are so strong and distinctive, I like to present a range of them in each book.
While Graphic Classics does present some greatly-abridged novels, excerpts and poetry, the mainstay of each volume is short stories.
NRAMA: Do you pick all of the literary works that are to be included in each volume yourself in advance, or do you do a type of "cattle call" in which you contact the artists and tell them that you're going to be publishing a volume on, say, Edgar Allan Poe and see what they bring to the table themselves?
TP: Occasionally artists will request a particular story, and I am constantly receiving suggestions of authors and stories from readers. But for the most part the decisions are mine. I choose a potential author for a volume and read everything I can find by him or her. I was always a voracious reader as a child, but I think I have read more fiction in the last three years than in the rest of my life altogether.
I look for writers who have a large body of shorter fiction, preferably crossing several genres. As I read, I try to picture each story in illustrated form. I find that the majority would not lend themselves well to illustration or comics adaptation. I want to create opportunities for artists to bring their own interpretations and add something to the stories in their adaptations. I don't want to create situations where the adaptation will be less than the original.
Once I have chosen the author and decided that there are enough adaptable stories to make up a book, then I start visualizing a story as if illustrated by various artists until I find the one I feel is the best match. In the earlier volumes, it was sometimes difficult to find that match, and I did a lot of searching and soliciting of artists. Now over a hundred artists have participated in the series, and more are seeking me out all the time, so it has become easier to find the right illustrator for a particular story.
NRAMA: On a similar note, one of the things I found especially intriguing in this series was the various formats used throughout the respective volumes. Sometimes a short story or poem is fully adapted via sequential art, sometimes the full text narrative is republished with spot illustrations, and sometimes it's a combination of the two. Do you decide on what format each adaptation should take in advance, or is this something you let your artists decide upon once their story selection is approved?
TP: The artist's preferences and talents are always taken into account, but usually the form is determined by what I believe will best serve the story. Some stories lend themselves well to a comics-based adaptation. Generally they are those that have some action or interesting settings. A parlor drama with nothing but talking heads may be a great story, but it does not make good comics. Other stories, particularly those where the drama is more internalized in the characters than expressed in overt action, may lend themselves better to a presentation in text with spot illustrations. Still other stories may be better off left alone in text form, and are not good candidates for Graphic Classics.
When I first began the series, I envisioned the books as being about half comics adaptations and half illustrated text, and have experimented with various hybrids of the two forms. However, the comics adaptations have proven more popular with readers, so I have since shifted that balance much more strongly to the comics. But Graphic Classics will always continue to publish some stories in illustrated text form if I feel it is an important story and that it lends itself better to that style of presentation.
they might hold students' attention. Seriously, as I said earlier, my main objective is not to fill a high school curriculum, but to create entertaining books that people will want to read, not feel obliged to read. It is my intention to expand this series beyond what are generally considered the accepted "classics." In my definition, any writer who has remained popular for a hundred years deserves the designation, regardless of their current evaluation by academia.
Another reason that Lovecraft is included is simply because I like Lovecraft. While artists and writers from all over the world are contributing to this series, it is essentially a one-man business, and of course the authors, stories and artists are going to reflect my personal tastes. The bottom-line reason for publishing these books is that they are my own creative outlet. It is certainly not for any financial gain, which has so far been nonexistent.
NRAMA: Let's switch our focus back to the artists for a moment. For the most part you've chosen cartoonists, underground artists, and magazine illustrators rather than "hot" comic book artists to adapt these tales. Why? Surely it can't be due to a lack of interest on behalf of comicdom's brightest stars, can it?
TP: The artists, like the story choices, reflect my personal tastes. Having come at this from my experience on a literary magazine, I am something of an outsider in the comics field. I grew up on comics, and still read and collected them avidly into my 20s. But I reached a point where I became bored with the repetitiveness of the stories and the sameness of the art. I was also turned off by the growth of comics collectors and the culture of the comics shops and trade shows. I grew up in a time when comics were something to be folded-up, tucked in your pocket, and passed around and shared -- not something to be sealed in a plastic bag to improve its speculative value. I stopped buying mainstream comics and concentrated on the undergrounds, which I found much more interesting and inventive. When that scene died out, I pretty much stopped reading comics until recent years, with the growth of the small press and independent books.
I have little interest in the mainstream and superhero comics, which I think generally, have a rather homogeneous look, with all the artists copying whoever is currently "hot." Things seem to have loosened up a bit in the last few years, probably because of the influence of Japanese manga, but to me those also tend to all look pretty much the same.
I am looking for artists in my books who have their own distinctive and original styles. While I have published and will continue to use mainstream comics artists when the adaptations call for it, my tendency is to use artists and illustrators from other disciplines who can bring a different approach and different look to the stories.
but are there addition stories you'll be adding in to replace it?
TP: Richard Corben is certainly one of the most popular and respected of the artists who have appeared in the series. As such, he is also one of the busiest, and it is difficult to persuade him to take time from his personal work and more lucrative assignments to work on my books. He did, however, graciously provide a new sketch for "The Masque of the Red Death" which appears in the new edition of Graphic Classics: Edgar Allan Poe.
As for "expunging" the Clive Barker story from the new edition, I want to make it clear that I am proud of having printed that story in the first book, and especially of the wonderful illustrations Mark Nelson did to accompany it. However, I have gone through some changes in my thinking since creating that first volume.
Originally, I had planned on targeting this series at adult comics buyers. I soon found that, in order to print and sell enough copies to make this economically feasible, I would have to expand my market. While I did not want to create children's books per se, I saw I would have to make the books accessible to younger readers to survive. It is a difficult balance to achieve, but my goal is to create books that are interesting to adult readers and do not compromise on creativity, yet do not contain content that is inappropriate for younger readers. I believe I have achieved that in all the subsequent volumes, and have now revised the Poe book to match.
NRAMA: Of the eight volumes you have published so far, four of them focus on horror and sci-fi writers. Was this a conscious decision on your part? If so, why?
TP: Again, this is partly a reflection of my personal tastes, and of the type of stories that I think make good comics. It also has to do with the preferences of my core group of readers. While I am striving to expand my readership into the bookstore, library and educational markets, the most loyal customers have been comics fans. And among these readers, horror, fantasy and science fiction have proven the most popular genres. As the market for my books grows, I will be expanding the series into other genres. I would love to do westerns, mysteries, adventure tales and others in the future.
but do you have any concrete plans as to who will be "featured" after that? Any chances of us seeing a Golding, Hawthorne, Shakespeare, and/or Melville volume in the near future?
TP: Those are all possibilities, though none are on the immediate calendar. After the Robert Louis Stevenson book, which is well into production and due in June, I will be publishing a multiple-author anthology to be called Horror Classics. This is the first of what I hope will be a long series of genre-themed anthologies which will alternate with the single-author collections. Authors in this book will include Edgar Allan Poe, H.P. Lovecraft, Saki, Jack London, Brete Harte, W.W. Jacobs and Clark Ashton Smith. Artists include Michael Manning, Gabrielle Bell, Richard Jenkins and Ryan Inzana.
After that, I am now beginning plans for a volume on the master of the surprise ending, O. Henry, with adaptations of "The Gift of the Magi", "The Ransom of Red Chief" and others.
NRAMA: There has been much debate in comic circles about whether or not bookstores will lead to the "salvation" of the comic book industry. How receptive have national book store chains been to the Graphic Classics series?
TP: The series is distributed by Diamond Book Distributors, and I have made some progress in bookstore sales. But since my books are not easily categorizable as "superheroes," "manga," or even as the usually confessional "alternative press" books, they tend to get lost in the shuffle. While I will continue to strive to increase my bookstore presence, I feel the greater potential for growth in readership is through library and educational sales.
While, as I said earlier, I refuse to oversimplify these books to make them more palatable to the educational market, it is my belief that by choosing exciting stories and presenting them with strong, distinctive artwork I can encourage children to read at a higher level than they normally would. Though the books are created as entertainment, an increasing number of teachers are finding them useful as incentives for reluctant readers.
So I guess the real answer is that I want everybody in the English-speaking world to read my books and won't rest until I reach that goal. That is one reason I have priced my books as low as possible, despite some pressure from retailers and others to raise the cover price. I would rather sell 10,000 books at $10 each than 5,000 books at $20 each. It gets back to that childhood ideal of comics being things to read and share, not things to collect in storage.


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Chantal Maillard (Bruselas, 1951) es una poeta y filósofa española nacida en Bélgica, Premio Nacional de Poesía (2004) y Premio de la Crítica (2007).

Biografía
Chantal Maillard nació en Bruselas (Bélgica) en el año 1951. Reside en Málaga desde 1963. En 1969 renuncia a la nacionalidad belga y adopta la española.

Después de doctorarse en Filosofía, en otoño de 1987, marcha por primera vez a India, con una beca del Ministerio de Exterior; se especializa en Filosofías y Religiones de India en la Banaras Hindu University (Benarés). Su dedicación a la cultura de este país se refleja en los numerosos escritos (diarios, ensayos,  poesía y crítica) reunidos en el volumen India (Pre-Textos, 2014).

Ha sido profesora titular de Estética y Teoría de las Artes en la Universidad de Málaga, donde impulsó los estudios de Filosofía y Estética Comparadas. En el 2000 quedó interrumpida su vida docente por las secuelas de una grave enfermedad. A partir de entonces pasa temporadas en Barcelona y se dedica plenamente a la escritura.

Es autora de numerosos libros de poemas, ensayos y obra en prosa. Le fue concedido el Premio Nacional de Poesía (España) en 2004 por su obra Matar a Platón y, en 2007, el Premio de la Crítica de poesía castellana, así como el Premio Andalucía de la Crítica, por Hilos.

Desde 1998, ha colaborado con críticas de filosofía, estética y pensamiento oriental en los suplementos culturales de los principales diarios de la prensa española, el ABC y El País. Ha traducido y editado al escritor francés Henri Michaux y difundido el pensamiento de India mediante diversas publicaciones.

Los trasvases entre su obra ensayística y poética son múltiples. Uno de sus temas principales, la observación de los procesos mentales, apuntado ya desde muy temprano en su producción ensayística y en la prosa de sus primeros diarios, Filosofía en los días críticos, se consolida en los sucesivos cuadernos —Diarios indios, Husos. Notas al margen, Bélgica y La mujer de pie— hasta indagar los límites del lenguaje en los poemas de Hilos.

Ha puesto en escena varias de sus obras e intervenido en proyectos interdisciplinares con artistas nacionales e internacionales, tanto de las artes plásticas como del ámbito escénico, cinematográfico y musical.

Obra

Poesía

 "Medea". Barcelona: Tusquets, 2020.
 "Daniel. Voces en duelo". Chantal Maillard y Piedad Bonnett. Barcelona: Vaso Roto, 2020.
 Cual menguando. Barcelona: Tusquets, 2018.
 Matar a Platón. Barcelona: Tusquets, 2004. Premio Nacional de Poesía 2004.
[do]: Platon töten, trad. Elisabeth Seifer de Matar a Platón, Zúrich, Teamart, 2006.
[ne]:Plato doden, trad. Bart Vonck de Matar a Platón, Leuven (Belgique), P, 2006.
[it]:Amazzare Platone, trad. Gabriele Blundo de Matar a Platón, Rome, Elliot, 2013.
[braille]: disponible en la ONCE*
 Hilos, 2007. Premio Nacional de la Crítica 2007 y Premio Andalucía de la Crítica 2008.
[ne]:Draden gevold door Wat, trad. Bart Vonck de Hilos, Leuven (Belgique), P, 2014.
[fr]:Fils, trad. Pierre-Yves Soucy, Le Cormier, 2016.
[braille]: disponible en la ONCE
 La herida en la lengua. Barcelona: Tusquets 2015
 [braille]: disponible en la ONCE
 Hainuwele y otros poemas. Barcelona: Tusquets, 2009
 [braille]: disponible en la ONCE
 En un principio era el hambre. Antología esencial. Madrid-México: Fondo de Cultura Económica 2015
 Cual. DVD. Contiene lectura de "Hilos" y un corto interpretado por la autora. Málaga: Centro de la Generación del 27, 2009.
 La tierra prometida. Barcelona: Milrazones, 2009
 Lógica borrosa. Málaga: Miguel Gómez Ediciones, 2002.
 Conjuros. Madrid: Huerga y Fierro. Editores, S.L., 2001.
 Poemas a mi muerte. Madrid: La Palma, 1993. Premio Ciudad de Santa Cruz de la Palma 1993
 Hainuwele. Córdoba: Ayuntamiento de Córdoba, 1990. Premio Ciudad de Córdoba «Ricardo Molina» 1990
 La otra orilla. Coria del Río: Qüásyeditorial, 1990. Premio Juan Sierra 1990
 Balbuceos. Málaga: Árbol de Poe, (cuadernillo) 2012
 Polvo de avispas. Málaga: Árbol de Poe, (cuadernillo) 2011
 Semillas para un cuerpo (en colaboración con Jesús Aguado). Soria: Diputación Provincial de Soria, 1988. Premio Leonor 1987

Prosa
 La compasión difícil. Barcelona: Galaxia Gutenberg, 2019
 La mujer de pie. Barcelona: Galaxia Gutenberg, 2015.
 India. Valencia: Editorial Pre-Textos, 2014.
 Bélgica. Valencia: Editorial Pre-Textos, 2011.
 Adiós a la India. Málaga: Puerta del Mar, 2009.
 Husos. Notas al margen. Valencia: Editorial Pre-Textos, 2006.
 Diarios indios. Valencia: Editorial Pre-Textos, 2005.
 Filosofía en los días críticos. Valencia: Editorial Pre-Textos, 2001

Ensayo
 Las venas del dragón. Editorial Galaxia Gutenberg, 2021. ISBN: 978-84-18807-12-1
¿Es posible un mundo sin violencia?. España-México: Editorial Vaso Roto, 2018.
 La razón estética. Barcelona: Editorial Galaxia Gutenberg, 2017.
 India. Valencia: Editorial Pre-Textos, 2014.
 La baba del caracol. España-México: Editorial Vaso Roto, 2014.
 Contra el arte y otras imposturas. Valencia: Editorial Pre-Textos, 2009.
 En la traza. Pequeña zoología poemática / In the Tracing. Small Poetic Zoology. Edición bilingüe. Barcelona: Centro de Cultura Contemporánea 2008.
[en]: In the Tracing. Small Poetic Zoology. Center of Contemporary Culture of Barcelona, 2008.
 Rasa. El placer estético en la tradición india. Benarés: Indica Books, 1999 y Palma de Mallorca: Olañeta, 2007.
 La razón estética. Barcelona: Laertes, 1998.
 La sabiduría como estética. China: confucianismo, budismo y taoísmo. Madrid: Akal, 1995.
 El crimen perfecto. Aproximación a la estética india. Madrid: Tecnos, 1993.
 La creación por la metáfora. Introducción a la razón poética. Barcelona: Anthropos, 1992.
 El monte Lu en lluvia y niebla. María Zambrano y lo divino. Málaga: Diputación Provincial de Málaga, 1990.
 La cábala del Kéter-Malkut. Editoriales Andaluzas Unidas, 1986

Coordinaciones y traducciones
 Henri Michaux: Escritos sobre pintura. Madrid, México: Editorial Vaso Roto 2018.
 Henri Michaux: Retrato de los meidosems. Valencia: Editorial Pre-Textos 2008.
 El árbol de la vida. La naturaleza en el arte y las tradiciones de la India. Barcelona: Kairós, 2001.
 Henri Michaux: Escritos sobre pintura. Murcia: Colegio de Arquitectos y Aparejadores, 2000.
 Estética y Hermenéutica. Chantal Maillard y Luis de Santiago Guervós (eds.). Málaga: Contrastes. Revista Interdisciplinar de Filosofía, 1999.

Obras disponibles en braille en la ONCE
 Matar a Platón.
 Hilos.
 Hainuwele y otros poemas.
 La herida en la lengua.
 Husos.

Últimas obras escenografiadas
 Matar a Platón en Concierto.  Con Chefa Alonso (viento y percusión) y Barbara Meyer (violoncelo). Madrid: Teatro Español, 2011 y Palma de Mallorca: Museo Es Baluart, 2013. Con Chefa Alonso y Jorge Frías (contrabajo. Málaga: Centro del la Generación del 27, 2015. Bilbao: Biblioteca Bidebarrieta, 2015. Santander: Fundación Botín, 2016. Córdoba [Teatro Góngora], 2016. Alcobendas (Madrid): Teatro Auditorio, 2016. Santiago de Compostela: Teatro Principal, 2018. Barcelona: La Caldera, Les Corts, 2019.
 Diarios Indios en Escena. Con el cineasta David Varela. Madrid: Teatro Pradillo, 2014. San Sebastián: Teatro Victoria Eugenia, 2014. Málaga: Centro Generación del 27, 2015.

Últimas colaboraciones con otras artes
 Y si enemigo no hubiese. Dónde mueren los pájaros III. Colaboración con el artista plástico David Escalona, Hospital Real de Granada, 2017.
 Si una mujer viniera. Dónde mueren los pájaros II. Colaboración con el artista plástico David Escalona, Instituto Cervantes, Nueva Delhi, 2017.
 Dónde mueren los pájaros I. Colaboración con el artista plástico David Escalona, Galería Isabel Hurley, Málaga 2014.
 Cual. Breve film patrocinado por el Centro de la Generación del 27 y rodado en super 8 por Gerardo Ballesteros, Málaga 2010.
 MUR XL. Intervención permanente en el muro del cementerio de Ixelles (Bruselas).  Colaboración con el artista plástico Emilio López Menchero, 2008.
 Q. Representado con la We Dance Company en el Festival Internacional de Poesía 2005 de Berlín.

Premios
 Premio Leonor 1987
 Ciudad de Córdoba «Ricardo Molina» 1990
 Premio Juan Sierra 1990
 Ciudad de Santa Cruz de la Palma 1993
Premio Nacional de Poesía 2004.
Premio Nacional de la Crítica 2007.
 Premio Andalucía de la Crítica 2008.

Referencias

Enlaces externos

Personas de Málaga
Escritoras de España
Escritoras de Bélgica
Filósofos de España del siglo XX
Filósofos de España del siglo XXI
Filósofos de Bélgica del siglo XX
Poetas de España del siglo XX
Poetas de España del siglo XXI
Escritores en español del siglo XX
Escritores en español del siglo XXI
Ensayistas de España del siglo XX
Ensayistas de España del siglo XXI
Filósofos de Bélgica del siglo XXI
Ganadores del Premio Nacional de Poesía (España)
Mujeres de Bélgica del siglo XX
Mujeres de Bélgica del siglo XXI
Españolas del siglo XX
Españolas del siglo XXI
Nacidos en Bruselas
Poetisas de España
Mujeres ensayistas


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Thinking about buying the Koldfront 24 bottle free standing dual zone wine cooler? Then you've come to the right place. Here's a complete rundown of this product's pros and cons.
The Koldfront dual zone wine cooler has two separate compartments for you to keep red and white wine at their optimum temperatures respectively. The dual zone refrigeration system uses thermoelectric cooling, and the temperature of each zone is controlled through a convenient LCD display. Koldfront also offers a single zone version of this model, and also smaller and larger dual zone versions.
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The lowest temperature the Koldfront cooler is capable of is 46° F (8° C). That is generally fine, but if you want your white wine chilled more than that before serving, you need to transfer it to the fridge first and let it cool before opening.
Champagne bottles and larger bottles of wine don't really fit. You may have to remove one of the shelves and do some rearranging in order to squeeze the larger bottles in.
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The wooden shelves fit in the cooler a bit awkwardly. If you're not being careful, you can pull the whole rack out and let your wine bottles fall to the floor. You have to pay attention when pulling them out.
Once the cooler is full, the lighting is not very good as the bottles block the light coming from the inner bulbs.


This whole month, most of my purchases (aside from Christmas presents) are looking for holiday outfits. Every week/weekend, Tre and I have been attending holiday parties. So finding the perfect holiday outfit is a must! Whenever I find an outfit I like, there's always something I wish I can change. I would love the style, print, and pattern, but I would wish I can change how it fits me. For instance, I love the pattern and style but wish I can change the length or the length is perfect but wish I can change the waist size.
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text:
REVIEW: Master Harold and the Boys (Timeline Theatre)
TimeLine Theatre presents:
'Master Harold' and the Boys
directed by Jonathan Wilson
through March 21st (more info)
Reviewed by Ian Epstein
'Mastor Harold' and the Boys leads an audience through what it feels like to be white or black, the owner's son or the the owner's servant, in the St. George's Park Tea Room of Port Elizabeth, South Africa in 1950 — a time shortly after South Africa officially fell under apartheid — and playwright Athol Fugard leads an audience through all of this in an hour and forty minutes with no intermission. It's intense.
The story begins in set-designer Timothy Mann's brightly colored reconstruction of St. George Park Tea Room — an establishment that belonged to Athol Fugard's parents as well as Hally's. It's a small establishment in one of South Africa's larger coastal cities that sits towards the end of the curve that bends the Atlantic Ocean out into the Indian Ocean. Outside, it is wet and windy. No kind of weather to fly a kite.
By day, Willie (Daniel Bryant) is a Tea Room employee. By night, he trains so hard for the upcoming National Ballroom Dancing Competition that he beats his dance partner when she stumbles. He easily tires of mopping and opts, instead, to take the mop in hand and set off across the Tea Room, twirling around tables to the practiced tempo of the Quickstep, imagining himself onto the winner's podium of "a world without collisions." The Quickstep is like a Foxtrot but faster, even without music; the fee to make the jukebox play is the same as the bus fare home.
Willie stops and starts his Quickstep according to Sam's (Alfred H. Wilson) interruptions and suggestions. And Sam is a character full of both, and healthy doses of joke, poetry, and digression, too. From the first moments of the play, Bryant and Wilson breathe life into the pair beautifully. And they mill about the Tea Room getting everything in order with the familiarity and ease of two men who've worked in this Tea Room since before the audience got here and will remain long after they leave.
Enter a soaking wet Hally, short for Harold, (Nate Burger), the bosses' boy. He storms in from school and the rain. He's got homework that he shirks in favor of exchanges, arguments, saviors and heroes with Sam. Hally champions Darwin and Tolstoy, Sam picks up Jesus. They trade small talk, personal stories, and simple symbols as allegories for large swathes of South Africa — and as a tangled interracial pair, they themselves become symbolic of something South African and larger.
When he's enjoying himself, Hally seems to forget about race. He pays close attention to the stories Sam tells. But as soon as the phone rings with bad news about dad by way of mom at the Hospital, he reliably remembers who is what color, how cruelty inflicted makes him feel lifte d and how much work has to be done to maintain the Tea Room and just who the people are who should be doing it and aren't. So he stabs at Sam and Willie, though at Sam much more than Willie and as the play unfolds in real time and the calls come in from the Hospital and then from home, everything mounts to a desolate, piercing, acrid crescendo.
Through director Jonathan Wilson's meticulous guidance, 'Mastor Harold' and the Boys combines brutal, sincere acting with understated production elements that evoke apartheid's early days in a way that makes them feel chilling and here to stay for a while. The costumes, lights, and the set are tremendously successful because they set the right tone for the play. Because it takes place in real time, Jonathon Wilson's decisions stress story, sound, and script over visuals and spectacles. All of it comes together to make TimeLine Theater Company's production a captivating, harrowing success.
Regular Run: Wednesdays at 7:30 pm (3/3, 3/10 and 3/17 only), Thursdays at 7:30 pm, Fridays at 8 pm, Saturdays at 4 pm & 8 pm, Sundays at 2 pm. Running time approximately 1 hour 40 minutes with no intermission.
Download the Master Harold… study guide
Download the Master Harold… lobby display
Post-show discussions (FREE) hosted by a TimeLine Company Member and featuring members of the production team and cast on Thursdays 1/28, 2/4 and 2/11; Sundays 2/14 and 2/21; and Wednesday 3/3.
Sunday Scholars Series (FREE) on 1/31, an hour-long post-show panel discussion featuring experts on the themes of the play. You do not need to see the performance on this day to attend the discussion.
More info at FugardChicago2010.com
Filed under: 2010 Reviews, Ian Epstein, TimeLine Theatre | Tagged: Alfred H. Wilson, Daniel Bryant, Ian Epstein, Jonathan Wilson, Master Harold and the Boys Reviews, Nate Burger, TimeLine Theatre, Timothy Mann |	3 Comments »
REVIEW: Hughie/Krapp's Last Tape (Goodman Theatre)
Masterful production suffers from too large of performance space
Goodman Theatre presents:
Hughie / Krapp's Last Tape
by Samuel Beckett and Eugene O'Neill
directed by Robert Falls and Jennifer Tarver
through February 28th (more info)
review by Barry Eitel
Hughie and Krapp's Last Tape are the results of two Nobel Prize winning playwrights exploring the idea of loneliness. Both works dive headfirst into aching, despondent, cringe-worthy isolation—not sexy loneliness or quirky loneliness, but the brand of depressing loneliness caused by years of self-inflicted solitude. Samuel Beckett and Eugene O'Neill', neither of whom is known for their sunny view of life, are masters in illustrating this theme in their plays. Pairing up the American O'Neill and the Irish Beckett was a bold decision, but the Goodman's choice to put these plays together makes a lot of sense. Especially when you add to the mix adept directors Robert Falls and Jennifer Tarver and have the two plays carried by one Brian Dennehy. The finished product steals the breath away from the audience by the end, like if we had just witnessed a star implode on itself.
Although both plays could conceivably be described as one-man shows, they are both actually powerful, two-person dialogues. Hughie takes place long after midnight in a fleabag hotel lobby. The hotel's night clerk (Joe Grifasi) stands alone behind the counter. Enter the drunken Erie Smith (Dennehy). Although the conversation is decidedly one-sided, the night clerk's presence is essential to Erie's booze-fueled tirade. Krapp's Last Tape is a one-person show, but the sole character, also soaking in alcohol, is still having a dialogue. Instead of chatting with another flesh and blood human, Krapp (Dennehy again) interacts with himself, 30 years earlier, through an ancient tape player. Having the characters discourse with someone does the opposite of brightening the situation; the exchanges highlight the fact that these characters are completely starved for an authentic human connection. These plays are definitely not for the easily disturbed. After viewing, some bourbon and Prozac might be necessary to help you fall asleep.
Hughie, arguably the weaker of the two, is more plugged in to the real world. It's fascinating to watch Dennehy rattle off stories of past friends, female conquests, and gambling victories. He mostly rambles about his only confidant in recent memory, the former night clerk, Hughie. Falls' staging is brilliant. He is able to create viable stage pictures with only one moving actor, yet the production never feels unmotivated or scattershot. Grifasi is spot-on as the spaced-out clerk. Dennehy owns his role, layering bravado and self-assurance on top of Erie's agonizing stabs at companionship.
Beckett is a much different writer than O'Neill, and requires a distinct approach in all aspects. Dennehy's Krapp is a 180-turn from Erie. He's a clown—a very lonely clown that let the opportunities of relationships slip by years ago. This production, directed by Canadian imp ort Tarver, snaps together. Every second on stage is fraught with purpose. Dennehy's dealings with a banana, his tape player, or his door are all significant. It also contains one of the most genius directing choices of this entire theatre season. Whenever Krapp leaves the main room to fetch a drink, he leaves the door open. The only movement on stage is the swinging light pull. There is something so Beckett, so existential, about that moment.
Hughie tends to drag a bit and the powerful silences of Krapp's Last Tape are often interrupted by coughs and shifting, which is more of a comment on the audience than the production. The Albert stage seems a bit large for these plays. The size works for capturing the crushing, Atlas-scale solitude, but the anguished details are occasionally lost in the abyss. Still, the double-bill is remarkable. Nothing is overblown or glossed over; all aspects of both productions are painstakingly devised. Even the show is just over 90 minutes, you'll have plenty of fodder for hours of therapy.
The Design Team for Hughie/Krapp's Last Tape includes Eugene Lee (Sets), Patrick Clark (Costumes), Robert Thomson (Lights) and Richard Woodbury (Sound). Joseph Drummond is the Production Stage Manager, and T. Paul Lynch is the Stage Manager. All photography by Liz Lauren.
Filed under: 2010 Reviews, Barry Eitel, Goodman Theatre | Tagged: Barry Eitel, Brian Dennehy, Eugene Lee, Eugene O'Neill, Hughie reviews, Jennifer Tarver, Joe Grifasi, Joseph Drummond, Krapp's Last Tape reviews, Liz Lauren, Nightwood TheatreTarragon Theatre, Patrick Clark, Richard Woodbury, Robert Falls, Robert thomson, Ryerson University, Samuel Beckett, Stratford Shakespeare Festival, T. Paul Lynch |	1 Comment »
REVIEW: First Words (MPAACT Theatre)
Illuminating "First Words"
MPAACT presents:
by Aaron Carter
directed by Chuck Smith
Review by K.D. Hopkins
It may be incomprehensible for some to understand a parent's pain and terror upon learning that something is not quite right with their child. It has been my experience in the African American community that disabilities were an insular subject. It was dealt with within the family and with the support of a tight knit neighborhood. There were no special schools or classes. It was often considered up to 'the Lord's will' how someone with a disability coped in the world. MPAACT productions First Words is a lovingly crafted and honest look at autism and how a family dissolves under the pressures of reality and self-delusion.
Paul and Barbara are played as a normal and loving couple that has managed to coexist with their differences and the challenge of their autistic son Aiden. Paul carries religious wounds from a strict father and lives in fear of blasphemy lest he be punished. Andre Teamer plays the character of Paul. He projects a beautiful tension and frailty in his role as the father. Tina Marie Wright is a wonderful counterpoint as Barbara who is breaking under the strain of Aiden's increasingly violent outbursts and no seeming way to get through to her son. Her performance is finely nuanced and subtle. Scott Baity Jr. plays the troubled and sometimes menacing Aiden with a coiled ferocity that was shocking and projected the helplessness of the autistic world.
The role of Diane, the facilitated communications expert, is played by Lauren Malara. Barbara's character expects her to be an Ivy League White girl and is surprised when it is an Ivy League Black girl who walks in the door. Ms. Malara projects the epitome of fresh-faced enthusiasm. The character of Diane is an advocate of research and empirical evidence – until she sees the flaws in her methods.
Chuck Smith, whose rendition of James Baldwin's "Amen Corner" at the Goodman was brilliant, directs this play. It is everyday life in the African American community that has been for the most part remanded to literary interpretation. These are people that I have known and not a glossy film retelling for palatability's sake. The direction is flowing and I loved the added dimension of the characters projected behind them as they spoke. It underscored what seems to be in an autistic person's mind: so much stimuli and in so many forms that it cannot be sorted out to the point where a touch can be the breaking point.
The set dressing seems to have been taken from a home in Morgan or Maple Park on the south side of Chicago. The family pictures in color and sepia tone were a wonderful touch as was the glowing white Bible on its own shelf. Mr. Teamer is the props master for this production and I presume that his character of Paul fed into the prop selection.
Aaron Carter, the playwright for First Words, has an interesting lineage of Baptist preacher and Vaudeville according to his biography notes. He has taken the best of both and crafted a fine play. There is the high dudgeon of fiery Baptist preaching and the slight of hand in Vaudeville without falling into the grotesque. The most compelling scenes are between Ms. Wright and Mr. Baity. Barbara is driven to break the silence and she has nightmares in which Aiden speaks. It becomes the adage of be careful of what you ask for-surely you will get it.
There are no easy answers or resolution to the controversy of facilitated communication for autistic persons in First Words. It is a searing presentation of what happens to a family when faith is divided and trust is broken in pursuit of answers. It is about the perception of what the parental bond means to a God-fearing father and a self-professed heathen mother. The answers are locked inside Aiden's head as well as his parent's dreams. The final moment of the play drives the 'not knowing' home with one subtle gesture. This production is highly recommended
"First Words" runs Thursdays through Sundays January 28th through February 28th at The Greenhouse Theatre Center. 2257 N. Lincoln Avenue. The Box Office number is 773-404-7336. Parents take note: this play contains adult language and scenes of violence.
Filed under: 2010 Reviews, Greenhouse Theater Center, K.D. Hopkins, MPAACT | Tagged: Aaron Carter, Andre Teamer, Chuck Smith, First Words reviews, K.D. Hopkins, Lauren Malara, MPAACT, MPAACT Theatre, Tina Marie Wright |	1 Comment »


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