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Lyr Req: Face on the Barroom Floor
DigiTrad:
MADAM LA MARQUISE
THE CREMATION OF SAM MCGEE
THE SHOOTING OF DAN MCGREW
Related threads:
Resources: Robert W. Service (32)
Lyr Req: Dangerous Dan McGrew-naughty version (11)
Lyr Req: Shooting of Dan McGrew (Robert W Service) (20)
Lyr Add: The Whistle of Sandy McGraw (R W Service) (11)
Tune Req: The Face on the Bar-room Floor (45)
Lyr Req: In Praise of Alcohol (Robert W Service) (24)
Ottawa Folk Fest. Robt Service Collection (1)
Lyr Req: The Cremation of Sam McGee (R W Service) (59)
Tune Req: Michael (Robert Service, Greg Artzner) (6)
Lyr Add: The Shooting of Dan's Guru (15)
Lyr Add: Accordion (Robert Service) (18)
Lyr Req: Dangerous Dan McGrew (35)
Lyr Req: The Quitter (Robert Service) (9)
Add: How MacPherson Held the Floor (Robt. Service) (1)
Ballad of Dangerous Dan McGrew (15)
Rhymes of a Red Cross Man (13)
Joe Offer 27 Sep 97 - 06:08 PM
Bob Schwarer 27 Sep 97 - 07:51 PM
Dale Rose 27 Sep 97 - 08:34 PM
Mark Pemburn 28 Sep 97 - 07:50 AM
Art Ude 28 Sep 97 - 09:37 AM
Gene 28 Sep 97 - 02:07 PM
Bo 28 Sep 97 - 03:14 PM
Mark Pemburn 28 Sep 97 - 09:14 PM
Bill in Alabama 29 Sep 97 - 08:32 AM
Sheye 29 Sep 97 - 10:24 AM
Frank Phillips 30 Sep 97 - 12:52 AM
dick greenhaus 30 Sep 97 - 12:44 PM
Phideaux 12 Jan 98 - 01:29 PM
murray@mpce.mq.edu.au 12 Jan 98 - 10:04 PM
Pauline 26 Nov 98 - 07:48 PM
SteveF 27 Nov 98 - 08:33 AM
Pauline 27 Nov 98 - 11:25 AM
T.R.Bishop 28 Nov 98 - 07:50 AM
gargoyle 28 Nov 98 - 12:58 PM
Joe Offer 29 Nov 98 - 01:59 AM
truhill@aol.com 07 Mar 99 - 01:39 AM
jbarber@radiks.net 31 Mar 99 - 06:14 PM
Joe Eearl 10 Apr 99 - 12:30 PM
Reiver #2 (inactive) 11 Apr 99 - 12:30 PM
Mark Clark 07 Sep 01 - 07:54 PM
GUEST,T. Smith Whitwoth 09 Oct 04 - 10:08 PM
GUEST,LeRoy A. Titus 11 Nov 04 - 08:37 PM
GUEST,.gargoyle 11 Nov 04 - 08:53 PM
GUEST,Daltiz 05 Apr 07 - 09:52 AM
Jim Dixon 06 Apr 07 - 09:12 PM
GUEST,Daltiz 12 Apr 07 - 12:49 PM
M.Ted 13 Apr 07 - 12:11 AM
GUEST,Lee Titus 31 Dec 07 - 07:18 PM
Subject: RE: Face on the Barroom Floor
Somebody was talking about this poem in another thread. I looked through my Robert W. Service books, and couldn't find it. I finally found the above (an inaccurate version) on the Web, and also in a book called "The Best Loved Poems of the American People." It's certainly written the style of Service. Is this the one you were talking about?
There's a one-act opera with the same name, written in 1978 by Herny Mollicone. There's also a Charlie Chaplin movie with this name.
So, who the heck is H. Antoine D'Arcy?
-Joe Offer-
click for related thread
Subject: Lyr Add: THE FACE ON THE BARROOM FLOOR
I decided I should clean this up and make it accurate. I think this is an almost-perfect copy of the printed version:
THE FACE ON THE BARROOM FLOOR
Hugh Antoine D'Arcy
'Twas a balmy summer evening and a goodly crowd was there
Which well-nigh filled Joe's barroom on the corner of the square,
And as songs and witty stories came through the open door
A vagabond crept slowly in and posed upon the floor.
"Where did it come from?" Someone said. "The wind has blown it in."
"What does it want?" another cried, "Some whisky, rum or gin?"
"Here, Toby, seek him, if your stomach's equal to the work --
I wouldn't touch him with a fork, He's as filthy as a Turk."
This badinage the poor wretch took with stoical good grace;
In fact, he smiled as though he thought he'd struck the proper place.
"Come, boys, I know there's kindly hearts among so good a crowd --
To be in such good company would make a deacon proud."
"Give me a drink -- that's what I want -- I'm out of funds, you know;
When I had cash to treat the gang, this hand was never slow.
What? You laugh as if you thought this pocket never held a sou:
I once was fixed as well, my boys, as anyone of you."
"There, thanks; that's braced me nicely; God bless you one and all;
Next time I pass this good saloon, I'll make another call.
Give you a song? No, I can't do that, my singing days are past;
My voice is cracked, my throat's worn out, and my lungs are going fast.
"Say, Give me another whiskey, and I'll tell you what I'll do --
I'll tell you a funny story, and a fact, I promise, too.
That I was ever a decent man, not one of you would think;
But, I was some four of five years back. Say, give me another drink.
"Fill her up, Joe, I want to put some life into my frame--
Such little drinks, to a bum like me, are miserably tame;
Five fingers --there, that's the scheme -- and corking whisky, too.
Well, here's luck, boys; and, landlord, my best regards to you.
"You've treated me pretty kindly, and I'd like to tell you how
I came to be the dirty sot you see before you now.
As I told you, once I was a man, with muscle, frame, and health,
And, but for a blunder, ought to have made considerable wealth.
"I was a painter -- not one that daubed on bricks and wood
But an artist, and, for my age, was rated pretty good.
I worked hard at my canvas and was bidding fair to rise,
For gradually I saw the star of fame before my eyes.
"I made a picture, perhaps you've seen, 'tis called the 'Chase of Fame.'
It brought me fifteen hundred pounds and added to my name.
And then I met a woman -- now comes the funny part --
With eyes that petrified my brain, and sunk into my heart.
"Why don't you laugh? 'Tis funny that the vagabond you see
Could ever love a woman and expect her love for me;
But 'twas so, and for a month or two her smiles were freely given,
And when her loving lips met mine, it carried me to heaven.
"Did you ever see a woman for whom your soul you'd give,
With a form like the Milo Venus, too beautiful to live;
With eyes that would beat the Koh-i-noor, and a wealth of chestnut hair?
If so, 'twas she, for there never was another half so fair.
"I was working on a portrait, one afternoon in May,
Of a fair-haired boy, a friend of mine, who lived across the way,
And Madeline admired it, and much to my surprise,
Said that she'd like to know the man that had such dreamy eyes.
"It didn't take long to know him, and before the month had flown
My friend had stolen my darling, and I was left alone;
And, ere a year of misery had passed above my head,
The jewel I had treasured so had tarnished, and was dead.
"That's why I took to drink, boys. Why, I never saw you smile,
I thought you'd be amused, and laughing all the while.
Why, what's the matter, friend? There's a teardrop in your eye,
Come, laugh like me; 'tis only babes and women that should cry.
"Say, boys, if you give me just another whiskey, I'll be glad,
And I'll draw right here a picture of the face that drove me mad.
Give me that piece of chalk with which you mark the baseball score --
And you shall see the lovely Madeline upon the barroom floor."
Another drink, and with chalk in hand the vagabond began
To sketch a face that well might buy the soul of any man.
Then, as he placed another lock upon the shapely head,
With a fearful shriek, he leaped and fell across the picture -- dead.
-recorded by Tex Ritter-
From: Bob Schwarer
My memory says D'Arcy was a fellow that would recite the Service poem in various bars. Further, I recall a statement in a book I have, but can't find, to the effect that when sober D'Arcy would give a great performance. After a few drinks he was terrific. I'll keep looking for the book, but it may be a while before I find it. Also my memory may be completely wrong.
From: Dale Rose
All I know is that I have it on a Hank Snow album attributed to Robert Service. To agree with Sheye, (as stated in the other thread) I have never seen it in print, but I only have one (large) volume of Service poetry. I listened to it just an hour or so ago, by the way. The words are just as Joe posted above. (or below if that is the way you sort entries!) I know record companies are not noted for complete accuracy, but I cannot imagine them making such a glaring error of authorship on something that would have been so easy for them to verify.
From: Mark Pemburn
When I was a kid, I was crazy about R. W. Service. "The Face" was one of the poems in the little collection I kept out of the school library long enough to rack up a sizeable fine.
I will raise my right hand and swear to the association of the title with Service's name, but 40-odd years have blurred my recollection of the poem itself. The above seems to have the right flavor, though.
From: Art Ude
I believe I have all of Service's published poems and I cannot find "Face" among them. If any of you would be interested in placing this question in the Guestbook on my Service page please feel free do do so. http://www.top.monad.net/~artude/service.html
From: Gene
I compared both of the versions of "FACE" posted above and compared them to Hank Snow's recording of it on -
THE BEST OF HANK SNOW/1972 RCA LSP-4978.
The author of the work is attirbuted to SERVICE.
^^ The text as recorded by Hank Snow is:
Recorded by Hank Snow/Author - Service
Which well-nigh filled Joe's barroom on the corner of the square
"Where did it come from?" Someone said. "The wind has blown it in?"
"What does it want?" another cried, "Some whiskey, rum or gin?"
"Here, Toby, seek him, if your stomach's equal to the work!"
"I wouldn't touch him with a fork, why, he's as filthy as a Turk."
This badinage the poor wretch took with stoical good grace
In fact, he smiled as though he thought he'd struck the proper place
"Come, boys, I know there's kindly hearts among so good a crowd
Why, to be in such good company would make a deacon proud."
"Give me a drink - that's what I want - I'm out of funds, you know
When I had cash to treat the gang, this hand was never slow
What? You laugh as tho' you thought this pocket never held a sou
Why, I was fixed as well, my boys, as anyone of you."
"There, thanks - that's braced me nicely - God bless you one and all
Next time I pass this good saloon, I'll make another call
Give you a song? No, I can't do that - my singing days are past
My voice is cracked and my throat's worn out and my lungs are going fast.
"Say, Give me another whiskey and I'll tell you what I'll do
I'll tell you a funny story and a fact I promise, too
That I was ever a decent man, not a one of you would think
But, I was some four of five years back - say, give us another drink.
"Fill her up, Joe, I want to put some life into my frame
Such little drinks, to a bum like me, are miserably tame
Five fingers - there, that's the scheme - and corkin' whisky, too
Well, here's luck, boys; and landlord, my best regards to you.
"You've treated me pretty kindly and I'd like to tell you how
I came to be the dirty sot you see before you now
As I told you once, I was a man with a muscle, frame and health
"I was a painter - not one that daubed on bricks and wood
But an artist and for my age, was rated pretty good
I worked hard at my canvas and I was bidding fair to rise
'Coz gradually I saw the star of fame before my eyes.
"I made a picture perhaps you've seen, 'tis called the 'CHASE OF FAME'
It brought me fifteen hundred pounds and added to my name
And then I met a woman - now comes the funny part
With eyes that petrified my brain and sunk into my heart.
"Why don't you laugh? it's funny that the vagabond you see
Could ever love a woman and expect her love for me
But 'twas so, and for a month or two, her smiles were freely given
And when her loving lips touched mine it carried me to heaven.
"Boys, did you ever see a girl for whom your soul you'd give
With a form like the Milo Venus, too beautiful to live
With eyes like the purest of diamonds and a wealth of chestnut hair?
"I was working on a portrait one afternoon in May
Of a fair-haired boy, a friend of mine, who lived across the way
And Madeline admired it and much to my surprise
Said she'd like to know the man that had such dreamy eyes.
"It didn't take long to know him and before the month had flown
My friend had stole my darlin' and I was left alone
And ere a year of misery had passed above my head
The jewel that I had treasured so, had tarnished and was dead.
"That's why I took to drink, boys - why, I never saw you smile
I thought you'd be amused and laughing all the while
Why, what's the matter - friend? There's a teardrop in your eye
Come, laugh like me; why 'tis only babes and women that would cry.
"Say, boys, if you'd give me just another whiskey, I'll really be glad
And I'll draw right here a picture of the face that drove me mad
Give me that piece of chalk with which you mark the baseball score
Another drink and with chalk in hand the vagabond began
To sketch a face that well might buy the soul of any man
And then as he placed another lock upon the shapely head
With a fearful shriek, he leaped and fell across the picture - dead.
From: Bo
A favourite book of mine "Bawdy Ballads and Lusty Lyrics", Droke House Publ. Indianapolis, 1935, ,1950, has this poem. In the Introduction it says:
This classic, by Hugh D'Arcy, was first printed in 1887, and titled "The Face upon the Floor." It is amusing to note that it was never intended to point out the perils of stron drink, but merely to portray the degradation of an artist tortured by the loss of his sweatheart. The poem was seized by the W.C.T.U., and later the Ani-Saloon League, the title altered, and millions of copies distributed as propaganda.
Does this mean that all of us who are confused at to the authorship owe our confusion to the Hank Snow recording, or is there some other connection, as Mark suggests?
Funny how memory is . . . I searched the web trying my damnedest to connect this Ballad with Service, but it seems it can't be done. Ah, well. I did discover that Charlie Chaplin made a (silent) movie of the story during "the Little Tramp's early days at Sennett".
From: Bill in Alabama
I have always seen the poem attributed to D'Arcy. I have never heard the song, but I would like very much to hear it; it fits right in with some of the other stuff I do in my performances.
From: Sheye
Joe: THANK YOU THANK YOU THANK YOU!!!! Do I owe you a kiss, or a batch of cookies? (I can whip up a mean chocolate-chocolate chip.)
The producers of Snow's album seem to have assumed this is a Service poem, and then so many of us took the attribution as being accurate. At any rate, it is an excellent work of art, beautifully told by Snow, written in the style of Service, created by (D'Arcy?).
Here's a summary I found of the Charlie Chaplin movie:
Face on the Bar Room Floor, The (1914)
The plot is a satire derived from Hugh Antoine D'Arcy's poem of the same title. The painter courts Madeleine but loses to the wealthy client who sits for his portrait. The despairing artist draws the girl's portrait on the barroom floor and gets tossed out. Years later he sees her, her husband and their horde of children. Unrecognized by her, Charlie shakes off his troubles and walks off into the future.
I spent a wonderful afternoon Sunday with an old guy who had tried to make a living as an artisan in Central City, Colorado. He says there is a face painted on the floor of a barroom there, and it's supposed to be "the" face. My friend isn't so sure of that. Central city has become a bit of a tourist trap, and the face is certainly good for business.
Now, if Bo is correct and the poem was written by D'Arcy in 1887, that predates Robert W. Service (1874-1958) - that is, unless Service was some sort of child prodigy.
So, Sheye, how do I qualify for both the kiss andthe cookies?
From: Frank Phillips
In one of the early Mad Magazine pocket books (ca. 1960) there is an illustrated version of this poem. The face as portrayed in the final frame of the strip would have killed anyone.
From: dick greenhaus
There's a tendency to attribute authorship to the most prominent writer of that period who did similar material. "Face" is often (wrongly) attributed to Service, as is When the Ice-Worms Nest Again; nowadays, anything funny is attributed to Shel Silverstein. Since many of these attributions show up in print, it's hard to keep things straight.
From: Phideaux
Date: 12 Jan 98 - 01:29 PM
Finally found my book during a garage cleaning that has needed to be done for a dozen years, or more.
It is simply titled "America Ballads" editted by Charles O'Brien Kennedy.
Kennedy says he knew D'Arcy and even refers to him as "Hughie". He also says that correct title is "The Face on the Floor".
My memory wasn't worth a hoot, except I knew I had the book.
From: murray@mpce.mq.edu.au
Thanks Art Ude, for calling my attention to your RWS page It is a good thing to know about.
I looked at the guest book there, and the question seems to have been answered previously, namely that Service didn't write "The face on the x-room Floor" but this D'Arcy guy did. (Where x can stand for "bar" or "ball".)
From: Pauline
Date: 26 Nov 98 - 07:48 PM
What about Carson City Nevada? I remember visiting a museum there in the early 60s and there was a face there that was supposed to be the face.. Actually it was Joes bar converted to a museum and supposedly the "face". I knew the poem, but not the author... before going there was amazed to see it and believed it was real.
From: SteveF
Date: 27 Nov 98 - 08:33 AM
To Frank Phillips -
Yes, I recall reading Mad's illustrated version of the poem back about '53 or '54, when Mad was still in its comic book format.
The strip was illustrated by Basil Wolverton, a talented artist now in the Comic Book Illustrators' Hall of Fame (this is not a joke). Wolverton was quite versatile; however, when he drew for Mad, his specialty was to create the ugliest, most hideous female imaginable. Thus, after the suspenseful build-up of the lovely Madeleine, the poem ends with Wolverton's masterpiece. No wonder our artist dropped dead! Blechh!
-- Steve F.
Doing some research on the internet.. Seems the "face" in Central City, CO was drawn by an artist of his wife in repsonse to the poem.
From: T.R.Bishop
Most Interesting. I have never heard that Service wrote the poem. All I have read indicates the poem was written by D'arcy. I have heard the record by Tex Ritter and that got me interested in the poem. I have been searching for a bio on D'Arcy but have not found it yet. Could use some help on this.
From: gargoyle
No doubt, there are hundreds of bars with faces painted on the floor in responce to the verse. Another one is located in Camarron, New Mexico...Joe's Ranch Bar features a face on the floor, a two headed calf and jalepino-pepper-pizza. The postcard correctly atributes the verse to D'Arcy.
T.R., I did quite a bit of research on this, and all credible sources credited the poem to Hugh Antoine D'Arcy. It appears it was first printed in 1887, but I have not been able to confirm that date. The attribution to Robt. Service is clearly mistaken.
From: truhill@aol.com
Date: 07 Mar 99 - 01:39 AM
I'm interested in obtaining a copy of the recording of The Face On The Barroom Floor by Stuart Hamblen. I had the record in the early 60's, but have misplaced it over the years/marriages/moves.
I'd appreciate hearing from anyone that might have a copy.
Don Truhill
From: jbarber@radiks.net
Date: 31 Mar 99 - 06:14 PM
I have been a Robert Service Fan for years now and have wondered about The Face on the Barroom Floor, as it is in the same style that Service uses. I remimber reading one of Services pomes where he refers to the Face on the Barroom Floor and it is called "The Leather Medal" In that poem he referes to the Cramation of Sam McGee and the Face on the Barrom Floor as being by two different authors.
From: Joe Eearl
Date: 10 Apr 99 - 12:30 PM
I have just found the `face` after searching for it, after being presented with the poem word for word which was written on some very ancient paper. However the footnote reads "This monologue was taken from a true story. It really happened in Montreal, and there is still the picture of a woman on the barroom floor of one of Montreal's principal bars." This was about 1940.
From: Reiver #2 (inactive)
I remember seeing the Face on the Barroom Floor in Central City, CO, as a ten year old, back in 1940. At that time, I knew nothing about a poem or song, there was just a written story about a down-on-his-luck miner who painted it in exchange for drinks. It was a very nicely done painting as I remember and certainly not drawn with chalk. It would be interesting to know more about the history of this painting and whether or not it was prompted by the poem, or had an entirely independent origin. Thanks to all of you who researched this thread. It's fascinating. Bryce
From: Mark Clark
Geoff the Duck gave put me in a notion to refresh this.
As stated in this thread (click), the original version of this poem was published in the newspaper in Ashtabula, Ohio. We still haven't found the text of the original poem. Can anybody find it?
In this thread (click), we're looking for the original text of Curley Fletcher's Strawberry Roan, Published in the Arizona Globe Record on December 16, 1915, under the title "The Outlaw Bronco."
From: GUEST,T. Smith Whitwoth
H. Antoine D'Arcy isn't the only one to mimic Rovert Service -- "The Hermit of Shark Tooth Shoal" isn't by Service, either, but written by Edward Paramore Jr.
From: GUEST,LeRoy A. Titus
LIFE OF JOHN HENRY TITUS
Why And How He Wrote
"The Face on The Bar Room Floor"
By Elizabeth Pfleiderer
Little has been published of his life and works. To quote his words "My writing are my life." Know the man, then no one will mistake his work for that of another ! The key to the understanding of his writings can be found in the manner he worked. "The Face on The Bar Room Floor" is an American scene and the fifth canto of "An Ideal Soul" in seven cantos. John Henry Titus, the author SPENT sixty years perfecting this poem. Its dawning followed the followed the civil war, in the late '60s, when inspiration and eloquence came fourth. TEMPERANCE was championed by eloquent speakers, and ABOLITION intensified by great writers, such as Harriet Beecher Stowe. Burning zeal glowed in fine expression borne on the spirit of the time...temperance, the fervor fever, was apparent in all things, no less in this poem. The young poet, Titus recognized the denizens of temperance, in the guise of righteousness: he saw and felt the hypocrisy of temperance.
Jefferson, Ohio, his birthplace was a small town but its atmosphere was far from local. It was the home of many men, eminent, in state and national affairs; as Benjamin F. Wade, Vice President following Lincoln's administration; Congressman Giddings; A. B. Lampson, reader, House of Representatives, in Washington, for seventeen years; and the famous William D. Howells, with whom the poet's father, William K. Titus was associated for forty-five years in varied capacities--- furbishing of writings and publication of the "Sentinel" a Jefferson paper, owned by the Howells, in which the first printing of "the Face On The Bar Room Floor" appeared.
William K. Titus, father of the poet, born at Greenwich, Conn. was a fine literary critic and his criticism of the poem was ever heeded by the son. " A poet should have written for fifty years and know that he is a poet before giving his writings to the world" said his father. This criticism has been as a restraining hand to the poet, until now, sixty years after it was begun... parodies written and translated into many languages.
John Henry Titus, the poet was born in the "Old Pine Tavern" that his poem is immortalized. The environment of his boyhood home was ideal for a gifted youth. "That the meal hour was the best hour of the day" was an oft repeated saying of the mother: at the family table and home fireside he became familiar with the best literature; listening to discussions and conversations led by the father.
The early associations of the father, in the east, were those high in letters and affairs and they were vividly imprinted on the sons mind. they included experiences he had with Washington Irving and Edger Allen Poe, the famous American authors, with whom he had taken holiday excursions, on the Hudson, in and about Sleepy Hollow. The first hand knowledge gleaned from early friendships passed on to the son---methods of creating and writing used by those famous writers. It was an intimate introduction to the writings of Titus and helped to stamp them, with the mark of high quality, and lofty ideals. The poem "The Awkward Boy" written by Titus at the age of twelve was published in the McGuffey Readers. The father told him interesting tales and legends, known in the east: of which he had enjoyed with Poe and Irving. These nuggets impressed the mind of the youth, as a chapter or a poem... the genius of his perception could see the golden train of thought. The original " Black Dove Legend" known to Poe, that influenced the writing of "The Raven" also influenced Titus in the writing of " The Face on The Bar Room floor."
While as a youth he became an apprentice to the tannery trade in Jefferson. Here his first strong work began to eke out... in patches and bunches, written on bits of bark and leather. During his day's work messengers ( of thought ) hovered impressing inspirationally his mind with conditions of life that were conducive to moods, during the inception of his poem... moods that showed the soulful side of the youthful poet, that will never die! The web structure of his entire life and work were woven at this time:
And in the sunset of life the poet tells
For future youth the thought:
Of worth in the tan unto making of fame,
And where... father was taught.
The vivid picture as drawn, in later years, by Titus, as he tells of the unfoldment of the poem, is evidence of his undeniable genius. In a state of unrest and frenzy, he worked, ever and anon! unmindful of return. To quote his own words, "I didn't and could not sleep, it stuck to me so.
Walt Whitman was credited with having worked in the fields and forests, when he thrashed out his poem."Leaves of Grass"-- the dream of a great man which was also those of the people of the earth. Just so, Titus worked in the tannery with the hides, shaping "The face on The Bar Room Floor"... dreamed for the people a message on temperance reform. His power of moral discernment shines when compared to the immoral hypocrisy around him.
The "clan" or political bunch, who labeled all outside of their inner circle; the beautiful truth that beamed in the lives of creatures, as Bob the artist, and Madgelene his sweetheart, seemed as romance, and nuggets he recognized at the inn ( The Tavern ).
Legends handed down by the father (as that of Poe) had rooted deep into his nature. He, the boy poet, developed them in the tannery, as a photographer does his negatives, in a dark room. The entire poem was oralized, as he worked alone--- his spare time and working hours spent in happy musings. There are persons still living who recall the inspired tanner poet, oralizing and jotting down the nucleus of " The Face on The Bar Room floor" on bits of bark and leather. The townspeople recognized his genius, and often referred to the bits of writing on the leather, as "His Writings."
Under vernal-elms old,
the village tanner tans;
As boys run at play anon
or mark in picture-plans.
So in life-idea as aye,
ye village-tanner scans,
As boys hie at play anon,
Boys of favored circumstances, at play, often listened at the open windows, of the tannery, to his expressions and shaping of thought, into expressions; but were careful not to disturb his muses and moods... quietly unnoticed they would slip away remarking, sadly; "To bad John cannot have a chance." The truth was, that he was having his chance and making the most of it. "To organize a sentiment is a great task," he has said.
His heights and flights, of expressions were strengthened by sensitiveness, to local conditions... a local option town, in the early '70s, a liquor traffic, and its hypocrisy, as practiced by the "godly lot" of the town, who had demijohns. He also remembered, finding empty whisky bottles hidden away, in the court house wood-pile--- as a youth he had often replenished the wood box, for the judges, lawyers and officials. Then, too, his father, a temperate man had been labeled by "the godly lot" because of an occasional drink. He was neither intemperate, nor a hypocrite--- the young poet resented the injustice to a great soul, his father; his soul had suffered from these insinuations. These conditions served as a background to his moods during inception, perception and conception of the poem.
"The Face on The Bar Room Floor" contains a message of moral, clothed in beautiful romance of fact and legend, covering a period of more than 600 years. Artist Bob and Madgelene, his sweetheart and ideal soul, were in reality identified with the legend, which had its origin in an Alpine royal family mystery. The "Ole Pine Tavern" at Jefferson, Ohio was a Famous way-side inn, in the early stage days: "Astir the pine in somber lay.".... the pine was a favorite stopping place for the travelers.
The Tavern room where the scene occurred was frequented by judges, juryman, lawyers, men of quality and those of national prominence. Above was a room ( ball-room ) used for court sessions during a period of rebuilding the court house:
"that 'oversaw' Joes bar room
as court on the square;"
The term bar room used by Titus, does not refer to an ordinary saloon bar room, but to a tavern registry room, where guests of the tavern on arriving, by stage were received and registered. Beneath the desk was kept a supply of " whiskey, rum or gin " according to Federal Law requirements... guests could receive a certain quantity on arrival.
It was necessary to keep the " whiskey score " : " fetch the char you mark the whiskey score "--- plagiarists and parody writers, in the versions wrote: " Bring the chalk you mark the baseball score score. " A baseball score had not yet come into existence. Those claiming authorship of the poem knew little of the place, and customs existing, at the time the poem was written.
In like manner, the phrase, " Ten Nights in A Bar Room " was grossly misinterpreted. Titus told of Ten Knights ( Ten Nights ) meeting in upper room of the Tavern with demijohns, to settle difficult violation cases... difficult and hard cases which took ten consecutive nights, and until morning to complete. They were members of a fraternal order ( Knights of Templars ) and a part of the " godly lot ." Artist Bob, on the memorable night, of his returning to the tavern was recognized by a member of the secret order ( Knights of Templar ) hence, as given in poem:
" As barinage the mystcreant took in static
grace intact, as one of place;
and doting low as embers fall---- nods
inturn as secret call."
The vagabond, known in earlier days in the town, as artist Bob, was known in the east before coming to Jefferson, by the poets father. artist Bob had won fame as an artist... had conceived the well known picture " The volunteer Choir. " he was present at the first funeral at " The Little Church around The corner " on twenty-ninth street, New York City, for the stage folks, when the volunteer choir supplied the music. This incident in the life of artist Bob, was told to the poet, by his father, as legend.
That the soul of the young poet, or singer was craving for a larger life of greater expression can be recognized throughout the poem, and his susceptibility to the spirit of the age and local conditions, discerned... nothing was too local to have the ear marks of deduction, and the consciousness of the existence of an evil, that could become universal, is conspicuous throughout.
He was gifted with a scholarly touch and an easy command of rhyme and rhythm: it must sound correctly to he ear... the euphony of tones, their shades and shapes is that of a poet of the highest rank; choice and use of words show the realm in which he dwelt: although he has said " My poems are the soliloquy of my soul--- technique gives way to divine passion."
His art of poetry writing was applied in disputation of intemperance--- which resembles that of today. John Henry Titus was truly the discoverer of the immoral phases, existing in a liquor traffic, in the name of temperance. His fame today rests upon this poem, undoubtedly a masterpiece. The scene in The Pine Tavern, in the late '6os and the conditions of life--- a pious-role played by a "godly lot"... social conditions, good and evil, which underlined a distinctive period of our history.
Who, that has read it, has ever forgotten it? It has truly niched itself into the world's utterances... its charm and moral purity charms the heart.
However, one contribution does not make a poet. Titus has been wise and true, in aim of soul, and obedient to an inner voice, for sixty years. Having no set rules of diction, creed; religion, cult, isms or schisms. he has lived in the world and his poems carry the essence of great truths. The poem, " They Had no Poet and so They Died " is destined to fill a niche and need. Quoting from poem:
" In the dim waste lands of the Orient stands
The wreck of a race so old and vast
That the great legend cannot lay hands
On a single fact of its tongueless past; "
This poem is a complete resume of his world travels.
The opportunity came to him for world travel--- opened the way to live his life into his poems. A large leather concern commissioned him to look after their varied interests, in all parts of the globe, he being versatile with all angles of the leather industry. At different times, he traveled in all parts of the globe, while thus engaged... friendships were made that influenced the production of his finest poems.
He has embodied his friendship with Edgar Bushnell, the famous actor, in the poem, " The Three Great Lessons of Life: Love, Pain and Hate. " Bushnell played with Sir Henry Irving on his famed tour to America, in 1903, at The Manhattan theatre, New York City.
The meeting of Bushnell and learning of his domestic disappointment gave impetus to the birth of " Love, Pain and Hate "... in reality a mask for his own domestic unhappiness.
Bushnell had married an actress, the daughter of Dean Hurd of Oxford University, England. His married life had been stormy and the parting scene, on leaving for America, between he and his wife was deeply strained and affected him: at which he turned to her and gave his feelings from the depths of his soul. This scene he reenacted when he called on Titus in New York. " The same old Story of Life," said Titus. Bushnell asked his meaning, Love, Pain and Hate was the reply. from this social hour, Titus gleaned the situation, and later, on his return handed to Bushnell the poem. " Love, Pain and Hate." The conflict of feelings that raged within his bosom throughout this painful parting scene, and after, are touchingly depicted in the lines written, and which though not mentioned, as addressed to her by name, were evidently for the heart of his loved one.
You taught me the first great lesson of life,
The terrible lesson of love;
You came into my world of struggle and strife,
As an angel of light from above.
And you taught me the faith I never had known,
Brought me sunshine as radiant dove;
You taught me to trust you and call you my own;
You taught me the lesson of love.
You taught me the second great lesson of life,
The terrible lesson of pain;
You mocked at my anguish and soul-strife,
And my cry for your love in vain.
You came into my life step by step,
And caused me to weep as the rain;
You broke your word,---and feigning, you wept,
You taught me the lesson of pain.
Oh! the third great lesson you must not teach,
The terrible lesson of hate;
I'll go while I love, repent! I beseech---
I'll go, love. ere the hour's too late;
Lest life's scars come, which time can't efface,
Ere steps I might take be our fate,
I leave,---but my love will enshadow your face;
I go ere my love turns to hate.
Unknown to Titus, he mailed the poem to his wife at Liverpool, England, and within a few weeks, Bushnell made another call...he flourished a letter, on which was a Liverpool postmark, saying, read that! The poem had had the desired effect, and Bushnell was sailing at once for England, having already resigned his engagement at the Theatre. Titus read the letter and incidently the poem " Her Lament "---between the lines was her anguish and lament. A year later Titus visited Bushnell, in his beautiful home at Liverpool, England, and for the first time met his wife. After dinner in the trellis of the arbor, in rustic chairs, Bushnell ( smoking a pipe ) refers again to his domestic life and pours out a soliloquy of his soul, in a strain of perpetrated feeling, instead of a soul's reconciliation. The recital was as if it were an outpouring of the constant feeling of a martyr... the third poem was then written " Truth and Error " ( or reconciliation ). The close intimacy of two strong characters, the actor and poet drew out the material for the companion poems; that show how clearly he could feel and relate the emotions of a romance.
Throughout the years an enduring friendship existed between John Henry Titus and Elbert Hubbard, II. The following statement's taken from a letter dated, May 27th, 1915, and addressed to John Henry Titus. The letter was written after the sinking of the Lusitania, on which Elbert Hubbard and his wife Alice lost their lives: " I can only thank you with all my heart for your kind words of sympathy and cheer. They give me much comfort. Their spirits live and go gloriously down the corridors of time. With strength and courage I bear it all. You have helped me much. Signed Elbert Hubbard, II. In a letter dated October 4th, 1912, from Elbert Hubbard to Titus are the following words: " I must thank you for your good letter of the 1st. Your spelling is a bit original, but then, we must not expect conformity in a genius. My idea is that anyone who can write as good poetry as you should keep right at it." The 3 'Hs, which were used and referred to innumerable times, in the writings of Hubbard were taken from a poem by Titus: Head, Heart and Hand. Hubbard, after many reprints made a public statement, in his chapel---"that from that time on it would always appear in Quotes, thereby giving due credit to its author, John Henry Titus." The poem was written after a delightful visit to the Roycroft Shops, at East Aurora... while alone and reflecting on the beautiful work of Hubbard and his wife, Alice---comparing it with his earlier life, in the Larkin Soap Industry. The beauty and greatness of the Roycroft Shop was seen and felt through the eyes and soul of a poet...he saw the unison of "Head, Heart and Hand." The 3 'Hs were carved on the private door of Hubbard's office.
At one time Hubbard was the guest speaker, at a banquet, at Boston, Mass. attended by the presidents of ten railroads. Mr. Daniels, Pres. of the New York Central Railroad saw such elegance and beauty in the words of the poem as given by Hubbard that he suggested use of them---to be used in marble, for the New York Terminal, where they are today---Head, Heart and Hand in marble.
Hubbards interest and admiration for " The Spartan Warrior " and " The Litany " poems of Titus brought them to the attention of the same group of men. Hubbard's comment on the poem, " The Spartan Warrior " was, " It has more Spartan in it than have found in ten volumes of Grecian history." " Neither snow nor rain, nor heat nor gloom of night, stays these couriers ( corridors in the original ) from their appointed rounds " the inscription on the General Post Office, New York City, taken from " The Litany " and suggested by Elbert Hubbard.
His travels in all the world, in different lands, under many conditions brought forth deductions, from his culture, that was broad and general; not that of a bookworm or student, but of a receptive and communicative mind. " They Had no Poet and so They Died " gives angles of his deductions, of the past, present and a prophetic message; he could see in the works of Socrates, Plato, Demosthenes, Diogenes and Aristotle, at Athens, that their souls pulsated to other men and their lives. In Carthage, Troy, Egypt, Japan, in the dim waste lands of the Orient, and regions of the dark Congo...all goes unrecorded and for nought: the Land of Tropics and our own sun crowned West, yes! even here as the earth waxed old, a race Titanic did once abide, their story too was left untold, as he observed, hence:
They had no poet and so they died.
Nothing has ever changed or obscured his deep sincerity and natural poetic expressions...thus, he has been a kind bard or singer of beautiful verses throughout a long period of years---giving poetry of grace and originality, and earned the title of a delightful evening with him and undergone the charm of his poetry. The essence of Titus writings might be defined thus: the romance is genuine, sentiment pure and heart-felt, with soulful heroism. The commonplace things of life reflect the worth of character and high ideals; yet, no tendency toward any creed, cult or schism. This is beautifully illustrated in his poem " Le Titusian." It answers the question of immortality for those of any creed.
The wick pales..
Curls; bends---
"Tis nearer dawn,
Its beam I see.
I wake; I rouse;
I yawn; I live:
I am; "Tis I:
Close not the
door; "tis I!
So be my bourn
as dawn.. alway:
True nobleness.
Honorable man,
citadel of God.
While his poems were not written in the beginning with thought of publication, they soon found a way into all parts of the world. " The face on The Bar Room Floor " has a firm hold on the hearts of all English-speaking people, and brought fame. He has always written and given to the world utterances, unmindful of return. Incidents that agree in the progression of the poem " The Face on The Bar Room Floor " from the concept, to its completion have made the poem immortal. It could not have been written at another place or time. The descriptions of the Old Pine Tavern, a local option town, in the early '70s, the tavern bar room ( not a saloon in New York ), Artist Bob and Madgelene, can easily be identified; his descriptions are so accurate. He had the gift of preserving local characters, in the vernacular; preserving them in oral expression, for all ages and, in such a way, that they will never be merged into oblivion. It resolves itself into folk-lore and so it will ever be.
He wrote around a local problem " temperance " and the control and regulation of liquor traffic, a problem that has become national in importance. The " godly lot " a term that serves well today, he used in irony, not in the absolute. The godly lot we still have playing pious-roles with demijohns, and engaged in a nefarious liquor traffic.
This biographical sketch is given to the world, the world is entitled to it, that no injustice be done anyone, that the inner urge of his age---the ways of it, be known, and leave the author, unlabeled from any sophistry or creed.
John Henry Titus, the author, now 80 and over is giving his famous poem to the world. It will be followed by many unpublished gems, destined to become a part of the world's utterances.
Winfred P. Welden, President of the Anti-Cigarette League of America has started for publication, " that the poem The Face on The Bar Room Floor belongs with the literature of temperance reform as inevitable as 'Uncle Tom's Cabin' belongs to the literature of abolition."
More About JOHN HENRY TITUS:
Burial: 1947, Greenwood Cemetary, Brooklyn, New York
From: GUEST,.gargoyle
Interesting, Interesting... with a touch of jaundiced tripidation.
Subject: RE: Lyr Req: Face on the Barroom Floor
From: GUEST,Daltiz
Date: 05 Apr 07 - 09:52 AM
If anyone reads this I have a copy of The Face on the Barroom Floor that is in Titus' original form. It is typewritten and is signed in ink by Titus. It is also marked as being copyrighted by Titus.
Under the title it says -original 1872-
Condition is good with some yellowing. No rips, one bent corner. Anyone with any information, other than what's on this link already, would be greatly appreciated.
Great link by the way.
Subject: Lyr Add: FACE ON THE BAR-ROOM FLOOR (De Witt, Hope
From: Jim Dixon
Another version, from sheet music at The National Library of Australia:
"Latest American Rage"
THE FACE ON THE BAR-ROOM FLOOR
Words, Maurice De Witt; music, Leonard Hope;
Publisher: Dinsdales, Melbourne [190-?]
1. The barroom was crowded one calm summer's eve.
The air filled with laughter and song.
When a tramp old and ragged crept into the room,
With sneers he was hailed by the throng.
Said he, "If you'll listen, my story I'll tell,
If you'll give me a drink, nothing more.
I'm a broken-down artist and for you I'll paint
A face on the barroom floor."
CHORUS: Ah! That face on the barroom floor,
The woman that I adored!
What a different man I might have been
If she were still my heart's own queen!
But my dream of life is o'er;
On the earth we'll meet no more.
A cruel faithless wife
That I loved as my life,
The face on the barroom floor!
2. The crowd gathered round and stood greatly amazed
At the beautiful face that he drew.
He said, "Years ago we were wed, Nance and I.
I ne'er thought that she'd prove untrue;
But a tempter one day came and lured her away.
My bright hopes in life are no more.
Then with one fearful shudder he fell dead across
The face on the barroom floor.
I will try to post verbatim from the original copy that I have in front of me. It is not easy as his use of the language is odd and his typewrite had a habit of only partially printing some letters. Oh well, here goes.............
Astir the pine in sombre lay.
'Twas a barmy autumn night,
-and a-godly lot was there that oversaw Joe's bar-room,
as Court on the square:
And as song in wit as story ekes of oaken door,
a vagabond stept lowly in asken on the floor:
As someone, "ha" where's it from?
Wind's blown it in: what does
want? whiskey! rum or gin? See,
Tobe! sic! Joe's can do the work I wouldn't touch with a fork: it's
fetid as a Turk! "As barinage
the myscreant took in static
grace intact, as one of place, and
doting lowas embers fall nods
in turn cesret call: and Joe
growls at hackman late, but
heightens glee as glass to brim,
as judge and jury wait: yet naught
of tort pays to goad or hurl at
pine beside the road, -as onesays,
"he's clean..a gentleman too!
who knows of scar(?) Joe, look
in-side down'ur throat! Men Tom's
hard: thousands bad but sees-'
neith the coat the man. . "Yes Tom-
tis so of a burly crowd: such on
turn would make the deacon proud:
a-dram I want, hardly fixed for
snow; when as yore Bob was never
slow; what! ascur as if or not
this wallet had a-sou; once was
up who knows as any one of you
there: thanks; good! rock-n-rye;
helps me some..God bless you all;
perchance again would call; night,
-goodnight, cold! what, a song(?)
no, can't do that..singin days
past; voice cracked! throat's
worn! lungs are going fast; says
a snook..and what'd do..a punny
tale as ever knew; that I was any
'count,-who'd think(?) but 20
years back! turn a drink; fill-
er-up Joe, want some life in my
frame; such to "C" are miserly
tame! there, five fingers the
stuff and cracking whiskey too;
well, here's and landlord, same
to you-set down! U've used me
well and won't blame as tell an-
howas Joe and broken now. Once
was a man of calling name and
health..and but for gamble ought
've won fame as wealth; was a
painter, not on brigand wood, but
of Florence as alpine neighborhood
wept at my canvas a mystcreant
of dispise in the halo-heights
of Switzerland on the winds of
paradise!
Made a picture few have seen..the
Chaise of Fame:-fetched 1500 francs
at Monte Carlo game; then a woman
hear the stunning start, with eyes
that turned my brain as life of
art: not a nudess of garden-role,
or stone, nor naughty, but an ideal
soul: So changed-strange that a
vagabond should love, seems wrong..
but 'tis so was ever neat and
love was given, and in her ruby
lips and mine..O God: 'twas heaven:
-Ever see of pine for..own would
give(?) of form as Goddess Vebus,
too worshipful to live..and eyes
afar in lays of raven jet hair?
So! "twas she an '-never-'nother!
Half so fair. I was groping at
my canvass, out a task of shadow
lay off Joe's tintype by mother
at midnight sun as day..and own
makes of it in toss of covet-prize
..and acts in accent of it and,
such! dreamy eyes. Was't long for
in the curfew moan Joe sat by her
and I was left alone; and in the
year of misery and ache of heart
the jewel of my soul tales of
pine as dead. 'Tis the story; but
scarce a turn or smile..felt
might be aver as something mean
or vile; and what's wrong Tom, a
tear..a-sigh(?) Ha, laugh.. but
woman's cry! Say Joe, a -brace, and
I'll feel better..glad, and draw
right here in memory, the one that
drove me mad-fetch the char you
mark the whiskey score and see..
her face in fancy on the bar-room
floor. So ashen alway as nun
affright; and clarion as volunteer
choir or person of mistook right;
O image divine at pillow-pane as
wont..and rogueishly shy, she
comes in her girlish-caress and
accent of solace goodbye. Who
knows maybe I was at fault, and
blind to tear, as sigh as sage of
Mona Lisa wrought in Bob so bad
as I!"
Another as wil-o'clock dram..and
knelt with char askan at sketch
of one might stir the soul of
any man: then a truant memory lock
..in accent low, "Madgelene" thou
mistook one! struggles to rise and
with cry as phantom of dread..
leaps as in her arms forgiven; and
fell on the picture dead.
To the best of my abilities this is the exact way it appears on this paper that is dated 1872 and is signed in ink by John Henry Titus. If anyone would like a photo of this, please let me know.
From: M.Ted
Thanks for posting that! It's great--and a good bit different than the version we are familiar with--
From: GUEST,Lee Titus
Date: 31 Dec 07 - 07:18 PM
Yes, I would like very much like a photo of this as I am a decendent of John Henry Titus, This would be greatly appreciated. My Email address is res0anv7@verizon.net. Thank You,
LeRoy A. Titus Jr.


News News and More News!Caribbean News!Foreign News!If It's News, We're Going To Update You Here!
Dedicated to all Soca Party People !!
SERIOUSLY, WTH WERE YOU THINKING?
Lets explore some of the most beautiful things that represents the Caribbean. Lets dive into art, music, food, sports, beaches, and the people.
Lets discuss every sports, every result, every decision, every trade, every draft, everything sports related will be discussed here.
The spot for promotion, discussion, photo & video sharing, etc. of Houston's HOTTEST events !!


You guys are going to want to check this out. The kit's been sitting on a shelf here for almost two years, just begging to be put together. We don't have the time, and we want to see someone tackle it, so we're slashing the price with the hope that someone will want to give it a shot.
People tend to be a bit hesitant concerning omni-wheel bots because of the vector math involved. It's not that bad, people. Can you solve a triangle? Of course you can.


text:
CIS: Death Notices Serve To Revive Moribund Organization
Will one of these leaders destroy the CIS? Meeting in the wilds of Belarus on 8 December 1991, the presidents of Russia, Ukraine, and Belarus announced the creation of a new Commonwealth of Independent States (CIS) on the ruins of the crumbling USSR. Two weeks later, on 21 December 1991, the presidents of 11 former Soviet republics (Armenia, Azerbaijan, Belarus, Kazakhstan, Kyrgyzstan, Moldova, Russia, Tajikistan, Turkmenistan, Ukraine, and Uzbekistan) met in Almaty and signed a protocol to that declaration affirming their countries' membership in the CIS.
CIS: Turkmenistan Reduces Ties To 'Associate Member'
Is the CIS good for anything but photo opportunities? The Commonwealth of Independent States (CIS) is losing one of its current full members, Turkmenistan. Instead, Ashgabat will become an "associate member." In a letter to the participants of Kazan's summit, Turkmen President Saparmurat Niyazov called for the change in his country's ties with the CIS, saying they are in line with his policy of permanent neutrality. Niyazov, also known as Turkmenbashi (Father of the Turkmen), was the only CIS leader who did not attend the Kazan summit.
Putin Says There Is Agreement That CIS Needs Reform
26 August 2005 -- Russian President Vladimir Putin said that leaders of the Commonwealth of Independent States (CIS) agreed at their summit meeting today in Kazan on the need for fundamental reform.
Turkmenistan: No Job Security For Officials -- Even Old Presidential Friends
Saparmurat Niyazov (file photo) Turkmenistan is well-known for its parade of rotating ministers and other high-level officials. This summer has been especially hard. In at least two cases officials were appointed then dismissed within roughly two months. For one, that dismissal came with criminal charges.
U.S. General Holds Talks With Tajik President
General John Abizaid (file photo) 24 August 2005 (RFE/RL) -- A top U.S. general met today with Tajik President Emomali Rakhmonov in Dushanbe for security talks.
Turkmen Performers Thank Niyazov For Music Ban
Saparmurat Niyazov 24 August 2005 -- Turkmen performers have thanked President Saparmurat Niyazov for his decision to ban the use of playback music at public events, on television and at weddings.
U.S. General Discusses Bases With Turkmenistan Leader
24 August 2005 (RFE/RL) -- A top U.S. general says he has assured Turkmenistan's President Saparmurat Niyazov that the American military is in the Central Asian region to help bring stability to Afghanistan.
Turkmen Leader Restricts Use Of Recorded Music
President Saparmurat Niyazov (file photo) 23 August 2005 (RFE/RL) -- Turkmen President Saparmurat Niyazov has banned the playing of recorded music at public events, on television and at weddings.
Ex-Bodyguard Named Deputy Premier In Turkmenistan
President Niyazov (file photo) Ashgabat, 22 August 2005 (RFE/RL) -- Reports from Turkmenistan say President Saparmurat Niyazov has appointed his former bodyguard to the post of deputy prime minister in charge of relations with CIS members.
'Turkmenbashi' Sacks Oil Company Head For Bribe Taking
President Niyazov (file photo) 13 August 2005 -- Turkmen President Saparmurat Niyazov has fired Saparmamet Valiev, the head of state oil company Turkmenneft, and accused him of taking bribes from a foreign company.
Central Asia: Madrasahs Lead Religious Teaching Revival (Part 4)
In Central Asia, as in much of the Muslim world, religious education is carried out in institutions known as madrasahs. Those institutions can be on a university-size scale, as in some of the ancient but still functioning madrasahs in Bukhara, or in premises as small as a village schoolroom. Today, after decades of decline under communism or due to war in Afghanistan, madrasahs throughout the region are reviving as a central part of Muslim life. RFE/RL correspondent Sultan Sarwar reports in this last part of our four-part series on Islam in Central Asia.
Turkmenistan Grants Citizenship To 16,000 Refugees
Turkmenistan President Saparmurat Niyazov (file photo) 5 August 2005 (RFE/RL) -- The press service for Turkmen President Saparmurat Niyazov said that more than 16,000 refugees were officially granted citizenship in Turkmenistan.

redpajama_set_name: RedPajamaCommonCrawl


text:
+ Expand What We Do
+ Expand Who We Are
+ Expand Diversity & Inclusion
Office of Minority & Women Inclusion
+ Expand Careers
Quantitative Fellowship Program
+ Expand Our History
History of Central Banking
In both Minneapolis and Helena, the Minneapolis Fed provides financial services to depository institutions, including banks, credit unions, and savings and loans, much like the services that banks provide for their customers. These services include collecting checks, electronically transferring funds, and distributing and receiving cash and coin. That's why all of the Federal Reserve district banks are often called "the bankers' bank."
Our Treasury Services department is unique within the Federal Reserve System by providing support for customers who purchase and redeem marketable U.S. Treasury securities and savings bonds in paperless electronic form through TreasuryDirect.
The Payment, Standards, and Outreach Group (PSOG) within the Bank works with national and international organizations, industry groups, and associations to make it safer and more efficient for consumers and businesses to make and accept payments.


Working with an overseas development and UX team, I needed to figure out a better way to hand off my designs. In 2017, I developed a whole new way to document interaction design: Interaction Flows.
After positive reception by leadership, multiple development teams, and fellow UX peers, I decided to write about the process on Medium, got picked up by UX Planet, and ended up in Medium's Top 20 Posts with over 40K views!
You can read the Medium article here.


text:
The Ministry of Agriculture, Fisheries and Food (MAFF) was a United Kingdom government department created by the Board of Agriculture Act 1889 (52 & 53 Vict. c.30) and at that time called the Board of Agriculture, and then from 1903 the Board of Agriculture and Fisheries, and from 1919 the Ministry of Agriculture and Fisheries. It attained its final name in 1955 with the addition of responsibilities for the British food industry to the existing responsibilities for agriculture and the fishing industry, a name that lasted until the Ministry was dissolved in 2002, at which point its responsibilities had been merged into the Department for Environment, Food and Rural Affairs (Defra).

On its renaming as the Ministry of Agriculture, Fisheries and Food in 1955, it was responsible for agriculture, fisheries and food. Until the Food Standards Agency was created, it was responsible for both food production and food safety, which was seen by some to give rise to a conflict of interest. MAFF was widely criticised for its handling of the outbreak of bovine spongiform encephalopathy (more widely known as mad cow disease) and later the outbreak of foot and mouth disease in 2001.

It was merged with the part of the Department for Environment, Transport and the Regions that dealt with the environment (and with a small part of the Home Office) to create a new government department, the Department for Environment, Food and Rural Affairs (Defra) in 2001. MAFF was formally dissolved on 27 March 2002, when the Ministry of Agriculture, Fisheries and Food (Dissolution) Order 2002 (S.I. 2002/794) came into force.

Background
The Board of Agriculture, which later become the Ministry of Agriculture, Fisheries and Food (MAFF), was established under the Board of Agriculture Act 1889. It was preceded, however, by an earlier Board of Agriculture, founded by Royal Charter on 23 August 1793 as the Board or Society for the Encouragement of Agriculture and Internal Improvement, which lasted until it was dissolved in June 1822. Though its founders hoped the board would become a department of state it was never more than a private society which spread useful knowledge and encouraged improvements in farming.

A significant predecessor of the second Board of Agriculture (later MAFF) was the Tithe Commission, which was set up in 1841 under the Tithe Act 1836 and amalgamated with the Enclosure Commissioners and the Copyhold Commissioners to become the Lord Commissioners for England and Wales under the Settled Land Act 1882, responsible to the Home Secretary, which became the Land Department of the new Board of Agriculture in 1889.
Another predecessor was the Cattle Plague Department, set up by the Home Office to deal with an outbreak of rinderpest in London in June 1865. This was renamed the Veterinary Department of the Privy Council in 1869 and became part of the new Board of Agriculture in 1889.

Board of Agriculture

The Board of Agriculture Act 1889, passed on 12 August, established the Board of Agriculture and combined all Government responsibilities for agricultural matters in one department. The first President of the new Board was the Rt. Hon. Henry Chaplin, there were 90 members of staff and the first annual estimate was for £55,000. From 1892 to 1913, its secretary, the most senior civil servant, was Sir Thomas Elliott.

The Board took responsibility for the Ordnance Survey in 1890, and it took responsibility for the Royal Botanic Gardens, Kew in 1903. Also in 1903, the Board of Agriculture and Fisheries Act 1903 was passed to transfer certain powers and duties relating to the fishing industry from the Board of Trade to what then became the Board of Agriculture and Fisheries.

In 1904, the Board appointed honorary agricultural correspondents throughout the country to liaise with the Board on Regional Matters and to give advice to farmers. In 1911, responsibility for all agricultural matters in Scotland except animal health was transferred to a newly created Board of Agriculture for Scotland.
Meanwhile, the country was increasingly becoming dependent on imported food. By 1914, the output of home-grown food only met one-third of the country's needs.

World War I

War was declared on 4 August 1914. Good harvests and little interruption to imports of food during the first two years of meant that there were no shortages of food, though the ministry was buying wheat, meat and sugar. The agricultural situation then changed for the worse with a poor crop harvest, failure of the potato crop, declining harvest abroad and increased shipping losses. In 1916, Rowland Prothero was appointed President of the Board of Agriculture with a seat in the Cabinet and with the aim of stimulating food production.

In December 1916, a Ministry of Food was created under the New Ministries & Secretaries Act 1916 and Lord Devonport appointed Food Controller to regulate the supply and consumption of food and to encourage food production. A Food Production Department was established by the Board of Agriculture in 1917 to organise and distribute agricultural inputs, such as labour, feed, fertiliser and machinery, and increase output of crops. Provision of labour provided considerable difficulty as many men working on farms had enlisted but co-operation between the War Office and the Board enabled men to be released to help with spring cultivation and harvest. Also in 1917, the Women's Land Army was created to provide substitutes for men called up to the forces.

The Corn Production Act 1917 guaranteed minimum prices for wheat and oats, specified a minimum wage for agricultural workers and established the Agricultural Wages Board, to ensure stability for farmers and a share of this stability for agricultural workers. The aim was to increase output of home-grown food and reduce dependence on imports.

In June 1917, Lord Devonport resigned as Food Controller to be replaced by Lord Rhondda, who introduced compulsory rationing of meat, sugar and butter in early 1918. By 1918, there were controls over 94% of foodstuffs; the Food Controller bought all essential food supplies and the Corn Production Act guaranteed cereal prices. The ministry had a staff of more than 8,000 with food control committees and divisional commissioners across the country.  The ministry's Wheat Commission took over flour mills and dictated the shape and weight of bread, prohibiting sales of muffins, crumpets and teacakes.  Oats, barley and beans were added to bread.  These measures were said to have saved about 10 million sacks of wheat, but they were not universally welcomed.  Meat was imported from the USA and Argentina and refrigerated merchant ships were equipped with guns from April 1915.  Meat prices were controlled from September 1917, and meat became scarce. Milk production fell during the war by  about 25% and condensed milk imports rose from 49,000 tonnes to 128,000 tonnes.  Lord Rhondda died on 1 July 1918 and was succeeded by John Clynes, MP. The armistice treaty ending World War I was signed on 11 November 1918. Following the war, the Food Controller resigned in 1919 and the Ministry of Food progressively wound down and closed on 31 March 1921.

Ministry of Agriculture and Fisheries

The Ministry of Agriculture and Fisheries Act 1919 abolished the Board of Agriculture and Fisheries and created the Ministry of Agriculture and Fisheries, which took on the powers of the Board and the remaining functions of the Food Production Department established during the war. In 1919 prices of farm produce had risen by 25% compared to prices at the end of the war. The Agriculture Act 1920 set out guaranteed prices for wheat and oats based on the 1919 averages, to be reviewed annually. However, in the early 1920s, prices fell drastically, the Act was repealed, guaranteed prices were replaced by lump sum payments and the Agricultural Wages Board abolished, as part of the Government's deflationary policies. By 1922 virtually all of war-time controls had gone. The area under cultivation in Britain fell from 12 million acres (49,000 km²) in 1918 to 9 million acres (36,000 km²) in 1926. Farm prices continued to decline and then fell by 34% in the three years after 1929.

During this period, the Ministry of Agriculture and Fisheries remained a small department concerned with pest and disease control, agricultural research and education, improvement of livestock, and provision of allotments and smallholdings. Over the next few years, its workload grew.

In the late 1920s and early 1930s the Government introduce new measures to support domestic agriculture and farmers' income. Subsidies or price insurance schemes were created for sugar beet, wheat, cattle, dairy and sheep. The Agricultural Produce (Grading and Marketing) Act 1928 promoted the standardisation of grades and packaging and introduced the "National Mark", a trade mark denoting home-produced food of a defined quality for eggs, beef, apples and pears. The Agricultural Marketing Acts of 1931 and 1933 sought to organise farmers into co-operative marketing associations and created Marketing Boards for bacon, pigs, hops, milk and potatoes. The Import Duties Act 1932 introduced a tariff on most imports including fruit and vegetables and quotas on imports of bacon, ham and other meat products. In 1936 the tithe rent charge was abolished, compensation paid to the Church and the money recovered from farmers over a 60-year period. In 1937 a scheme was introduce to subsidize the spreading of lime on agricultural land to boost the fertility of the soil.  The Food (Defence Plans) Department was established in 1937 and was then constituted as the Ministry of Food on the outbreak of war in 1939. The Minister of Agriculture was given powers to regulate the cultivation and management of land, end tenancies, even take possession of land, under the Emergency Powers (Defence) Act 1939. On 1 September 1939 many of these powers were delegated to County War Agricultural Executive Committees ("War Ags").

World War II

War was declared on 3 September 1939. The UK entered the war well prepared for the maintenance of supplies of food but with less than 40% of the country's needs produced at home. The Ministry of Food was formed on 8 September and William Morrison appointed Minister. The Scientific Food Committee was established in May 1940 and outlined a basal diet of 2000 calories. The Ministry of Food became the sole buyer and importer of food and regulated prices, guaranteeing farmers prices and markets for their produce. The Marketing Boards, except for milk and hops, were suspended.

Recruiting began for the Women's Land Army and in 1940, food rationing was introduced. Lord Woolton succeeded William Morrison as Minister for Food. In 1941, the US Lend-Lease act was passed under which food, agricultural machinery and equipment was sent from the US to the UK.

Postwar era

The Ministry of Agriculture and Fisheries and the Ministry of Food were merged in 1955, becoming the Ministry of Agriculture, Fisheries and Food. In the 1970s, the IRA detonated some explosives in front of the Ministry of Agriculture building in Whitehall.

See also
 Forestry Commission
 Lobbying in the United Kingdom
 Minister of Agriculture, Fisheries and Food
 Sir John Sinclair, 1st Baronet
 Arthur Young

References and notes

 Sinclair, J. (1796). Account of the Origin of the Board of Agriculture and its progress for three years after its establishment. London: W. Bulmer and Co.
Ernle, Lord; edited by Hall, G. (1956), English Farming Past and Present, 5th edition. London: Longmans, Green and Co., Chapter XIX The War and State Control, 1914-1918.
Foreman, S. (1991). Loaves and Fishes, an illustrated history of the Ministry of Agriculture, Fisheries and Food 1889-1999. London: MAFF.
Debate on draft Ministry of Agriculture, Fisheries and Food (Dissolution) Order 2002, Fifth Standing Committee on Delegated Legislation, 22 January 2002.

Agriculture, Fisheries and Food
United Kingdom
United Kingdom
Economic history of the United Kingdom
Agricultural organisations based in the United Kingdom
Ministries established in 1889
1889 establishments in the United Kingdom
Defunct environmental agencies
2002 disestablishments in the United Kingdom

redpajama_set_name: RedPajamaWikipedia


text:
Local News UK/Spain News
Cross Frontier Group reviews latest developments in first meeting under new chairman
Johnny Bugeja
By Chronicle Staff Share
The latest Covid-19 restrictions and their effect on movement at the frontier were at the heart of the first Cross Frontier Group meeting led by its new chairman, Michael Netto.
Members welcomed the clarification from Spain's Ministry of the Interior that the border between Gibraltar and Spain will not be affected.
In a statement, the Cross Frontier Group said the new measures announced both in Gibraltar and Spain are understandable given the continuing situation with the virus.
Brexit was also discussed during the virtual meeting and the Cross Frontier Group welcomed statements made by the Chief Minister, Fabian Picardo, and the Spanish Foreign Minister, Arancha Gonzalez Laya, in a recent article published by the Financial Times.
"It takes heart that it seems that they have both taken note of the Group's declaration of October 16, which stated that in the Group's opinion a 'No Deal' [Brexit] is not an option," the Group said.
"And that all the parties are working towards agreements that are positive for all concerned and that will make the things that matter for the everyday life of citizens of Gibraltar and the Campo smoother and simpler than a no deal scenario."
The Group once again underscored that any Brexit negotiations result in agreements that allow a continued and an improvement in the economic, social and cultural relations between both communities.
It hoped that the new framework provides for the future economic development and cooperation between Gibraltar and the Campo.
The Cross Frontier Group said: "An essential element for this is guaranteed long term mechanisms that ensure frontier fluidity for all that in turn will allow cross-frontier socio economic activity."
"During these delicate times, the Cross Frontier Group undertakes, in line with its current strategy, to pursue contacts with institutions and politicians on both sides of
the frontier with the aim of establishing future socioeconomic and cultural relations between both communities."


With its emphasis on the symbiotic relationship and history between Mexico and California, the show has also been included into this year's LA/LA Pacific Standard Time roster of region-wide exhibitions and programs sponsored by the Getty Foundation to the tune of $ 8.5 million.
Tom and Patti Klingenmeier and their two young sons, Michael and J.D., left behind their bustling Chicago life as owners of three small businesses all due to a 6-year-old's question. "Dad how come you never take me fishing?" Michael plaintively asked.
The characters created by novelist Gloria Fickling are in the spotlight again in a documentary about their influence in changing women's roles in film and television.
It's been a long stage journey for a once introverted seventh-grader, freshly arrived in San Diego from Clinton, Iowa, who was pushed into a drama class as part of a middle-school humanities requirement.
Relive the '60s at "A Night With Janis Joplin" in a brief run at Laguna Playhouse.
Last summer, Jennifer, a teacher on parental leave, and husband Jesse, a Thurston teacher and Laguna Beach lifeguard, returned to the Sawdust. "We are a legacy. People are coming back who still remember my parents," said Jennifer.


text:
Dr Jane A Goldman
Dr Jane Goldman
Reader in A vant-garde Poetics & Creative Writing (English Literature)
telephone: 5163
email: Jane.Goldman@glasgow.ac.uk
https://orcid.org/0000-0001-9701-414X
Modernism and the Avant-Garde
Virginia Woolf Studies
Poetry and Poetics
Canine Aesthetics and Animality Studies
Joint General Editor of the Cambridge University Press Edition of the Writings of Virginia Woolf.
Dr Jane Goldman is Reader in English Literature and convener of 1A Poetry and Poetics. She is a General Editor of the Cambridge University Press Edition of the Writings of Virginia Woolf. Prior to her appointment at Glasgow, she taught at the University of Dundee and at the University of Edinburgh.
She is author of The Feminist Aesthetics of Virginia Woolf: Modernism, Post-Impressionism and the Politics of the Visual (Cambridge UP, 1998); The Cambridge Introduction to Virginia Woolf (Cambridge UP, 2006); With you in the Hebrides: Virginia Woolf and Scotland (Cecil Woolf, 2013); Modernism, 1910-1945: Image to Apocalypse (Palgrave, 2004); and co-editor of Modernism: An Anthology of Sources and Documents (Edinburgh UP & Chicago UP, 1998). She is editor of Woolf's To the Lighthouse, and co-editor of A Room of One's Own for Cambridge, and is currently writing a book, Virginia Woolf and the Signifying Dog.
Jane Goldman is also a poet. Her work has been published in a number of magazines and journals. Border Thoughts (Sufficient Place, 2014) is her first collection.
Research, teaching and supervision interests include: Modernism and the Avant-Garde, Virginia Woolf Studies, Poetry and Poetics, Creative Writing, Literary Theory (including theories of gender, sexuality and feminism), American Literature, Comparative Literature, visual art and inter-artistic analogy, suffragist and suffragette aesthetics, canine aesthetics and animality studies. She is particularly interested in the work of Virginia Woolf, Gertrude Stein, Nathanael West, and Kurt Schwitters.
Member of the Modernist Studies Association (MSA), the Scottish Network of Modernist Scholars (SNOMS), the British Association of Modernist Studies (BAMS), the Virginia Woolf Society of Great Britain (VWSGB), the International Virginia Woolf Society (IVWS), the Société d'Etudes Woolfiennes (SEW), and the Société d'Etudes Modernistes (SEN).
Jump to: 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002 | 2001 | 1999 | 1998 | 1997 | 1996 | 1994 | 1993 | 1992
Goldman, J. (2019) Professor Tom Leonard: poet and scholar—good style. In: Butler, L. (ed.) Tributes to Tom Leonard. PlaySpace Publications: Edinburgh, pp. 17-18. ISBN 9780957334069
Goldman, J., Ryan, D. and Davison, C. (Eds.) (2019) Cross-Channel Modernisms. Edinburgh University Press: Edinburgh. (In Press)
Goldman, J. (2019) Cross-Channel modernisms and the vicissitudes of a laughing torso: Nina Hamnett, artist, bohemian and writer in London and Paris. In: Goldman, J., Davison, C. and Ryan, D. (eds.) Cross-Channel Modernisms. Edinburgh University Press: Edinburgh. (In Press)
Goldman, J. (2019) Interlude: Mediating. In: Goldman, J., Davison, C. and Ryan, D. (eds.) Cross-Channel Modernisms. Edinburgh University Press: Edinburgh. (In Press)
Goldman, J. (2019) TORN FROM VAST SILLY HILLS RUN. In: Hau, S. Y. (ed.) Of Other Spaces: Where Does Gesture Become Event? Sternberg Press. ISBN 9783956793783
Goldman, J. , Davison, C. and Ryan, D. (2019) Introduction: Cross-Channel (Transmanche) modernisms. In: Goldman, J., Davison, C. and Ryan, D. (eds.) Cross-Channel Modernisms. Edinburgh University Press: Edinburgh. (In Press)
Woolf, V. (2019) Jacob's Room. [Scholarly Editions] (In Press)
Goldman, J. (2018) Fruitmarket triptych. In: Morrison, I. (ed.) Women on the Road. The Fruitmarket: Edinburgh, pp. 23-26. ISBN 9781908612564
Goldman, J. (2018) what if the majolica plate. In: Morrison, I. (ed.) Women on the Road. The Fruitmarket Gallery: Edinburgh, p. 5. ISBN 9781908612564
Goldman, J. (2018) 'I grow more & more poetic': Virginia Woolf and Prose Poetry. In: Monson, J. (ed.) British Prose Poetry: the Poems Without Lines. Palgrave: Basingstoke, pp. 91-115. ISBN 9783319778624 (doi:10.1007/978-3-319-77863-1_6)
Goldman, J., Sellers, S., Randall, B., Raitt, S. and Blyth, I.(Eds.) (2018) Orlando: a Biography. [Scholarly Editions]
Goldman, J. (2018) Bloomsbury and war: case study: Bloomsbury's pacifist aesthetics: Woolf, Keynes, Rodker. In: Ryan, D. and Ross, S. (eds.) The Handbook to the Bloomsbury Group. Bloomsbury Academic: London, pp. 294-308. ISBN 9781350014916
Goldman, J. (2018) Queer Woolf: two poems and a preamble. In: Wilson, N. and Battershill, C. (eds.) Virginia Woolf and the World of Books. Clemson University Press: Clemson. ISBN 9781942954569
Goldman, J. (2018) Ecce animot. In: Rabaté, J.-M. (ed.) After Derrida: Literature, Theory and Criticism in the 21st Century. Series: After series. Cambridge University Press: Cambridge, pp. 161-179. ISBN 9781108444521 (doi:10.1017/9781108539937.010)
Goldman, J. (2018) Mothering mothering Sunday: my mother's Mother's Day mothered me. Dundee University Review of the Arts, 6 Apr.
Goldman, J. (2018) Everything SOLID. In: Boast, R., Ching, A. and Hamilton, N. (eds.) The Caught Habits of Language: An Entertainment for W.S. Graham for Him Having Reached One Hundred. Donut Press: Bristol. ISBN 9780956644589
Berman, J., Goldman, J. , Sellers, S., Randall, B. and Detloff, M. (2018) Editing Woolf. In: Wilson, N. and Battershill, C. (eds.) Virginia Woolf and the World of Books. Series: Virginia Woolf Selected Papers Series. Clemson University Press, pp. 241-252. ISBN 9781942954569
Goldman, J. (2018) Flying Colin Herd. Hix Eros: Poetry Review, 8, pp. 93-94. [Book Review]
Goldman, J. (2018) Lila Matsumoto. Hix Eros: Poetry Review, 8, pp. 94-95. [Book Review]
Goldman, J. (2018) 'The Queen had come': orgasm and arrival. In: Högberg, E. and Bromley, A. (eds.) Sentencing Orlando: Virginia Woolf and the Morphology of the Modernist Sentence. Edinburgh University Press: Edinburgh, pp. 15-31. ISBN 9781474414609
Goldman, J., Susan, S., Randall, B. and Whitworth, M. H.(Eds.) (2018) Night and Day. [Scholarly Editions]
Goldman, J. (2018) My mother in winter. ZARF(12),
Goldman, J. (2018) severed. Adjacent Pineapple, 4,
Goldman, J. (2017) INFOPO (GONDOLA GONDOLA: WORDS ON WORDS). RAUM, 1(4),
Goldman, J. (2017) 'Her—it—age!': Virginia Woolf and syllabic intervention— or, 'Heritage is a Kim Novak word'. In: De Gay, J., Breckin, T. and Reus, A. (eds.) Virginia Woolf and Heritage. Clemson University Press: Clemson, South Carolina. ISBN 9781942954422
Goldman, J. (2017) Horsing and Reading Jacob's Room with David Bradshaw. Virginia Woolf Bulletin, 54(Suppl.), pp. 29-40.
Goldman, J. (2017) In here bent like call of haggis. Front Horse, 1,
Goldman, J. (2017) Queer Bloomsbury. Woolf Studies Annual, 23, pp. 161-170. [Book Review]
Goldman, J. (2017) Stafain Island poem number one. Adjacent Pineapple, 1,
Goldman, J. (2017) 'Time Passes' between 'Le Temps Passe' and 'Time Passes': translation, secondary rendering, and textual genesis. In: Smith-Di Biasio, A.-M., Davison, C., Lanone, C. and Bernard, C. (eds.) Trans-Woolf. Morlacchi Editore: Perugia.
Goldman, J. and Wright, E. (2016) The Cambridge Woolf. In: Acheson, J. (ed.) Virginia Woolf. Series: New casebooks. Palgrave Macmillan. ISBN 9781137430830
Goldman, J. (2016) Discovery Woolf: Voyage A. [Audio]
Goldman, J. (2016) Oor Moby: Möbius. Gutter(15),
Goldman, J. (2016) Flush: a biography: speaking, reading, andwriting with the companion species. In: Berman, J. (ed.) A Companion to Virginia Woolf. Series: Blackwell companions to literature and culture. Wiley Blackwell, pp. 163-176. ISBN 9781118457887
Goldman, J. (2016) Discovery Woolf. In: Low, G. and Gunn, K. (eds.) The Voyage Out: An International Anthology of Writing, Art and Science. The Voyage Out Press: Dundee. ISBN 9780995512306
Goldman, J. (2016) Greyfriars Bobby. In: Jones, R. and Askew, C. (eds.) Umbrellas of Edinburgh: Poetry and Prose Inspired by Scotland's Capital City. Freight Books: Glasgow. ISBN 9781911332107
Goldman, J. (2016) If ma hillbilly. Blackbox Manifold, 17,
Goldman, J. (2016) In the gardens, with Johnny Woolstanza. Tender: A Quarterly Journal Made by Women, 7, p. 31.
Goldman, J. (2016) Legend has it. Tender: A Quarterly Journal Made by Women, 7, pp. 32-33.
Goldman, J. (2015) Virginia Woolf: prophet of 'pure loss'. Modernism/Modernity, (doi:10.1353/mod.2015.0040)
Goldman, J. (2015) Andrew and the hands. In: Riach, A. (ed.) The Hunterian Museum Poems: a History of the World in Objects and Poems From the Collection of The Hunterian at the University of Glasgow. Freight Books: Glasgow. ISBN 9781908754783
Goldman, J. (2015) To the Lighthouse's use of language and form. In: Pease, A. (ed.) The Cambridge Companion to To the Lighthouse. Series: Cambridge companions to literature. Cambridge University Press. ISBN 9781107682313
Woolf, V. (2014) Mrs Dalloway. [Scholarly Editions]
Goldman, J. (2014) Border Thoughts. Series: (Sufficient Place). Leamington Books. ISBN 9780955488573
Goldman, J. , Simpson, K., Lee, H. and Bragg, M. (2014) In Our Time: Mrs. Dalloway. [Audio]
Goldman, J. (2014) 'Second Reading' and 'Much Rejoicing"' (poems from 'An Order of Service'). SCREE,
Randall, B. and Goldman, J. (Eds.) (2013) Virginia Woolf in Context. Cambridge University Press: Cambridge, UK. ISBN 9781107003613
Goldman, J. (2013) 1910-1920: suffragette century (threads and sparks). In: Minow-Pinkney, M. (ed.) Virginia Woolf and December 1910: Studies in Rhetoric and Context. Illuminati Books. ISBN 9780955591815
Goldman, J. (2013) Burns Night/Woolf Supper: Birthday Thoughts on Virginia Woolf and Scotland. Series: Annual Virginia Woolf birthday lecture, 14. The Virginia Woolf Society of Great Britain: Southport. ISBN 9780955571749
Goldman, J. (2013) Crusoe's dog(s): Woolf and Derrida (between beast and sovereign). Tour Critique, 2,
Goldman, J. (2013) With you in the Hebrides: Virginia Woolf and Scotland. Series: Bloomsbury heritage, 70. Cecil Woolf: London. ISBN 9781907286339
Goldman, J. (2013) Woolf, Defoe, Derrida: interdisciplinary dogs — or the canine aesthetics and (gender) politics of creativity. In: Martin, A. and Holland, K. (eds.) Interdisciplinary/ Multidisciplinary Woolf: Selected Papers from the Twenty-First Annual International Conference on Virginia Woolf. Clemson University Digital Press: Clemson, SC. ISBN 9780989082624
Goldman, J. (2013) 'The hush of the Mediterranean lipping the sand': the libertarian and libidinal politics of Virginia Woolf's Mediterranean discourse. In: Viereck, W. (ed.) Proceedings of the IAUPE 2010 Triennial Conference. Peter Lang.
Snaith, A.(Ed.) (2012) The Years. [Scholarly Editions]
Goldman, J. (2012) Virginia Woolf and the aesthetics of Modernism. In: Joannou, M. (ed.) The Palgrave History of British Women's Writing, 1920-1945. Series: The Palgrave History of British Women's Writing (8). Palgrave Macmillan: Basingstoke, pp. 57-77. ISBN 9780230200791
Hussey, M.(Ed.) (2011) Between the Acts. [Scholarly Editions]
Herbert, M. and Sellers, S.(Eds.) (2011) The Waves. [Scholarly Editions]
Goldman, J. (2011) Sister Anguilla [poem]. In: Gunn, K. (ed.) New Writing Dundee. University of Dundee.
Goldman, J. (2011) The dogs that therefore Woolf follows: some canine sources for A Room of One's Own in nature and art. In: Czarnecki, K. and Rohman, C. (eds.) Virginia Woolf and the Natural World: Selected Papers from the Twentieth Annual International Conference on Virginia Woolf. Clemson University Digital Press: Clemson, S.C., pp. 125-132. ISBN 9780983533900
Goldman, J. (2011) "The rankness of English pavements": readings in virtual subjectivity and nation. In: Miralles Pérez, A.J. (ed.) Restless Travellers: Quests for Identity across European and American Time and Space. Cambridge Scholars: Newcastle, UK. ISBN 9781443833066
Goldman, J. (2010) Who let the dogs out? Samuel Johnson, Thomas Carlyle, Virginia Woolf, and the Little Brown Dog. In: Shahriari, L. and Potts, G.V. (eds.) Virginia Woolf's Bloomsbury. Palgrave. ISBN 9780230517677
Goldman, J. (2010) 'Lady Lazarus has wheels', 'We wore (red)', 'Triptych', 'You would probably prefer Mahler or Gershwin', 'Too bad Aubade', 'In admiration of the Maître' [poems]. International Literary Quarterly. Special Issue: 40 Glasgow Voices(10),
Goldman, J. (2010) New elegy: Lyric experimentalism in the novel from Mrs Dalloway to The Waves. In: Sellers, S. (ed.) The Cambridge Companion to Virginia Woolf. Series: Cambridge companions to literature. Cambridge University Press, pp. 49-69. ISBN 9780521721677
Goldman, J. (2010) Virginia Woolf and modernist aesthetics. In: Humm, M. (ed.) The Edinburgh Companion to Virginia Woolf and the Arts. Edinburgh University Press. ISBN 9780748635528
Goldman, J. (2010) 'When dogs will become men': Melancholia, canine allegories, and Theriocephalous figures in Woolf's urban contact zones. In: Evans, E.F. and Cornish, S.E. (eds.) Woolf and the City : Selected Papers from the Nineteenth Annual Conference on Virginia Woolf. Clemson University Digital Press. ISBN 9780984259830
Goldman, J. (2009) Avant-garde. In: Ross, S. (ed.) Modernism and Theory: a Critical Debate. Routledge, pp. 225-236. ISBN 9780415461566
Goldman, J. (2009) Desmond MacCarthy, life and letters (1928-35), and Bloomsbury modernism. In: Brooker, P. and Thacker, A. (eds.) The Oxford Critical and Cultural History of Modernist Magazines. Vol. I: Britain and Ireland 1880-1955. Oxford University Press: Oxford, UK, pp. 428-451. ISBN 9780199211159
Goldman, J. (2009) Had there been an axe handy: Transatlantic modernism, Virgina Woolf and Jean Toomer. European Journal of American Culture. Special issue: New Perspectives on the Modernist Transatlantic, 28(2), pp. 109-123. (doi:10.1386/ejac.28.2.109_1)
Goldman, J. (2009) Simile, Archie Calling: Altaforte!, Watching Sharleen Play (Violin) [poems]. In: Renton, J. (ed.) Textualities. Textualities.
Goldman, J. (2009) Who is Mr Ramsay? Where is the lighthouse?: The politics of scholarly annotation. In: McNees, E. and Veglahn, S. (eds.) Woolf Editing/Editing Woolf : Selected Papers from the 18th Annual Conference on Virginia Woolf. Clemson University Digital Press, pp. 189-195. ISBN 9780979606694
Goldman, J. (2009) Who is Mr. Ramsay? Where is the lighthouse? The politics and pragmatics of scholarly annotation. In: McNees, E. and Veglahn, S. (eds.) Woolf Editing / Editing Woolf: Selected Papers from the Eighteenth Annual Conference on Virginia Woolf. Clemson University Digital Press: Clemson, S.C., USA, pp. 189-195. ISBN 9780979606694
Goldman, J. (2007) Ce chien est a moi: Virginia Woolf and the signifying dog. Woolf Studies Annual, pp. 49-86.
Goldman, J. (2007) Modernist studies. In: Snaith, A. (ed.) Palgrave Advances in Virginia Woolf Studies. Series: Palgrave Advances. Palgrave Macmillan: Basingstoke, UK. ISBN 9781403904041
Goldman, J. (2007) 'Simile': English Association Fellows' poetry prize competition 2006 (second prize). English Association Newsletter, 184,
Goldman, J. (2007) The feminist criticism of Virginia Woolf. In: Plain, G. and Sellers, S. (eds.) A History of Feminist Literary Criticism. Cambridge University Press: Cambridge, UK. ISBN 9780521852555
Swarbrick, K. and Goldman, J. (2007) Flowers of friendship: Gertrude Stein and Georges Hugnet. Papers of Surrealism, 6,
Goldman, J. (2006) 1925, London, New York, Paris: metropolitan modernisms - parallax and palimpsest. In: The Edinburgh Companion to Twentieth-Century Literatures in English. Edinburgh University Press, pp. 31-42. ISBN 0748620117
Goldman, J. (2006) The Cambridge Introduction to Virginia Woolf. Series: Cambridge introductions to literature. Cambridge University Press: Cambridge, UK. ISBN 9780521838832
Goldman, J. (2006) Forster and women. In: The Cambridge Companion to E.M. Forster. Cambridge University Press, pp. 120-137. ISBN 0521542529
Goldman, J. (2006) "Who let the dogs out?": Statues, suffragettes, and dogs in Woolf's London. In: Back to Bloomsbury, the 14th Annual International Virginia Woolf Conference Proceedings. Clemson.
Childs, P. and Goldman, J. (2005) The First Year Experience of University English. CCUE News, 19,
Goldman, J. (2004) Modernism, 1910-1945: image to apocalypse. Palgrave MacMillan. ISBN 0333696212
Goldman, J. (2004) West, Nathanael. In: Parini, J. (ed.) The Oxford Encyclopedia of American Literature. Oxford University Press: Oxford, UK. ISBN 9780195156539
Goldman, J. (2003) Nathanael West. In: Parini, J. (ed.) American Writers: A Collection of Literary Biographies. Retrospective Supplement II. James Baldwin to Nathanael West. Charles Scribner's Sons: New York, USA. ISBN 9780684314464
Goldman, J. (2002) The aesthetics of Virginia Woolf. In: Wolfreys, J. (ed.) The Edinburgh Encyclopaedia of Modern Criticism and Theory. Edinburgh University Press: Edinburgh, UK, pp. 680-690. ISBN 9780748613014
Goldman, J. (2002) Virginia Woolf. In: Parini, J. (ed.) British Writers. Retrospective Supplement 1. Charles Scribner's Sons: New York, USA. ISBN 9780684312279
Goldman, J. and Wolfreys, J. (2001) Gay studies / queer theory. In: Wolfreys, J. (ed.) Introducing Literary Theories: A Guide and Glossary. Edinburgh University Press: Edinburgh, UK. ISBN 9780748614837
Berman, J.S. and Goldman, J. (Eds.) (2001) Virginia Woolf Out of Bounds": Selected Papers from the Tenth Annual International Conference on Virginia Woolf, University of Maryland Baltimore County, June 7-10, 2000. Pace University Press. ISBN 9780944473559
Goldman, J. (1999) Artist and feminist communities of 1910 : post-impressionism, suffrage aesthetics, and intersubjectivity in To the lighthouse. In: McVicker, J. and Davis, L. (eds.) Virginia Woolf & Communities : selected papers from the Eighth Annual Conference on Virginia Woolf, Saint Louis University, Saint Louis, Missouri, June 4-7, 1998. Pace University Press. ISBN 9780944473474
Goldman, J. (1999) Introduction, Works on the Wild(e) side-- performing, transgressing, queering. In: Wolfreys, J. (ed.) Literary Theories: a Reader and Guide. Edinburgh University Press, pp. 525-590. ISBN 9780814793602
Goldman, J. (1999) Virginia Woolf and post-impressionism: French art, English theory and feminist practice. Miscelanea: A Journal of English and American Studies, 20,
Kolocotroni, V., Goldman, J. and Taxidou, O. (Eds.) (1998) Modernism: An Anthology of Sources and Documents. University of Chicago Press: Chicago, USA. ISBN 9780226450735
Goldman, J. (1998) The Feminist Aesthetics of Virginia Woolf: Modernism, Post-Impressionism, and the Politics of the Visual. Cambridge University Press: Cambridge, UK. ISBN 9780521590969
Goldman, J. (Ed.) (1997) Virginia Woolf - To the Lighthouse, The Waves. Series: Icon Critical Guides. Icon Books: Duxford. ISBN 1857890000
Kolocotroni, V. , Mills, S., Brimstone, L., Polkey, P., Wallace, D., Sandhu, A. and Goldman, J. (1997) Feminism. In: McGowan, K. (ed.) The Year's Work in Critical and Cultural Theory, vol. 3, 1993. Blackwell: Oxford, UK, pp. 87-130. ISBN 9780631188612
Goldman, J. (1996) Dada goes west: re-reading revolution in The Day of the Locust. Imprimatur: A Journal of Criticism and Theory, 2(1-2), pp. 20-36.
Goldman, J. (1996) 'Purple buttons on her bodice': feminist history and iconography in The Waves. Woolf Studies Annual, 2, pp. 3-25.
Goldman, J. (1996) Virginia Woolf's three Marys: a collective model for creative women. In: Modeen, M. (ed.) Graces, Fates and Furies. Peacock Printmakers in association with Evergreen State College: Aberdeen. ISBN 9780952360810
Stevenson, R. and Goldman, J. (1996) 'But what? Elegy?': Modernist reading and the death of Mrs Ramsay. Yearbook of English Studies, 26, pp. 173-186.
Goldman, J. and Tate, T. (1994) Women's Fiction: 1915-1940 [Broadcast]. [Audio]
Goldman, J. (1993) 'Miss Lonelyhearts and the party dress': cross-dressing and collage in the satires of Nathanael West. Glasgow Review, 2, pp. 40-54.
Goldman, J. (1992) Metaphor and place in To the Lighthouse: some Hebridean connections. In: Gonda, C. (ed.) Tea and Leg-Irons: New Feminist Readings from Scotland. Open Letters: London, UK, pp. 137-155. ISBN 9781857890006
Jump to: Articles | Books | Book Sections | Book Reviews | Edited Books | Scholarly Editions | Audio
Scholarly Editions
The Cambridge University Press Edition of the Works of Virginia Woolf
General Editors: Jane Goldman, University of Glasgow, Susan Sellers, University of St Andrews
Current list of published volumes:
http://www.cambridge.org/gb/academic/subjects/literature/series/cambridge-edition-works-virginia-woolf
BBC Radio 4 In Our Time
broadcast on Mrs Dalloway (Thu 3 Jul 2014):
http://www.bbc.co.uk/programmes/b048033q
Virginia Woolf in the 21st Century:
The symposium launch of Cambridge Edition of Woolf at Senate House, London, (2011), with Dame Professor Gillian Beer, Professor Rachel Bowlby, and the author, Ali Smith:
https://www.youtube.com/watch?v=hSYmCe3ic-k
https://www.youtube.com/watch?v=UC5d9dYykT8
https://www.youtube.com/watch?v=rx-jCBIcy4c
https://www.youtube.com/watch?v=m_GKl0edP0A
R401 Level 4, English Literature, 5 University Gardens, Glasgow G12 8QH,


text:
import pandas as pd
import numpy as np
import re

df = pd.read_csv('resources/directorybusinessgovernmentservices.csv')
df['lat'] = df.NameLatLong.apply(lambda x: s.split(',')[-2])
df['long'] = df.NameLatLong.apply(lambda x: s.split(',')[-1])

df.to_csv('resources/directory_geocoded.csv', index=False)

redpajama_set_name: RedPajamaGithub


text:
Russian nuclear monitors near blast site 'went silent' after missile testing explosion
By Matthew Bodner Moscow 19 August 2019 • 3:27pm
A military garrison is located near the village of Nyonoksa in Arkhangelsk
Four Russian radiation monitoring stations went offline following reports of a nuclear accident in Arkhangelsk region on Russia's northern frontier, fuelling concerns of a cover-up.
The Russian government has been vague and at times contradictory when addressing the mysterious explosion near a military test range on August 8.
At least five nuclear scientists died, and a brief radiation spike was detected over nearby Severodvinsk.
According to the Comprehensive Nuclear Test Ban Treaty Organization (CTBTO), which operates an international network of radiation monitoring stations, two key Russian stations went offline two days after the unexplained explosion and reports of radiation spikes.
According to Russian officials, RBC reported, the stations in Dubna and Kirov experienced "network and communications problems" two days after the explosion in Arkhangelsk region.
Two more detection stations in Bilibino and Zalesovo also went quiet on Aug 13, the Wall Street Journal reported on Monday.
Russia nuclear map
The Russian military has denied that any radiation was released by the explosion, and an official statement from Severodvinsk authorities notifying the public of an increase in radiation levels was quietly withdrawn from the city government's website.
International confirmation of a radiation spike is hard to come by.
CTBTO head Lassina Zerbo wrote on Twitter Sunday that the organisation was addressing with station operators "technical problems experienced at two neighboring stations."
He included a graphic of the organisation's modelling of radioactive particle dispersal over time.
The graphic included time stamps indicating where CTBTO models predicted radioactive particles would travel.
Antennas of a testing facility for seismic and infrasound technologies of the Comprehensive Nuclear-Test-Ban Treaty Organization Credit: REUTERS/Leonhard Foeger/File Photo
According to this model, when the two Russian stations stopped reporting, the particles would have been passing directly overhead.
Some have speculated that the blast was caused by a failed test of a nuclear-powered cruise missile.
However, evidence suggests that whatever radiation was released by the August 8th explosion was localised and small scale. Experts say a nuclear-powered cruise missile would release far more.
"When the US deliberately blew apart a nuclear rocket engine at the Nevada Test side in 1965 to see what would happen, the peak gamma dose rate 25 km downwind was 700 microSieverts per hour - hundreds of times greater than what was observed in Severodvinsk," Edwin Lyman, director of the Nuclear Safety Project at the Union of Concerned Scientists said.
Nuclear power,


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