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MY 40
Forty Years, Forty Stories
August 1, 2018 ~ Chad Greene	~ Leave a comment
"Look, kids: Monument Valley!" my father forgot to announce. I wished that he had. I wished that he had a horse. I wished that he had stopped his horse, that he had pulled up on its reins, that he had sipped water from a canteen to wet his whistle before he had shouted out the announcement. Instead, he kept pressing the gas pedal of his minivan and sipping diet root beer from a can. I wished that he had had a pickup and a sarsaparilla, at least.
"Monument Valley" was originally published in the United Kingdom in 2013 by 1000 Words.
July 25, 2018 ~ Chad Greene	~ Leave a comment
You gotta a lotta nerve
To say you are my friend.
When I was down,
You just stood there, grinning.
– Bob Dylan, "Positively 4th Street"
"Don't you love how the capital O in Onion is shaped like an onion—?"
"—And the neon inside it is purple?"
"It's so perfect, yet it's so simple: The Purple Onion."
"It's so perfect because it's so simple."
"Two steamed milks? One with caramel for the lady—"
"—And one with vanilla for the gentleman."
"So….steamers?"
"Steamers. Started drinking them whenever I went to write—well, to try to write—at Hard Times on the West Bank. Because, well, what else do you drink at a coffee shop when you don't—"
"—Drink coffee?"
"'When you don't drink coffee,' exactly. I love it—I mean, like it—when we finish each other's sentences."
"Um…. So…."
"So… you don't drink coffee, either?"
"Let's not start that again."
"No, no—"
"Hey, that's my line."
"That second no. I thought we were starting a new pattern of repetition."
"So, so, so, um—"
"Um, um, um, so—"
"No, no, no—"
"No, no, no!"
"I love—I mean, I like—that! The music of language!"
"Exactly! That's why I picked this place for our first official date."
"I was wondering about that, seeing as—"
"—Neither of us drink coffee?"
"'Seeing as neither of us drink coffee,' exactly. So?"
"So, I picked The Purple Onion because you are a writer, and you go to the University of Minnesota, so—"
"—I must admire Bob Dylan."
"Exactly! And when Bob Dylan—
"—Who was a writer, and who—"
"—Went to the University of Minnesota, one of the places he played was The Purple Onion."
"That wasn't this Purple Onion."
"No, that was a pizza place in St. Paul, not—"
"—A coffee shop in Minneapolis? But isn't this on—?"
"4th Street? Positively."
"You're positive?"
"That this is 4th Street?"
"That Dylan never played here?"
"Positive: Dylan never played here."
"Then why is his song 'Positively 4th Street'?"
"Because he lived here."
"Here?"
"Well, there."
"There? In Gray's Campus Drug?"
"Well, above Gray's Campus Drug. In a rented room."
"But I thought he lived in—"
"—Your apartment?"
"Exactly. Because—"
"—Your landlord told you Dylan had lived in it?"
"Exactly. How do you know that?"
"Because my landlord told me the same story."
"That Dylan had lived in my apartment?"
"That Dylan had lived in my apartment."
"What? You used to live in my apartment?"
"What? No, no—"
"I love—I mean, I like—you."
"Um…. All I meant was—"
"It's OK. I feel like that about you, too."
"You do?"
"Whoah, there. I know I'm the one who let the L-word—the L-words—slip, but isn't it still a little early for I do?"
"Is it? Apparently, we've already lived in the same apartment."
"You're—I mean, that's—adorable. Really. But—"
"But?"
"We haven't lived in the same apartment."
"Then how did you know—"
"—Your landlord told you Dylan had lived in it? Because, in Dinkytown, every landlord tells every tenant that Dylan lived in their apartment."
"And every coffee shop—"
"—puts a photo of Dylan next to its performance space?"
"So, Dylan didn't play at every coffee shop in Dinkytown."
"No, he didn't."
"But did he play at any coffee shop in Dinkytown?"
"Yes, he did. At the Ten O'Clock Scholar."
"Where is the Ten O'Clock Scholar?"
"That, unfortunately, isn't the question to ask."
"Well, what is the question to ask?"
"Where was the Ten O'Clock Scholar?"
"Well, where was the Ten O'Clock Scholar?"
"Only about a block from here. Do you want to see?"
"Isn't it still a little early for I do?"
"This is—I mean, this was—the Ten O'Clock Scholar, the coffee shop in Dinkytown where Bob Dylan played."
"An empty parking lot?"
"Next to a closed Hollywood Video?"
"Yes. This is it, my friend."
"—To say you are my friend?"
"Well, what are you, if not my friend?"
"I don't care about all of that."
"About all of what?"
"I don't care what we were to each other then—back at The Purple Onion, back at the start of this date—"
"—Or what we are to each other now?"
"Or what we are to each other now. And I don't care that the Ten O'Clock Scholar was here then. I don't care that Bob Dylan played here then. I do care, though, that you and I are here now—"
"—Because you want to play with me here now?"
"Exactly. And don't just stand there, grinning."
"The Purple Onion" was originally published by Flash Fiction Magazine in 2014.
Surveying Acres One Last Time
Before the bell over the door could sound its final knell, his withered hand accepted the flashlight the clerk offered without dragging her nose away from the heady aroma of aging paper emanating from the brittle pages of the hardcover open on the countertop.
Decades of sweating palms had left the once shiny metal flashlight as cloudy and gray as the pregnant sky, whose water broke as he shuffled into fiction. Its flickering beam augmented the watery winter light filtering through the twin skylights as he followed the red arrows on the floor past the spot where they diverged from the greens. Mystery.
A head heavy with unwritten sequels dragged his body down into the question mark punctuating a sentence that the younger man captured in the dust jacket's faded photo, despite his studied look of profundity, could never answer during their weekly face-to-face. Why didn't anyone buy the damned thing?
He'd even autographed it, borrowed a stub of a pencil from the clerk and added his inscrutable scrawl to the flyleaf below the price handwritten by the bookstore's founder, whose own final chapter had been written almost a decade ago.
But today's routine inspection of the splintered crate that once held Forget-Me-Not Oranges straightened him into an exclamation point. It was gone!
Relinquishing the light at the counter, he missed the clerk's sly smile as she noted his growing resemblance to the author on the dust jacket she had carefully tucked away before taking up the hardcover.
"Surveying Acres One Last Time" was originally published in the flash-fiction collection Book by Authors in 2006.
"Think Houdini ever reached a point where he started to escape unconsciously?" mused our bachelor brother, the only one of us to have made it out of his twenties free of lifelong commitments. This Thanksgiving, though, he was supposed to have brought the woman he had been with for almost a year. The seat next to him at our parents' table was unexpectedly empty. So were our disappointed parents' seats – now that they had excused themselves to play with their grandchildren. "That he just started picking locks like other people pick their teeth?"
With that, he touched index finger to canine and dislodged something dark. Suddenly, he pulled his hand out to stifle a cough. When he placed it, palm up, on the tablecloth, there was a bobby pin perched perpendicularly across his love line.
"We were relaxing in bed." He nodded toward the chair, explaining its emptiness to his siblings. "If you had realized I was about to pull a Houdini, that this was a magic trick, you might have taken my spilling that glass of wine into the gap between the bed and the wall to be a bit of misdirection.
"Turned out, though, that it actually directed her attention toward the thing she wasn't supposed to see. Because, when I pulled the bed away from the wall to spray stain remover on the carpet, there it was: this bobby pin.
"She touched the bobby pin with her right hand and her hair with her left hand. Then, without a word, she walked out."
When he lifted his eyes from what he held in his hand, they looked lost. "When those shackles fell away, I didn't feel free without their weight. I felt adrift, as if those chains had been attached to an anchor."
"Pinned" was originally published by Flash Fiction Magazine in 2015.
Double-Decker
July 5, 2018 ~ Chad Greene	~ Leave a comment
The way I remember it, we held hands for the first time on the double-decker.
My hand had held a deep-fried hotdish on a stick right before riding the double-decker Ferris wheel. After all, we were at the Minnesota State Fair, and what could have been more Minnesotan than that – three Swedish meatballs on a stick, with tater tots between them, all breaded and deep-fried?
"The hamburger-and-cream-of-mushroom-soup dipping sauce?" Heidi suggested as we strolled toward the midway.
"Or that the banner above the window where we ordered had 'Uff Da!' printed on it?" I asked.
"Twice!" she laughed. "Or that the stand was called 'Ole and Lena's'?"
"'Ole and Lena'!" I exclaimed. "Like all those old jokes my Norwegian nana used to tell! Did you ever hear the one about when Ole and Lena got married? On their honeymoon, they had driven almost all the way to Minneapolis when Ole put his hand on Lena's knee. Giggling, Lena said—"
"'Ya can go a little farder now if ya want to, Ole,'" Heidi interjected in her best Yooper accent.
"So Ole drove to Duluth," I finished.
The way I remember it, that was the first time we laughed together – a very new couple sharing a very old joke about a husband and a wife who almost always misunderstood one another.
The way I remember it, we compromised for the first time on the double-decker.
My hand still held half a deep-fried hotdish on a stick. As I started my standard tirade against roller coasters, I punctuated my most important points with thrusts of it.
Artificial thrills," I sneered, "for folks who are—"
"Not afraid of heights?" Heidi interrupted.
"—bored by their lives," I insisted. "Admittedly, I'm—"
"Of course not," I scoffed.
"So, you refuse to ride a roller coaster because—"
"—I have no need for artificial thrills because I'm not bored by my life."
"But, because you're – of course – not afraid of heights, you'd have no problem riding, say…," Heidi's eyes scanned the rides that towered over the rest of the amusements on the midway, "…the double-decker Ferris wheel?"
"Of course not," I bluffed.
"Well, let's get in line!" She trotted toward what looked like a rickety Erector Set. Two wheels with eight passenger gondolas each were connected by thin – too thin! – metal beams with holes in them. An axle threaded through the holes in the middles of the beams, meaning that it was not only the eight gondolas on each of the wheels that would rotate from bottom to top, but also the two wheels themselves.
As I stared at the legs dangling out of the gondolas on the higher of the two wheels, I gulped. Then I threw the remaining half of my deep-fried hotdish on a stick into the trashcan next to the head of the line.
"Not feeling a little … queasy, are you?" Heidi asked. "Our feet are still on the ground."
The way I remember it, I managed to scrape up an appropriate pun. "It's just that…," I stammered as I stepped past the carny holding the gondola door open for us and scooted onto the bench beside her. "It's just that, I want to concentrate my attentions on only one 'hot dish' at the moment."
"Aww," she said.
Just then, the carny slammed the door and pulled the lever. With a jolt, we creaked skyward.
"Ahh," I said.
The way I remember it, I mostly stared down at my knuckles, which were white from my compulsive clutching of the safety bar. I felt like our ascent could only last a little longer; I was – yes – afraid we were about to start our descent.
"So…you're Norwegian?" Heidi asked. "I would've guessed German, with a name like—"
"Carl Braun? You would've guessed right – at least, mostly." After a slow start, my answer began to pick up speed – as I was sure we were about to do. "My nana, my great-grandmother, was Norwegian. And her husband, my great-grandfather, was Italian. So, that makes me about one-eighth of each. But I'm about three-quarters German."
"What does Braun mean in German?"
"Brown."
"Wait. Isn't Carl the German form of—"
"Charles? Yes. So—"
"So, you're—"
"Charlie Brown? Sadly, yes," I sighed. "My great-grandfather – one of the German ones, not the Italian one – actually changed his name from Carl Braun to Charles Brown when anti-German sentiment was at its height in America around the time of the First World War. And, to differentiate himself from his father, my grandfather insisted on Charlie instead of Charles. Until, that is, Charles Schulz's Peanuts strips started to appear in newspapers."
"And your father—?"
"Got so sick of all the football and kite jokes when he was a kid that, as soon as he turned 18, he legally changed his name back to Carl Braun."
At the moment, I felt something strange. Although, as I had dreaded, our gondola started its descent, our wheel simultaneously started its ascent. I was so disoriented that, despite my – yes – fear of heights, I was about to look up from my knuckles.
But then I saw Heidi lift her left hand off the safety bar and place it on top of my right hand.
The way I remember it, I momentarily lamented that my hand had held a deep-fried hotdish on a stick right before riding the double-decker because it was slightly greasy. But then I let go of the safety bar, so I could hold her hand.
Now, I wonder if she had misunderstood me – if my inability to hide my fear of heights had seemed to her instead to be the height of emotional openness in an Upper Midwestern man?
But, then, I was sure I did not misunderstand her when she informed me, in her best Yooper accent, "Ya can go a little farder now if ya want to, Charlie."
"Double-Decker" was originally published by Art of This in 2015.
June 27, 2018 ~ Chad Greene	~ Leave a comment
A sea monster's moan rumbles the otherwise still mist that shrouds Fisherman's Wharf – the forlorn foghorn of the former federal penitentiary on Alcatraz Island. It's inside the brightly lit building before us, though, that an amorphous, immortal monster has been locked away for longer than any sentence ever served on Alcatraz.
Basically a blob born when outlaw lactobacilli and yeast strains – mutated to thrive in the fog of San Francisco – impregnated dough in a bakery more than 150 years ago, it is fed flour and water by a trained team morning after morning.
We watch through the thirty-foot-tall window walls of Boudin at the Wharf as bakers wearing white sustain the process prescribed by their French founder, Isidore Boudin, in 1849. With their hands, they combine a bit of the "mother dough" with the aforementioned flour and water, divide it into batches, and shape it into loaves. After allowing the loaves to rise in their respective proof boxes for 24 hours, the bakers ritualistically slit them with knives to create crisscross scores.
Carrie and I are perpetually lapsing and relapsing Catholics, so there seems to be some meaning in the cross cut into the round sourdough in front of us.
I attempt to put it into words: "Recipes are prayers."
"Don't you teach your composition students that most metaphors need explanations?" Carrie chides.
"That's true."
"Recipes are prayers," I repeat. "Words written by our ancestors in an attempt to earn immortality, repeated generation after generation.…"
Here, I start to struggle, but Carrie comes to my aid. "… But it isn't the words that are most important; it is the actions they dictate?"
I nod. Holding hands, we watch the bakers' knives make the sign of the cross, over and over, just as Isidore Boudin did.
"Give Us This Day" was originally published by Fewer Than 500 in 2015.
Somewhere on the 62, we hit a rough patch and missed our exit.
We were driving along the northern edge of Joshua Tree National Park, searching for whatever dusty trail corresponded to the red line on the official map and guide labeled "Canyon Road." As usual, Heidi was the one behind the wheel; I, the one behind the map.
"Shit," I said, squinting at a faded street sign receding rapidly in the rearview mirror. "That's it."
"Should I turn around?" Heidi asked.
"Well, that might be quicker than driving around the entire world in order to get back there again," I snapped.
Even in retrospect, it was impossible to pinpoint the exact moment when the tone of our ceaseless exchange of wry wisecracks had shifted from playful to … what? Hurtful, maybe?
No, that wasn't quite right. Shit. I hated not having the right words.
It was frustrating. Like all those damn wildflowers Heidi had been photographing since we had paid our ten bucks at the Cottonwood Spring Visitor Center earlier that morning.
The "rainy season" that passes for winter in Southern California had lived up to its name for once, soaking the sandy soil with more than 35 inches and giving the region's meteorologists – vestigial relicts of some archetypal television template from "back east" – something to actually talk about on the evening news. It was from one of them, a guy who apparently saw no irony in adopting the stage surname of Rains when his job typically consisted of repeating the words "67 and sunny" over and over and over again, that we had heard about the resulting wildflower bloom in the desert.
Heidi wasn't one to bide her time. The next morning, a Saturday, we were lurching our way along the two-lane road that winds through Joshua Tree – Heidi skidding to a unannounced stop on the gravel shoulder whenever she spied so much as a single bloom. Looking down as she fiddled with the settings of our new digital camera, she would charge headlong toward the flowering … whatever it was, oblivious to the spines protruding from the cactuses clustered around it.
"Ooh, what's this one?" she asked, dropping into a squat next to a suspiciously lived-in-looking hole to snap a close-up of a white blossom drooping under the midday sun.
"I can't be sure, of course, but from here it looks like a … flower," I said.
"Right," Heidi sighed. "But what kind of flower, Charlie?"
"A white flower."
"Jackass." Without standing up, she twisted her body backward to glare at me. As she turned, the rubber treads of her sneakers snapped a few flecks of gravel into the air.
"I was just asking a question, Charlie. You don't have to be a smartass about it."
"Well, how am I supposed to know what kind of flower it is?"
"You know everything. You're, like, the master of useless trivia."
"Well, I guess the names of flowering desert plants aren't useless trivia," I said.
"Because if they were, then you'd know them, right?"
I was a writer, a newspaper reporter by trade, so not having the right words to describe things unsettled me. I had barely developed the vocabulary for Minnesota when we moved to Southern California. Suddenly, I had had to start from scratch again: the names of neighborhoods, of trees, of freeways … of flowers.
Most frustrating of all, however, was the fact that I didn't have the words to describe what was happening to our marriage.
Underwear, I had finally decided, it was all about the underwear.
All you needed to know about the state of a man's relationship, I had come to believe, could be divined from the way he handled his lady's unmentionables at the laundromat. Did the guy break out in a dopey grin as he folded those black silk panties, hold them gingerly with only the thumb and forefinger of each hand like he still couldn't quite believe he was allowed to touch them? Or did he wad up the cream-colored thong with one hand and toss it carelessly into the hamper?
Staring at the portion of Heidi's thong that peeked out above the waistband of her shorts as she hiked a few paces ahead of me on the rapidly ascending trail, I thought back to the other day in the laundromat, and decided that my own underwear-handling technique had been drifting inexorably closer to the latter than the former.
At the crown of the rocky ridge, Heidi and I paused for a moment to gulp lungfuls of the thinning desert air. I held out my hand. She looked at it for a moment, as if considering my wordless request, then passed me the plastic water bottle. As I tipped my head back to take a swig, Heidi shielded her eyes with a freckled hand and scanned the valley below. The improbably verdant fronds of the 49 palms from which the oasis that was our destination took its name were, for the first time, visible to the east.
"Christ," she said. "How much farther do we need to go? I mean, you don't seem that into it, and…. What the fuck?"
I choked on a mouthful of water.
"What? What?" I spluttered.
"Those people down there." Heidi pointed to a group of hikers clustered around a large granite boulder several hundred feet down the other side of the ridge. "What are they doing?"
I squinted.
"Are those … sticks?" I asked, gesturing at the long, thin objects two of the people brandished.
With Heidi leading the way, we scrambled down the trail to investigate, our already-caked sneakers stirring up clouds of dust that stuck to our sweaty calves and shins. As we approached, a bearded man – who was, indeed, grasping a gnarled branch – held up his hand, palm flat out in the universal sign for stop.
"Don't you see 'im?" The man nodded toward the rock around which he and his trio of companions had established a loose perimeter. "Big sonnuvabitch, good four feet long."
Heidi crouched down for a better look into the shadows below the boulder, but kept her distance.
"Charlie," she hissed, unbuttoning the back pocket of her shorts to retrieve the camera. "Look."
The rattler – the first Heidi and I had stumbled across during our ramblings through California's national parks – was coiled underneath that rock. As my wife scuttled around in search of the best camera angle, the rattlesnake and I engaged in a staring contest. I blinked first.
Looking up, I realized that I was only inches away from the source of the heady aroma of jasmine I had mistakenly attributed to one of the shrubs sprouting along the trail: a pair of shapely legs glistening with scented lotion. My eyes became instantly entranced by the way the taut calf muscles of the bearded man's lady friend seemed poised on the edge of flight, shifting subtly beneath her tanned skin.
The first couple of years with Heidi, I had assiduously avoided checking out other women. Those laughing brown eyes above her freckled cheeks, the dirty blonde hair highlighted by hours in the sun – they had been more than enough for me. As things had begun to cool between us, however, I caught myself looking more and more.
Now, from the way the bearded man was glaring at me, it seemed as if he had caught me, too.
"You folks best move along," he said. "My buddy and I here, we're gonna try and pry that rattler out from under there. We were almost on top of 'im before we could hear the warning.
"That's why it's important," he observed, using his stick to trace an idle circle in the dust that reminded me instantly of the gold wedding band I wore on my left hand, "not to stray from the path."
I reddened involuntarily.
We continued our trek toward the 49 Palms Oasis with me in the lead, for once, as Heidi was squinting down at the LCD display on the back of the camera, trying to adjust the lighting on the shots she had taken of the rattlesnake.
Although I hadn't been able to find the words to describe exactly what was off in our relationship, the way I felt at that exact moment was easy enough to name: protective. I could see clearly now, in a way I hadn't prior to our encounter with the rattler, that the path in front of us was neither straight nor easy, that almost all of the rough-hewn rocks that defined its edges cast shadows large enough to conceal danger. The rest of the way to the oasis, I insisted on scouting ahead, on checking under each one before letting Heidi saunter past, certain for the first time in a long time that, no matter how far the distance between us had grown in the past few months, I could bridge it instantaneously if I needed to throw myself between her and danger.
I began tugging at my ring with the thumb and forefinger of my opposite hand, which is a nervous habit I'd developed in the years since our wedding, but it wouldn't budge. As was often the case when hiking, the swinging of my arms had caused the blood to pool in my hands, swelling my fingers. And, suddenly, it seemed right that a wedding band wouldn't be something that you could just pull off and on whenever you felt like it.
"I'd suck it out, you know," I blurted.
"Suck what?" she asked. "The life? Out our marriage?"
"No," I said, genuinely hurt. I stopped, turned to face her. She kept walking. I began to backpedal. "The poison. Out of the wound, if you were bitten by a snake."
"Wait a minute. Suck the poison out? Aren't you supposed to pee on me?"
"What? No! That would be if you got stung by a jellyfish. But I'd do that, too."
"My hero." She clasped her hands over her heart and heaved a melodramatic sigh.
"I'm just saying I would do it, is all. Whatever it would take to save us … I mean, you. To save you."
"Smooth, Charlie."
"Sorry," I mumbled. "I'm a writer, not a speaker."
Heidi opened her mouth to say something else, but nothing came out. Instead her eyes widened, and she stared straight ahead.
I hadn't heard a rattle, but I tensed my legs in preparation for a desperate dive. As my toes pivoted in the loose gravel, however, I saw that it wasn't danger that had stopped Heidi dead in her tracks, but beauty. The 49 Palms Oasis had come into view around the last bend in the trail.
There may not have been exactly 49, but that looked about right. A slow but steady trickle of water down the face of a granite crag had, over the decades, created a series of shallow pools on the terraced shelves below. Around their edges stood thick clusters of date palms, some of which had been recently charred – maybe by a lightning strike, maybe by an illegal campfire. But they stood there still, in all their magnificent improbability, with nothing else but high-desert scrub for miles around.
Who knew how the seeds had gotten there originally? Tossed over the shoulder of some litterbug hiking along the trail; crapped out of some buzzard soaring over the mountains. It didn't matter.
It didn't matter at all.
The first step was a doozy, about four feet straight down. I slid over the edge, then reached back up and grasped Heidi just above each hip. As I eased her to the ground, she braced her arms against the trapezius muscles to the sides of my neck, and when her brown eyes came level with my green ones, Heidi smiled at me in a way she hadn't for weeks, maybe months.
Without speaking a word, we knelt at the edge of the nearest pool and used the surprisingly clear water to wash some of the dirt from our hands and faces.
We sat side-by-side on a flat rock, taking in the beauty of our surroundings. And, at that moment, some words came to me at last. Our love, I saw, had been like something beautiful blooming in the middle of the desert: a rare occurrence made possible only by a uncommon combination of favorable conditions in an otherwise arid environment. I wasn't yet sure if it would wilt away in the harsh sun like that white flower or withstand a sustained fiery embrace like those palm trees. But I knew that it had been beautiful once, and might well be again one day.
"I'm glad we came this far, Charlie," Heidi said. "I'm glad we didn't give up before we saw this."
"Me, too," I said, reaching for her hand. "Me, too."
"Oasis" was originally published by Inlandia: A Literary Journey in 2015.
It's difficult to concentrate on little details when you're staring at a naked woman.
That's the operating principle of the touch-screen game bolted to the bar in front of me. Side-by-side on the screen, there are two almost-identical, semi-nude photos that Erotic Photo Hunt's instructions insist contain five differences. But I feel like I'm fumbling, at best, my inexperienced digits desperately poking here and there, hoping to evoke some sort of a response.
Next to me, Heidi and Nathanael – our first friend here in Long Beach – lean against the bar, swilling well whiskey sours. Numbed by murky cocktails christened "Milk of Amnesia," we had stumbled down Broadway from the somehow "World Famous" Reno Room and into—
"Wait, wait," I slur, "what's the name of this place, again?"
"The 36 36," replies Nathanael, literally the resident expert on the neighborhood since he is within walking distance of his studio apartment. If he is still able to walk after last call.
"They're missing a 24."
"You know, 36-24-36," I say. "As in—"
"Bust—," Heidi interrupts, pointing out the appropriate part of her own anatomy at each of three terms, "—waist, hips."
"Oh," Nathanael nods, "of course."
I try to stop staring at my girlfriend's figure. "And, as in," I shake my hammering head, "'36-24-36: / 'Something's special 'bout her personality, / 'Something's special 'bout her physiology….'"
"The Violent Femmes!" Heidi shouts.
"The Violent Femmes," I confirm. "Best band ever from Wisconsin, from Milwaukee—"
"Which is Algonquin for 'the good land," Nathanael unexpectedly contributes.
"Wayne's World!" Heidi shouts.
"Wayne's World," Nathanael confirms.
"Actually," I say, "there's some controversy about whether it's from the Potawatomi miniwaking or the Ojibwe ominowakiing. Both terms mean 'gathering place by the water.' But it's not Algonquin."
"It's not Algonquin?" Nathanael looks crestfallen. "Yet another example of Alice Cooper corrupting the minds of America's youth."
I try not to let my gaze drift back to the half-naked women on the Erotic Photo Hunt touch screen, but there isn't much else to see in the 36 36. Two pool tables, one jukebox, zero taps behind the bar. Bottled beer only, cash only. Older lady bartender.
In both photos on the screen, the model holds her hands over her own bare breasts. The only thing she's wearing is a striped railroad engineer's hat – an appropriate accessory, since she stands behind an elaborate model train landscape. On a track set up below her beltline, the train enters a tunnel.
"Don't fixate on the breasts."
"What?" Startled, I look up for the source of the unsolicited advice.
It isn't Heidi or Nathanael, who are bonding about both being "children of divorce." I pick out the word "alcoholic," so Heidi's probably babbling about her mother and stepfather. She tends to earnestly talk about their relationship – and how their relationship shaped her ideas about relationships – after we have sex, and I tend to absentmindedly nod. It's difficult to concentrate on little details when you're staring at a naked woman.
It's the bartender, a weathered bottle blonde.
"The hair," she suggests. "Men never notice hair. It's at least a place to start."
Sure enough: In one photo, the model's hair is shorter. I touch it, and a jagged green line traces the outline of her hair, confirming I've found one of the five differences.
"Almost out of time," she says.
I check the time remaining on the clock in the corner of the Erotic Photo Hunt screen. "What? There's still—"
"Not what I meant." Then she shouts, "Last call!"
Afterwards, as Heidi and I lie side-by-side on our bed, naked, I turn toward her.
"Your hair," I ask, "did you do something different with it tonight?"
"I did," she says. "Thanks for noticing. Only took you until 2 a.m."
It's at least a place to start.
"Photo Hunt" was originally published by Flash Fiction Magazine in 2015.
June 6, 2018 ~ Chad Greene	~ Leave a comment
It had been meant to fade out after exposure to daylight, the security sticker he had attached to the cardboard cover of his first reporter's notebook as a souvenir. Although his name – printed in that trick ink by the security guard at the gate of the studio lot – had disappeared from the removable badge long ago, the former film critic had only now deciphered the meaning of those lost letters. It had been meant to be temporary, his stay in Hollywood.
Before burning all his reporter's notebooks, he had decided to flip through them one last time. Scribbled in the dark, all those frantic notes about forgettable films had only made sense to him then – right after the screening room lights turned on. Between them, though, he had discovered scenes from his real life – carefully recorded in perfect penmanship in the spare moments before the lights went out – that only made sense to him now. Ripping pages with these scenes on them out of the spiral-bound notebooks, he attempted to piece together his story.
FADE IN: The first time we met there, I was so worried what people would say if they saw my car in that part of town, I parked a couple blocks away.
Embarrassed by that battered Taurus, I strolled onto the studio lot, instead….
BEGIN FLASHBACK: The first time I was assigned to write a movie review by the arts-and-entertainment editor of my college newspaper, I didn't even own that battered Taurus. Following her handwritten directions, I rode a bus to an anonymous stop in front of an abandoned motion-picture palace in downtown Minneapolis. Even though the curtain in the main auditorium of the theater had fallen for the final time, the screening room upstairs was still rented out by out-of-town distributors from time to time. I remember being buzzed in when, with the intercom next to the side door, I identified myself as a film critic for the first time. I felt like it impressed the people at the bus stop.
Outside, it was cold. Inside, there was at least a little warmth….
NARRATOR (V.O.): "They say that everyone is a critic. But that's not true. Not everyone is a critic. That's part of the appeal…."
END FLASHBACK: The first time we met, like our cars, our clothes were used. Amanda dressed in the thrift-shop semblance of old Hollywood style: shabby boas, evening gowns missing some sequins. My reporter's notebooks – props, accessories meant to conjure the image of a journalist – protruded from the pockets of secondhand corduroy coats. I had hand-sewn suede patches onto the elbows myself; they were uneven.
In the daylight, my beard was still patchy and her complexion was still blotchy.
In the dark, though, illuminated only by the light reflecting off the silver screen, the illusion was suddenly complete. There we were, a couple kids playing dress up, fumbling around in the dark….
BEGIN FLASHBACK: The first time I looked to the side instead of straight ahead at the screen was while we were watching Le Grande Illusion in an introductory film studies class in college. I remember everyone's rapturous looks in the light reflecting off the silver screen – their necks craned upward, toward the illumination. I felt like we were sharing a communal experience, like we were worshipping at a church.
Outside, it was dark. Inside, there was at least a little light….
END FLASHBACK: The first time our eyes met, mine and Amanda's, was my first time looking to the side during a press screening and seeing someone else also looking around at the faces instead of the film.
Soon, we were whispering witticisms like we were desperately auditioning for writing gigs on Mystery Science Theater 3000….
CUT TO: ….Just because we shared a real love of MST3K, though, didn't mean that we shared a real love.
She stood me up at the Razzies. I was pretty pretentious then, though, so I suppose I used the formal name – the "Golden Raspberry Awards" – when I invited her, for the first and last time, to spend time together outside a screening room. I remember the paper tickets – after all, I stared at them for a long time while waiting outside the theater for her – that appeared to have been simply printed on goldenrod paper, and probably cut apart with a couple pairs of complimentary scissors provided for customers, at a Kinko's somewhere along Sunset Boulevard.
Outside, it was cold and dark. Inside, I had hoped to find at least a little warmth and a little light.
NARRATOR (V.O.): They say that Los Angeles only looks beautiful at night. Why else would Hollywood christen its most glamorous street "Sunset Boulevard"? In the daylight, its streetlights stand next to mismatched imitations of actual architectural styles – empty extensions of the set-building on the studio lots. In the dark, though, viewed from the height of the Hollywood Sign, all the lines of lights along its streets suddenly look meaningful….
After first cutting these scenes out of his stacks of reporter's notebooks, then taping them together, he had realized that it was somewhat telling – how few of them there were, how little real life there had been between the illegible lines about forgotten films. Yet those scenes, he had realized, were all that were worth keeping.
Those, and the cardboard cover with the security sticker meant to fade out after exposure to daylight. "FADE OUT," after all, are the last two words at the end of any screenplay. Typed at the end of the last scene, they indicate that the story is over.
He had decided to burn all the rest. There would be at least a little warmth and a little light from the fire, but it wouldn't last long.
"In the Dark" was originally published by the Journal of Microliterature in 2014.
One-Way Tickets
May 30, 2018 May 29, 2018 ~ Chad Greene	~ Leave a comment
"One-way ticket to Watts?" I asked, offering her half of a pair purchased from the machine at the Metro Blue Line station in Downtown Long Beach.
"God, that sounds like the title of a rap song," Heidi said, gingerly taking the ticket between thumb and forefinger. "Why can't we just drive to the Watts Towers, Charlie?"
"C'mon, babe. It'll be an adventure, like taking le métro to the Eiffel Tower in Paris."
"An adventure." She eyed a woman wobbling up the ramp, who announced, "I done got myself drunk," before slumping over the bench next to us, cushioning her fall with the dirty duffle clutched to her chest.
"See, just like Paris," I said.
When the train pulled into the 103rd St. Station, we exited into the cloud of aromatic smoke surrounding two teens wearing white tees that hung nearly to their knees.
"Tickets?" asked the one not taking a drag at that moment.
"Sure," I said, handing them over. The kid nodded us down the ramp.
Heidi was scandalized. "Those conductors were smoking a joint," she hissed as we walked down the ramp toward 103rd.
"First of all, that wasn't a joint. That was a Black & Mild," I sighed. "Second of all, those weren't conductors–"
"Why'd they want our tickets, then?"
"So they could re-sell them to someone else traveling north." I placed the palm of my hand on the small of her back, steered her toward Graham Avenue. A woman rattled by in the opposite direction, pushing two toddlers in a shopping cart.
A man sat on the cracked concrete stoop of the third house we passed on our way to 107th, a tallboy wrapped in brown paper between his feet, a fatty wrapped in white paper between his lips.
"Now, that was a joint," I informed Heidi.
The Watts Towers soared skyward like the frames of blimps whose skins had been burned away. According to the placards wired onto the black bars of the fence along the perimeter of the triangular lot, they were not lead zeppelins – but they went over about as well with Heidi.
"This is your idea of a romantic picnic spot?" she asked as I spread a blanket in the shade cast by a cluster of eucalyptus and removed a bottle of wine from my backpack. A breeze rustled the dagger-shaped leaves overhead.
"Clearly, the towers are all about love," I replied. "Guy spent thirty-four years' worth of nights, weekends, and holidays – basically, every second he wasn't at work – building them. Didn't have a plan, just made it up as he went. Didn't have a scaffold, just climbed on what he had built before, always trying to reach new heights. Sounds like a great metaphor for love to me."
Heidi looked unconvinced.
"Plus, look at all the hearts in the ironwork," I added.
Heidi sighed. "I'm tired of you not having a plan, Charlie, of you just making it up as you go. I told you I wanted to spend Valentine's Day in Paris, on the Eiffel Tower. Instead, you expect me to spend what's supposed to be the most romantic day of the year in fucking Watts?"
Turning away from the feeling fixed into on her facial features – I didn't quite have the word for it, but it certainly wasn't love – my eyes caught on a piece of bottle green glass pressed into the mortar at the base of one of the towers. Clearly, it was a fragment of a 7-Up bottle, but the word "Up" was the only thing that remained legible, the letters in white against a field of red.
Grasping the wine bottle by the neck, I smashed it against the trunk of the nearest eucalyptus tree. Ignoring Heidi's scream, I kneeled down to examine the emerald shards.
"God dammit, Charlie! What're you doing now?"
"Trying to pick up the pieces," I said.
"Mon dieu!" shouted Heidi, who had been hopefully flipping through French flashcards for a few weeks.
"Du métro…," came her halting reply, "d'acheter un billet … à sens unique … loin de là… loin de vous."
"What? I don't understand you."
"I know," Heidi sighed as she walked away.
"One-Way Tickets" was originally published by the Journal of Microliterature in 2012.


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Carrying only today's hottest diamond wedding band designers, Golden Nugget Jewelers offers authentic pieces to its local Philadelphia community. We carry diamond wedding bands from California-based designer Michael M With a mixture of metals from yellow gold and rose gold, you will find classic wedding band designs with the added touch of diamond thrown in and around the band. Their wedding bands go from simple diamond wedding bands with a single row of diamonds to bands with multiple rows of diamonds for an added level of luxury. From fashion-forward designer A. Jaffe, you can see some truly brilliant diamond wedding bands in their Seasons of Love Collection, and some more delicate diamond wedding bands in their Classics and Metropolitan Collections. For those looking for an added twist to this designer's expert designs, look toward for the stunning Art Deco collection.
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Olathe, Kansas. The Olathe Bathtubs Cost Report is a concise report on everything you need to know about the cost of bathtubs in the Olathe area.
The cost of bathtub refinishing is included in the estimate. Price takes into account protecting nearby bathroom surfaces from overspray, sanding off the existing finish, applying multiple coats of glaze to the bathtub surface with sprayer, and basic cleanup. Items excluded: oversized tubs, surrounding tile repair, tub liners, plumbing services, tub or shower liners, major surface repairs, and installing a brand new tub.
Labor for bathtub liner installation is included in the cost. Does include acrylic tub liner, caulk, supplies, and cleanup. Price excludes faucet replacement, shower surround, or plumbing repairs.
Price takes into account the cost of bathtub installation. No additional charge for area preparation, demolition, removing the old tub, installing the drain, fitting the new 30" x 60" tub, and minor repairs to the surrounding area. Excludes new faucet and fixtures, reframing, cast iron bathtubs, re-painting, clawfoot tubs, re-tiling, shower door installation, plumbing repairs, or grab bar installation.
Cost estimate takes into account the price of bathtub refinishing. Price includes protecting nearby bathroom surfaces from overspray, sanding off the existing finish, applying multiple coats of glaze to the bathtub surface with sprayer, and basic cleanup. Excludes oversized tubs, surrounding tile repair, tub liners, plumbing services, tub or shower liners, major surface repairs, and installing a brand new tub.
Includes cost estimate for bathtub refinishing. Includes area preparation, removal of the existing finish, minor surface repairs, glaze application (2+ coats), caulking, and basic cleanup . Price excludes oversized tubs, surrounding tile repair, tub liners, plumbing services, tub or shower liners, major surface repairs, and installing a brand new tub.
Cost takes into account labor. Also includes area preparation, removal of the existing finish, minor surface repairs, glaze application (2+ coats), caulking, and basic cleanup . Price does not include oversized tubs, surrounding tile repair, tub liners, plumbing services, tub or shower liners, major surface repairs, and installing a brand new tub.
Cost includes tub liner installation. Includes acrylic tub liner, additional materials, and cleanup. Items excluded: bathtub surround, wall panels, shelving, and soap dishes.
Price includes labor. No additional charge for acrylic tub liner, caulk, supplies, and cleanup. Cost estimate excludes faucet replacement, shower surround, or plumbing repairs.
Price considers labor for bathtub installation. Estimate accounts for removal of the existing bathtub and installation of new alcove tub (approx. 60"x 30") . No new faucet and fixtures, reframing, cast iron bathtubs, re-painting, clawfoot tubs, re-tiling, shower door installation, plumbing repairs, or grab bar installation included.
Labor is included in this bathtub installation price quote. Includes area preparation, demolition, removing the old tub, installing the drain, fitting the new 30" x 60" tub, and minor repairs to the surrounding area. Cost does not account for new faucet and fixtures, reframing, cast iron bathtubs, re-painting, clawfoot tubs, re-tiling, shower door installation, plumbing repairs, or grab bar installation.
Price considers the cost of bathtub installation. Estimate includes removal of the existing bathtub and installation of new alcove tub (approx. 60"x 30") . Does not include new faucet and fixtures, reframing, cast iron bathtubs, re-painting, clawfoot tubs, re-tiling, shower door installation, plumbing repairs, or grab bar installation.


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From the Right
By Judge Andrew P. Napolitano
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Where are courage and sacrifice when we need them?
Judge Andrew P. Napolitano on Jan 7, 2021
The concept of personal liberty is that our rights come from our humanity. If you believe in a Supreme Being, as I do and as the Declaration of Independence presupposes, then you acknowledge these rights as a gift from the Creator. If you doubt or reject the existence of a Supreme Being, you can still accept the personal origin of these rights. Humans are rational beings and the essence of natural rights is the exercise of reason to seek the truth. The individual employment of unimpeded reason is the exercise of a natural right.
Either way -- whether divinely created or humanly adapted -- under the Natural Law, our rights come from within us. This is not a mere academic argument. Rather, it has profound everyday consequences. A right is an unconditional claim against all others that does not require validation or approval. Thus, your right to the freedom of speech enables you to think what you wish and say what you think and publish what you say. Nature -- or as Thomas Jefferson said, "Nature's God" -- has given you that right.
The origin of natural rights is self-evident. How is it self-evident that our rights are natural and not governmental in origin? Because we have them in the absence of government.
Thus, when government, whether by legislation or executive command, purports to interfere with your natural rights, it does moral violence to you. The framers of the Constitution -- who had suffered such violence under British rule -- understood this and provided for protection against government assaults upon natural rights.
That protection is called due process. This is a complex area of the law. Yet, reduced to its essence, it means that the government can only interfere with life, liberty and property after a fair trial, before a neutral judge and jury, at which the government must prove fault on the part of the person whose life or property it wants or whose liberties it seeks to curtail.
I offer this primer to address a troubling issue now facing Americans: voluntary servitude. After nine months of the COVID-19 pandemic-induced experiment in totalitarian-leaning governments, many of us still live in cities or states where -- to paraphrase University of Sydney Professor John Keane -- the popularly attractive exercise of arbitrary power has produced a level of comfort in popular compliance, and this comfortable compliance is voluntary servitude.
Stated differently, the government and its medical personnel have scared the daylights out of so many people that they take comfort in complying with government commands to stay home, shut their businesses and socially distance. This voluntary servitude is a pernicious evil as it encourages those in power to continue to trample natural rights. And the more those in power get away with rights trampling, the more common it will become and the more folks will accept it.
The 13th Amendment, which was enacted to abolish slavery, only prohibits involuntary servitude. Its drafters and ratifiers never imagined this voluntary version.
Among the rights most severely restricted today are those of assembly, travel and commercial intercourse. And none of these restrictions has come about via popularly enacted legislation. All have come about through unlawful and unconstitutional executive commands.
Last week, a federal judge in upstate New York became the first in the nation to order a governor to produce hard evidence to justify his closures of businesses, particularly restaurants. Lamentably, the governor's own evidence revealed that 35 times more people have been infected with COVID-19 while in their homes than by the patronage of restaurants.
I applaud this judge -- he is skeptical of government commands and is moving in the direction of human freedom -- but he has largely missed the point. The point is that freedom is the default position because we are born with the right to exercise it. Government can only interfere with personal freedom not by demonstrating the evidentiary basis for its commands but by proving wrongness on the part of the people whose freedom it wants to curtail.
The exercise of a natural right -- so long as it does not nullify another's natural right -- simply can never be wrong.
When government interferes with natural rights outside of due process, it fails its obligation to uphold the Constitution. And when governors and mayors use the power of the state to interfere with rights that are guaranteed by the U.S. Constitution, they explicitly violate federal law and expose themselves to federal prosecution.
Government is essentially the negation of liberty. What liberties may government morally negate? It may only interfere with the liberty of a person who has nullified someone else's natural rights. Suppose the rights nullifier is the government itself? When that happens, according to Jefferson in the Declaration of Independence, it is the duty of the people to alter or abolish the government.
That's where we are today, at the beginning of 2021. We live under governments that not only fail to protect personal liberties, not only fail to recognize their validity and primacy, but actively assault them. And these assaults have been accompanied by sometimes soothing and sometimes terrifying scientific-sounding language, which has induced voluntary servitude.
The danger of voluntary servitude cannot be overstated. When accepted by the masses, it will make the exercise of personal liberties the exception rather than the norm. And it will take the personal courage and public sacrifice of revolutionaries to resist it.
The only reason we have even a modicum of personal liberty today is because of determined and often unpopular men and women who refused to surrender their natural rights. Where are courage and sacrifice when we need them?
More Judge Andrew Napolitano
A few questions for the 2021 office pool
Judge Andrew Napolitano / December 31, 2020
1) One year from now, the president of the United States will be
a. Joseph R. Biden, Jr.
b. Kamala Harris.
c. Nancy Pelosi.
d. Donald Trump.
2) In February 2021, Donald Trump will
a. Be indicted for tax and bank ...Read More
How many questions can I ask regarding Christmas in America?
What if Christmas is a core belief in a personal God who lived among us and many times offered a freely given promise of eternal salvation that no believer should reject or apologize for? What if Christmas is the rebirth ...Read More
Taking Christmas seriously
God works in strange ways. Last weekend, two friends and I were deeply moved when we saw a theatrical production of Charles Dickens' "A Christmas Carol." This is the famous and popular tale of the transformation and ...Read More
Can the president pardon himself?
Most presidential pardons -- indeed all pardons that President Donald Trump has issued -- have been for specific crimes of which the subject of the pardon has already been charged and convicted. Yet, Trump, never one to be...Read More
Asking many questions on Thanksgiving 2020, but no answers
Judge Andrew Napolitano / November 26, 2020
"Government requires make-believe. Make believe that the king is divine, make believe that he can do no wrong or make believe that the voice of the people is the voice of God. Make believe that the people have a voice ...Read More
"Rightful liberty is unobstructed action according to our will within limits drawn around us by the equal rights of others. I do not add 'within the limits of the law' because the law is often but the tyrant's will, and...Read More

redpajama_set_name: RedPajamaCommonCrawl


text:
Prepared To Get Scared with "Rich Wilde and the Tome of Madness"
H.P. Lovecraft is considered one of the greatest names when it comes to horror in the 20th century. His Cthulhu Mythos is one of the most infamous literary universes out there and has become the topic of many pieces of entertainment. In "Rich Wilde and the Tome of Madness", Play'n Go is taking players on a wild ride in this horror universe as Rich faces the horror of the Old Ones. This game is a continuation in the Rich Wilde series of games which has a huge following.
This is yet another adventure for Rich Wilde and as usual it does not fail to impress. This new slot will give players a chance to help Rich unlock the secrets of the Cult of Cthulhu. The graphics are amazing as it conveys the horror theme really well.
Players will not only be impressed by the visuals but also by the great gameplay on offer as it brings a new formula into the equation. Though played on a five row by five reel grid, players don't have the usual paylines. Players get a winning combination when they have four of more symbols connected together either horizontally or vertically. This means players can get 10 or more in a cluster if they are really lucky.
There are eight basic symbols. Four of them are low-value stones. The other four are the more valuable and are skulls, daggers, rings, and octopus pendants. The last one is the most valuable. Players who get ten or more those pendants will get ten times their initial stake.
The real draw of this game is the fun features. For one, the game has cascading symbols. Every winning combination removes the symbols and drops more symbols down. Each win also charges the portal, which gives bonuses. During the game, random positions on the reels will have Eye Marks. Players who score a symbol in these locations will get two free wilds. Additionally, the portal can offer players two wilds every time a milestone is passed.
This game features some very fun wilds though. There is the Necronomicon and the Book of Madness. Rich Wilde serves as a multiplier wild which your chances of winning and can also replace any other symbol. Players who accumulate 27 symbols in their wins will activate the Void Portal Effect. This can remove one regular symbol from all the reels. Overall, this game is an impressive one as it will give you a fun experience and a chance at some good payouts.


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Eat food, see art, hear music
By now you are aware of the annual Progressive Dinner and arts festival on Madison Street. This year's event will be held July 20. For advance tickets call (708) 366-2543.
The street entertainment will be first-class this year, although the number of restaurants is fewer than in past years. Starship Sub will sponsor Paul McKenna's group, but they will have to perform somewhere farther east, probably near Doc Ryan's, since the dinner's western terminus will be at Desplaines Avenue this year.
Street artists will include chalk artists Glenn and Georgia Braun, as well as Steve Fisher. The Gasse School of Music will present some young artists in quartet, trio and duo pieces for your enjoyment. Vocals will be supplied by Kathryn Atwood.
Pineapple Dance Studios and Erika Ochoa's students will exhibit Middle Eastern dancing, music and costumes. Erika's husband, Adrian Fortis, a classical guitarist and a member of the Guitar Circle of Chicago, will hypnotize you with his performance. The husband and wife team are regulars at the Old Town School of Folk Music and will be performing there on July 16 at 8:30 p.m. with Lamajamal, a Chicago group that plays Gypsy surf music, according to their Web site.
A trip up to the Pineapple Studio at 7518 Madison St. is almost like stepping into a Middle Eastern paradise (which, by the way, is a Persian word). Artists get together to celebrate their differences, music, dance, foods, beauty and other cultural aspects of life. Would that they could rule the world
McKenna's group features Paul on guitar, harmonica and vocal; Mike Romano on drums; Pete Mazzeri on sax and bass; and Bob Pliiett on lead guitar.
All the music will be strategically placed so that one group will not clash with another.
On July 12 the G.K. Chesterton Society will discuss "The Resurrection of Rome" at Centuries and Sleuth's, 7419 Madison St., at 2 p.m.
On to the birthdays: Everyone's favorite, Zeno Jacquat has a birthday on July 9 – may he have many, many more birthdays. Also on the 9th of July are Lisa Faber, Bridget Marinier, Diane Bugajsky, Matt Cappolino, Tim Houren and 101-year-old Fern Campbell; On July 10, Jackie Vince Clifton, Augie Hegg, and happy anniversary to Jennifer and Mark Hosty; on July 11, John and Diane Rice have an anniversary and birthday celebrants are Cassidy Brown, Lisa Kowalski, Diane Howard Beatty, Adam Powers and last but not least Peggy Grams; on July 12, Mike Martinski, Rick Martinski, and a special happy birthday to Minnie Maxwell; July 13, Cheryl Jargstorf, Brian Casey, Linda Brhel, Laura Hodges; July 14, Grant Neubeiser, Ruth Loyd, Anthony Huynh, and Ramya and Carl Telarovic have an anniversary; on July 15, Carol Byars Smith, Chris Cody and Lester Nixon have birthdays; and on July 16 special happy 90th birthday to Dorothy Hatch. Also celebrating a birthday on the 16th are Leonard Karlin, Daniel Stroth, Sammy Marino and Mitchell Bloch.
Jackie is a former Chicago and Elmwood Park schoolteacher with an undying love for music, friendly pets and a host of life's other treasures too numerous to list. She was born on the far southwest side of Chicago in a great neighborhood when it was a great time to be young.


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Keshvar (persiska: ایستگاه کشور, Īstgāh-e Keshvar, کشور) är en ort i Iran.   Den ligger i provinsen Lorestan, i den centrala delen av landet,  km sydväst om huvudstaden Teheran. Keshvar ligger  meter över havet och antalet invånare är .

Terrängen runt Keshvar är kuperad åt nordost, men åt sydväst är den bergig. Keshvar ligger nere i en dal. Den högsta punkten i närheten är Loven,  meter över havet,  km sydväst om Keshvar. Runt Keshvar är det ganska tätbefolkat, med  invånare per kvadratkilometer. Keshvar är det största samhället i trakten. Omgivningarna runt Keshvar är i huvudsak ett öppet busklandskap.

Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är januari, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är december, med i genomsnitt  mm nederbörd, och den torraste är september, med  mm nederbörd.

Kommentarer

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redpajama_set_name: RedPajamaWikipedia


text:
You searched for subject:(Kurdish Question). Showing records 1 – 9 of 9 total matches.
1. Stolwijk, J.M. A Two Front Battle - A feminist perspective on the Dutch discourse on the two folded battle of the Kurdish Women's Movement.
Degree: 2015, Universiteit Utrecht
URL: http://dspace.library.uu.nl:8080/handle/1874/318220
► In this thesis it is researched how the Dutch media discourse about battling Kurdish female combatants has changed, since they are fighting the Islamic State… (more)
▼ In this thesis it is researched how the Dutch media discourse about battling Kurdish female combatants has changed, since they are fighting the Islamic State (IS). Ever since the female Kurdish warriors are involved in the battle against the Islamic State, they are perceived as 'amazons of the free world', but before this battle they were perceived as terrorists. In this thesis it is research how this image has changed and which role the notions of feminism, emancipation and ethnocentrism have in this process. Advisors/Committee Members: Midden, Eva.
Subjects/Keywords: Kurdish Women's Movement; Feminism; IS; Islamic State; Emancipation; Kurdish Women's Amry; Kurdish Question; Ethnocentrism
Stolwijk, J. M. (2015). A Two Front Battle - A feminist perspective on the Dutch discourse on the two folded battle of the Kurdish Women's Movement . (Masters Thesis). Universiteit Utrecht. Retrieved from http://dspace.library.uu.nl:8080/handle/1874/318220
Stolwijk, J M. "A Two Front Battle - A feminist perspective on the Dutch discourse on the two folded battle of the Kurdish Women's Movement." 2015. Masters Thesis, Universiteit Utrecht. Accessed January 23, 2020. http://dspace.library.uu.nl:8080/handle/1874/318220.
Stolwijk, J M. "A Two Front Battle - A feminist perspective on the Dutch discourse on the two folded battle of the Kurdish Women's Movement." 2015. Web. 23 Jan 2020.
Stolwijk JM. A Two Front Battle - A feminist perspective on the Dutch discourse on the two folded battle of the Kurdish Women's Movement. [Internet] [Masters thesis]. Universiteit Utrecht; 2015. [cited 2020 Jan 23]. Available from: http://dspace.library.uu.nl:8080/handle/1874/318220.
Stolwijk JM. A Two Front Battle - A feminist perspective on the Dutch discourse on the two folded battle of the Kurdish Women's Movement. [Masters Thesis]. Universiteit Utrecht; 2015. Available from: http://dspace.library.uu.nl:8080/handle/1874/318220
2. Uzun, Emel. Personal narratives of nationalism in Turkey.
Degree: PhD, 2016, University of Edinburgh
► The Kurdish Question, which dates back to the Ottoman Era, has been a constituent element of narratives of Turkish nationalism for the past 30 years.… (more)
▼ The Kurdish Question, which dates back to the Ottoman Era, has been a constituent element of narratives of Turkish nationalism for the past 30 years. The Kurdish Question stands as the most prominent "other" of Turkish nationalism. The members of two groups, Kurds and Turks, became highly politicised throughout 30 years of internal conflict and through their daily encounters, giving way to a constant redefinition of the understanding of nationalism and ethnicity. The encounters and experiences of these two groups have facilitated the development of various narrative forms of personal nationalism in daily life. Accordingly, the daily manifestations of the Kurdish Question and Turkish nationalism have grown as an object of academic interest. The question of how ordinary people produce – and are produced in – personal narratives of nationalism is a subject that still needs to be addressed, and this thesis aims to fill this gap by examining the notion of "personal narratives". Analysing nationalism through personal narratives enables us to see how hegemonic nationalist ideology is reproduced and practiced by individuals through various dynamics. The thesis finds that the determining theme in the personal narratives of Turks and Kurds follows fundamentally the official ideology of the state about the Kurds, which is based principally on "a strategy of denial". The macro political transformations of the 2000s and the increased potential of encountering the "other" in daily life underline the challenging nature of this ideological strategy of denial. Herein, while the Turkish participants define themselves as the benevolent party in their nationalist narratives, they mark Kurdish people as terrorists, separatists and primitives. In contrast, the narratives of the Kurdish participants are characterised by the adoption of a "self-defence" strategy against the dominant negative perceptions of Turkish society about their culture: they assert that they are in fact not ignorant; not terrorists; not disloyal citizens, and so on. The narratives of the Turkish participants about the ethnic "other", the Kurds, generally follow a strategy of contempt and accusation; yet personal experiences give them the opportunity to politicise the problem on different grounds by empathising or humanising. On the Kurdish side, the subjects of the personal narratives are more often the state and the army than Turkish individuals, and again they construct a narrative that endeavours to reverse the dominant negative perceptions about Kurds. They attempt to negate the denial strategy through both collective and personal stories of the discrimination they have experienced over the years and generations. Vital questions such as through which mechanisms of resistance do ordinary people construct and practice their ethnic identities, again become visible through their personal narratives.
Subjects/Keywords: 320.5409561; personal narratives; Turkish nationalism; Kurdish Question
Uzun, E. (2016). Personal narratives of nationalism in Turkey . (Doctoral Dissertation). University of Edinburgh. Retrieved from http://hdl.handle.net/1842/21706
Uzun, Emel. "Personal narratives of nationalism in Turkey." 2016. Doctoral Dissertation, University of Edinburgh. Accessed January 23, 2020. http://hdl.handle.net/1842/21706.
Uzun, Emel. "Personal narratives of nationalism in Turkey." 2016. Web. 23 Jan 2020.
Uzun E. Personal narratives of nationalism in Turkey. [Internet] [Doctoral dissertation]. University of Edinburgh; 2016. [cited 2020 Jan 23]. Available from: http://hdl.handle.net/1842/21706.
Uzun E. Personal narratives of nationalism in Turkey. [Doctoral Dissertation]. University of Edinburgh; 2016. Available from: http://hdl.handle.net/1842/21706
3. Dag, Rahman. The perception between the pro-Islamic and pro-Kurdish political streams in Turkey, 1980-2011.
Degree: PhD, 2014, University of Exeter
► Official state ideology (Kemalism) whose core principles are Turkish nationalism and secularism excluded Kurds and Islamists from the newly formed social and political structure of… (more)
▼ Official state ideology (Kemalism) whose core principles are Turkish nationalism and secularism excluded Kurds and Islamists from the newly formed social and political structure of modern Turkey. By insisting on a Kemalist modernization project in which assimilation of Kurdish ethnic identity within Turkish nationalism, and a top down imposition of secular policies on public and state affairs, Turkey has had to deal with two profound issues—the Kurdish question, and political Islam. As these social and political rivals of official state ideology present an alternative way of modernization projects, the Kemalist state apparatus has until recently considered their existence and development within Turkish society as a menace to their core existence. That is why the nearly century-long Kurdish question and Islamism (reactionism-gericilik) have occupied the agenda. The striking point of this reality of Turkey is that while Kurdish nationalist and Islamist social and political groups, whether they are legal or illegal, have sought to supersede the official state ideology with their understandings, they have never united or operated joint activities against their, roughly speaking, enemy. The research, because of this focuses on the reasons why these two social and political groups in Turkey did not work together to eliminate their common rival. Regarding pro-Kurdish and pro-Islamic groups, ideological distinctiveness and rigidity led them to consider each other as a part of or as an extension of official state ideology which tries to eliminate its rivals. Despite the fact that they both ideologically and practically confirmed the existence of repression towards Kurds and religious people, the leftist-oriented pro-Kurdish political stream considered religion as a component of denial and assimilationist policy of official state ideology, so that they did not differentiate between Islamist groups and the established state structure, whereas the pro-Islamic political stream refused to co-operate with any member of the leftist-oriented pro-Kurdish stream because of its secular characteristic. The reaction of these groups towards assimilation of Kurdish ethnic origin, and repression over religion, initially embodied itself in several uprisings and revolts in the Kurdish populated eastern areas of Turkey, and religiously sensitive cities, respectively. Thanks to the multi-party system, these groups have found a way in which they can express themselves through political parties, labour unions, associations and foundations so that they have become social movements forcing the Kemalism dominated state to meet their demands. As long as these demands are not met, the interaction between these two social movements and the official state ideology has been hostile. Within this process, the hostile approach to their common enemy reflected in each other's activities and understandings as they see each other as a part of official state ideology. In the next phase in which their transformation from social movements to a legal political…
Subjects/Keywords: 320.54095667; Pro-Kurdish political stream; Pro-Islamic political stream; Kurdish question; Islamism
Dag, R. (2014). The perception between the pro-Islamic and pro-Kurdish political streams in Turkey, 1980-2011 . (Doctoral Dissertation). University of Exeter. Retrieved from http://hdl.handle.net/10871/14948
Dag, Rahman. "The perception between the pro-Islamic and pro-Kurdish political streams in Turkey, 1980-2011." 2014. Doctoral Dissertation, University of Exeter. Accessed January 23, 2020. http://hdl.handle.net/10871/14948.
Dag, Rahman. "The perception between the pro-Islamic and pro-Kurdish political streams in Turkey, 1980-2011." 2014. Web. 23 Jan 2020.
Dag R. The perception between the pro-Islamic and pro-Kurdish political streams in Turkey, 1980-2011. [Internet] [Doctoral dissertation]. University of Exeter; 2014. [cited 2020 Jan 23]. Available from: http://hdl.handle.net/10871/14948.
Dag R. The perception between the pro-Islamic and pro-Kurdish political streams in Turkey, 1980-2011. [Doctoral Dissertation]. University of Exeter; 2014. Available from: http://hdl.handle.net/10871/14948
4. Bor, Yasin. The effects of the Kurdish question on Turkey's foreign and security policy with reference to the Western World.
Degree: PhD, 2013, University of Leicester
► The main topic of this thesis is the influence of the Kurdish Question on Turkey's relations with Europe and the USA. Aiming to develop a… (more)
▼ The main topic of this thesis is the influence of the Kurdish Question on Turkey's relations with Europe and the USA. Aiming to develop a triplex framework of (1) the Kurdish Question in Turkey, (2) Turkey's Foreign and Security Policy, and (3) Turkey's Relations with Western Society, this thesis specifically studies the international dimension of the Kurdish Question. It has two basic arguments: first, the Kurdish issue is the major cause of the deterioration in the relationship between Turkey and the West, in spite of alliances that go back over half a century. Second, Turkey's Foreign and Security Policy is the main catalyst of that long-lasting troublesome relationship. The Kurdish Question is evaluated using empirical data that examines its impact on the relationship between Turkey and the West in the period 1989-2007. Within this the problem is examined by applying a normative approach and analyses that are carried out within a theoretical framework provided by a constructivist approach. In order to present research questions by empirical evidence, discourse analysis is used that goes in hand with the theoretical approach. Three Foreign and Security Policy norms are examined, namely "Sèvres Syndrome"- the suspicion of influence of external powers and interests on Turkey, the principle of "Status Quo" applicable in FSP and internal security arrangements, and finally, the "Westernism" that foresees being pro-Western in foreign policies and internal socio-political field. Findings suggest that those three norms played significant roles in shaping Turkey's Foreign and Security Policy for decades, while important changes occurred within the recent years.
Subjects/Keywords: Kurdish Question; Turkey's Foreign and Security Policy; Discourse Analysis; Constructivism
Bor, Y. (2013). The effects of the Kurdish question on Turkey's foreign and security policy with reference to the Western World . (Doctoral Dissertation). University of Leicester. Retrieved from http://hdl.handle.net/2381/27968
Bor, Yasin. "The effects of the Kurdish question on Turkey's foreign and security policy with reference to the Western World." 2013. Doctoral Dissertation, University of Leicester. Accessed January 23, 2020. http://hdl.handle.net/2381/27968.
Bor, Yasin. "The effects of the Kurdish question on Turkey's foreign and security policy with reference to the Western World." 2013. Web. 23 Jan 2020.
Bor Y. The effects of the Kurdish question on Turkey's foreign and security policy with reference to the Western World. [Internet] [Doctoral dissertation]. University of Leicester; 2013. [cited 2020 Jan 23]. Available from: http://hdl.handle.net/2381/27968.
Bor Y. The effects of the Kurdish question on Turkey's foreign and security policy with reference to the Western World. [Doctoral Dissertation]. University of Leicester; 2013. Available from: http://hdl.handle.net/2381/27968
5. Ozdil, Yilmaz. La construction visuelle des identités kurdes : cinema turc, cinéma kurde : The visual construction of Kurdish identities in cinema.
Degree: Docteur es, Études cinématographiques et audiovisuelles, 2013, Université Sorbonne Nouvelle – Paris III
Dans les quatre pays dominant le Kurdistan, (Turquie, Iran, Irak et Syrie), la question kurde se traduit avant tout sous forme de visibilité/ invisibilité, autour… (more)
Dans les quatre pays dominant le Kurdistan, (Turquie, Iran, Irak et Syrie), la question kurde se traduit avant tout sous forme de visibilité/ invisibilité, autour de la question de la reconnaissance des Kurdes en tant que Nation déniée. Notamment en Turquie, le premier des pays à avoir imposé aux Kurdes son modèle d'Etat-Nation, cette question renvoie aux politiques négationnistes étatiques menées contre la culture et l'identité kurdes, considérées dès 1924, comme des obstacles au processus de création d'une identité nationale turque. Dans ce rapport conflictuel entre le nationalisme turc et le nationalisme kurde, également fruit d'une mémorisation traumatique et d'une longue histoire de résistance kurde dans chaque partie du Kurdistan, l'imaginaire des Kurdes renvoie а une dimension historique devenue spontanément une référence essentielle du traitement cinématographique de la « kurdicité », sous forme d'interaction construite par les Kurdes eux-mêmes ou créée par leurs adversaires politiques.Notre thèse s'efforce de montrer cette influence durable du nationalisme sur le traitement cinématographique de la « kurdicité », principalement dans le cinéma turc traitant les Kurdes sans les designer en tant que Kurdes, puis dans le cinéma kurde au service de la « cause kurde » après les années 1990.
In the four countries dominating Kurdistan (Turkey, Iran, Iraq and Syria) the Kurdish question translates first and foremost under the concept of visibility/invisibility, around the problem of the recognition of the Kurds as a denied nation. This is especially apparent in the case of Turkey, the first of the countries which imposed its own nation-state on the Kurds : this question is associated with the negationist state policies on Kurdish culture and identity,which, since 1924, have been considered as obstacles on the path to the creation of a nationalTurkish identity. In this conflictual relation between Kurdish and Turkish nationalisms – the fruit, among others, of a traumatic memory and a long history of Kurdish resistance inrespective sections of Kurdistan – the imagery of the Kurds refers to a historical dimensionwhich has spontaneously become an essential reference of cinematographic treatment of« Kurdishness » under the form of interactions constructed by themselves or by their own political opponents. The present thesis aims at describing that permanent influence of nationalism on the cinematographic treatment of « Kurdishness » in the Turkish cinema which principally treats the Kurds without designating them as Kurds, then in the Kurdish cinema in the service of « Kurdish cause » following the 1990s.
Advisors/Committee Members: Feigelson, Kristian (thesis director).
Subjects/Keywords: Cinéma kurde; Cinéma turc; Identités; Kémalisme; Kurdicité; Nationalisme; Question kurde; Visibilité/invisibilité; Kurdish cinema; Turkish cinema; Identities; Kemalism; Kurdishness; Nationalism; Kurdish question; Visibility/invisibility; 791.4309566
Ozdil, Y. (2013). La construction visuelle des identités kurdes : cinema turc, cinéma kurde : The visual construction of Kurdish identities in cinema . (Doctoral Dissertation). Université Sorbonne Nouvelle – Paris III. Retrieved from http://www.theses.fr/2013PA030165
Ozdil, Yilmaz. "La construction visuelle des identités kurdes : cinema turc, cinéma kurde : The visual construction of Kurdish identities in cinema." 2013. Doctoral Dissertation, Université Sorbonne Nouvelle – Paris III. Accessed January 23, 2020. http://www.theses.fr/2013PA030165.
Ozdil, Yilmaz. "La construction visuelle des identités kurdes : cinema turc, cinéma kurde : The visual construction of Kurdish identities in cinema." 2013. Web. 23 Jan 2020.
Ozdil Y. La construction visuelle des identités kurdes : cinema turc, cinéma kurde : The visual construction of Kurdish identities in cinema. [Internet] [Doctoral dissertation]. Université Sorbonne Nouvelle – Paris III; 2013. [cited 2020 Jan 23]. Available from: http://www.theses.fr/2013PA030165.
Ozdil Y. La construction visuelle des identités kurdes : cinema turc, cinéma kurde : The visual construction of Kurdish identities in cinema. [Doctoral Dissertation]. Université Sorbonne Nouvelle – Paris III; 2013. Available from: http://www.theses.fr/2013PA030165
6. Çiçek, Cuma. Interaction of nation, religion and class : building Kurdish consensus in Turkey : Nation, religion et classe économique : construire le consensus kurde en Turquie.
Degree: Docteur es, Science politique, 2014, Paris, Institut d'études politiques
URL: http://www.theses.fr/2014IEPP0010
Dans cette recherche, on analyse la question à savoir « comment les trois principaux types de groupes kurdes -nationale, religieuse et économique- coopèrent pour établir… (more)
Dans cette recherche, on analyse la question à savoir « comment les trois principaux types de groupes kurdes -nationale, religieuse et économique- coopèrent pour établir un consensus sur un objectif commun : une région politique kurde en Turquie ». En suivant la théorie du constructivisme, le modèle des Trois I, la sociologie de l'organisation et de la sociologie de l'action collective sont articulé pour examiner l'action collective kurde, qui est constamment reconstruite dans un contexte historiquement construit, qui est aussi constamment reconstruit par les dynamiques aux niveaux nationaux, transnationaux (géopolitiques), européens et mondiaux. Quant à la tâche empirique, on examine les conflits, les négociations, la coopération et le consensus de ces trois groupes kurdes sur la question kurde et l'influence des cinq dynamiques structurants mentionnés ci-dessus. La principale méthode utilisée dans ma recherche est l'analyse qualitative des entretiens en profondeur. Au niveau conclusion théorique, la recherche fait remarquable contribution aux théories et approches concernant les identités collectives et les groupes (étant groupe) collectives, l'État, le modèle des « Trois I », la dépendance au sentier, la géopolitique de la question kurde et l'européanisation. Au niveau empirique, la principale conclusion de l'étude est le fait que les groupes kurdes n'ont pas atteint de construire une organisation commune et des règles collectivement acceptées jusqu'ici. Les idées, les intérêts et les institutions des groupes ne sont pas équivalents ; et les intérêts particuliers des groupes ont pesé sur l'action collective dans la région kurde.
In this research, I analyzed the question of "the three main types of Kurdish groups -national, religious and economic- cooperate to establish a consensus on a common purpose: a Kurdish political region in Turkey." Following the theory of constructivism, the Three I model, the sociology of organization and the sociology of collective action are articulated to examine the Kurdish collective action, which the is constantly re-constructed in historically constructed context, which is also constantly re-constructed by dynamics at national, trans-national (geopolitical), European and global levels. As to the empirical task, I examined the conflicts, negotiations, cooperation and consensus of these three Kurdish groups regarding the Kurdish issue(s) and the influence of the above-mentioned five structuring dynamics. The principal method used in my research is the qualitative analysis of in-depth interviews. At the level of theoretical conclusion, the research makes remarkable contribution to the theories and approaches concerning the collective identities and groups(ness), the state, the "Three I" model, path dependency, the geopolitics of the Kurdish issue, and Europeanization. At the empirical level, the main conclusion of the research is the fact that the Kurdish groups have not achieved to build a common organization and accepted rules so far. The groups' ideas, interests and institutions…
Advisors/Committee Members: Bafoil, François (thesis director).
Subjects/Keywords: Idées; Intérêts; Institutions; Européanisation; Action collective; Question kurde; Ideas; Interests; Institutions; Europeanisation; Collective action; Kurdish issue
Çiçek, C. (2014). Interaction of nation, religion and class : building Kurdish consensus in Turkey : Nation, religion et classe économique : construire le consensus kurde en Turquie . (Doctoral Dissertation). Paris, Institut d'études politiques. Retrieved from http://www.theses.fr/2014IEPP0010
Çiçek, Cuma. "Interaction of nation, religion and class : building Kurdish consensus in Turkey : Nation, religion et classe économique : construire le consensus kurde en Turquie." 2014. Doctoral Dissertation, Paris, Institut d'études politiques. Accessed January 23, 2020. http://www.theses.fr/2014IEPP0010.
Çiçek, Cuma. "Interaction of nation, religion and class : building Kurdish consensus in Turkey : Nation, religion et classe économique : construire le consensus kurde en Turquie." 2014. Web. 23 Jan 2020.
Çiçek C. Interaction of nation, religion and class : building Kurdish consensus in Turkey : Nation, religion et classe économique : construire le consensus kurde en Turquie. [Internet] [Doctoral dissertation]. Paris, Institut d'études politiques; 2014. [cited 2020 Jan 23]. Available from: http://www.theses.fr/2014IEPP0010.
Çiçek C. Interaction of nation, religion and class : building Kurdish consensus in Turkey : Nation, religion et classe économique : construire le consensus kurde en Turquie. [Doctoral Dissertation]. Paris, Institut d'études politiques; 2014. Available from: http://www.theses.fr/2014IEPP0010
7. Kermanian, Sara. Scale and exile: the portrait of the Kurdish question in the theory of democratic confederalism.
Degree: Department of Political Science, 2017, University of Victoria
URL: https://dspace.library.uvic.ca//handle/1828/8534
► This research examines the relation of scalar arrangements of the statist political orders and the formation of the condition of exile, exemplified in the case… (more)
▼ This research examines the relation of scalar arrangements of the statist political orders and the formation of the condition of exile, exemplified in the case of the Kurdish statelessness through a critical reading of Abdullah Öcalan's theory of democratic confederalism. This reading, I will argue, permits understanding the scalar implications of what I call the tyranny of the present of the state. The tyranny of the present refers to the tendency of statist formations to expand the domination of their metaphysical presence through attempting to turn their present into the future of those who are considered less developed and aiming to prevent the perception of any unpredictable future that might interrupt their presence. This temporal hegemony is imposed through a centralized and hierarchical scalar order that determines quantitative multiplication of the diversity of human societies and the order of authority of the structure that brings them together as a whole. Together the scalar-temporal arrangement of the structure implies the ways through which the presence of the state determines the condition of the impossibility of the presence of the stateless and the exclusion of the stateless determines the condition of the possibility of the presence of the state. I will argue that this is the desire to leave the aporetic condition of the state/statelessness binary that leads Öcalan to aim for the destruction of the state and the construction of a communalist structure that permits the non-exclusive existence of time's pure being in itself. However, his solution, similar to the communalist approaches by whom he is influenced, is limited by his ignorance of the paradoxicality of the creation of communalism externally and the destruction of the state internally and by his underestimation of the state-generating forces of the of rules of securitization in the international system that is not based on communal values. Advisors/Committee Members: Walker, R. B. J. (supervisor).
Subjects/Keywords: Scale; Time and Space; Statelessness; Kurdish Question; Democratic Confederalism; Rojava; Political Exclusion; Democracy; Nationalism; Communalism and International Order
Kermanian, S. (2017). Scale and exile: the portrait of the Kurdish question in the theory of democratic confederalism . (Masters Thesis). University of Victoria. Retrieved from https://dspace.library.uvic.ca//handle/1828/8534
Kermanian, Sara. "Scale and exile: the portrait of the Kurdish question in the theory of democratic confederalism." 2017. Masters Thesis, University of Victoria. Accessed January 23, 2020. https://dspace.library.uvic.ca//handle/1828/8534.
Kermanian, Sara. "Scale and exile: the portrait of the Kurdish question in the theory of democratic confederalism." 2017. Web. 23 Jan 2020.
Kermanian S. Scale and exile: the portrait of the Kurdish question in the theory of democratic confederalism. [Internet] [Masters thesis]. University of Victoria; 2017. [cited 2020 Jan 23]. Available from: https://dspace.library.uvic.ca//handle/1828/8534.
Kermanian S. Scale and exile: the portrait of the Kurdish question in the theory of democratic confederalism. [Masters Thesis]. University of Victoria; 2017. Available from: https://dspace.library.uvic.ca//handle/1828/8534
8. Δημητρακά, Μαρία. Κουρδικό ζήτημα - Τουρκία: μια ιστορική, κοινωνιολογική και πολιτική προσέγγιση.
Degree: 2001, Πάντειο Πανεπιστήμιο Κοινωνικών και Πολιτικών Επιστημών; Panteion University of Social and Political Sciences
URL: http://hdl.handle.net/10442/hedi/12989
Subjects/Keywords: Κουρδικό ζήτημα; Ταυτότητα, Εθνική; Κουρδικός εθνικισμός; Τουρκικός εθνικισμός; Κεμαλισμός; Kurdish question; National identity; Kurdish nationalism; Kemalism; Turkish nationalism
Δημητρακά, �. (2001). Κουρδικό ζήτημα - Τουρκία: μια ιστορική, κοινωνιολογική και πολιτική προσέγγιση . (Thesis). Πάντειο Πανεπιστήμιο Κοινωνικών και Πολιτικών Επιστημών; Panteion University of Social and Political Sciences. Retrieved from http://hdl.handle.net/10442/hedi/12989
Δημητρακά, Μαρία. "Κουρδικό ζήτημα - Τουρκία: μια ιστορική, κοινωνιολογική και πολιτική προσέγγιση." 2001. Thesis, Πάντειο Πανεπιστήμιο Κοινωνικών και Πολιτικών Επιστημών; Panteion University of Social and Political Sciences. Accessed January 23, 2020. http://hdl.handle.net/10442/hedi/12989.
Δημητρακά, Μαρία. "Κουρδικό ζήτημα - Τουρκία: μια ιστορική, κοινωνιολογική και πολιτική προσέγγιση." 2001. Web. 23 Jan 2020.
Δημητρακά �. Κουρδικό ζήτημα - Τουρκία: μια ιστορική, κοινωνιολογική και πολιτική προσέγγιση. [Internet] [Thesis]. Πάντειο Πανεπιστήμιο Κοινωνικών και Πολιτικών Επιστημών; Panteion University of Social and Political Sciences; 2001. [cited 2020 Jan 23]. Available from: http://hdl.handle.net/10442/hedi/12989.
Δημητρακά �. Κουρδικό ζήτημα - Τουρκία: μια ιστορική, κοινωνιολογική και πολιτική προσέγγιση. [Thesis]. Πάντειο Πανεπιστήμιο Κοινωνικών και Πολιτικών Επιστημών; Panteion University of Social and Political Sciences; 2001. Available from: http://hdl.handle.net/10442/hedi/12989
9. Parlar Dal, Emel. Les relations turco-américaines de l'entrée de la Turquie dans l'OTAN jusqu'à la crise Irakienne de 2003 : Turkish-American relations from Turkey's entry to NATO until the Iraqi crisis in 2003.
Degree: Docteur es, Histoire des relations internationales, 2009, Université Sorbonne Nouvelle – Paris III
L'entrée de la Turquie dans l'OTAN en 1952 a influencé les relations turco-américaines de façon plus importante que tout autre événement. Pendant la période entre… (more)
L'entrée de la Turquie dans l'OTAN en 1952 a influencé les relations turco-américaines de façon plus importante que tout autre événement. Pendant la période entre 1950 et 1960 considérée comme la période de « lune de miel » dans l'histoire des relations turco-américaines des derniers cinquante ans, la Turquie est devenue un acteur clé des stratégies de défense de l'OTAN et ainsi des Etats-Unis. Dans la décennie 1960, les deux pays traversèrent une période de turbulence marquée par deux crises. Le retrait du sol turc des missiles Jupiter en 1963 sans consultation préalable du gouvernement fut un tournant important dans l'histoire des relations turco-américaines La deuxième crise éclata dans les relations entre Ankara et Washington lors des premiers affrontements inter-communautaires à Chypre, avec la fameuse lettre de Johnson de juin 1964. En 1973, Washington protesta vigoureusement contre l'autorisation, accordée par le gouvernement d'Ankara, de cultiver le pavot à des fins médicales. La crise chypriote de 1974 avait une nature différente de celle des crises précédentes car son impact sur les relations entre les deux pays ont été finalement de plus longue durée et aussi plus profonds. Dans la décennie 1980 Ankara apparut donc aux yeux des Américains comme un partenaire qui cherchait toujours un équilibre dans ses relations avec ces derniers. Durant la décennie 1990 les relations turco-américaines connurent une transition majeure d'une coopération stratégique étroite établie de longue durée dans la période de la Guerre froide à un nouveau type de relation basée sur le rôle important de la Turquie dans les affaires régionales. A la différence de la crise chypriote de 1974 que nous considérons aussi comme une grande rupture, la crise de la guerre d'Irak de 2003 a laissé les traces les plus marquantes sur les relations bilatérales et a causé des frictions très importantes entre les militaires de haut rang des deux pays et par conséquent, la méfiance s'installa rapidement dans les relations militaires entre les deux pays.
Turkey's entry to NATO in 1952 influenced the Turkish-American relations in a way more important than any other event. During the period between 1950 and 1960 considered as "honeymoon period" in the history of the Turkish-American relations of the last fifty years, Turkey became a key actor of NATO's defense strategies and thus of the United States. In 1960's, two countries crossed a turbulent era marked by two crises. The withdrawal of the Jupiter missiles in 1963 from Turkish ground without preliminary consultation of the government was revolving important in the history of the Turkish-American relations. The second crisis in the relations between Ankara and Washington burst during the first intercommunity confrontations in Cyprus, with the famous letter of Johnson of June 1964. In 1973, Washington protested vigorously against authorization, granted by the Ankara Government, to cultivate the poppy for medical purposes. The Cypriot crisis of 1974 had a nature different from that of the preceding…
Advisors/Committee Members: Du Réau, Élisabeth (thesis director).
Subjects/Keywords: Turquie; Les Etats-Unis; Chypre; La guerre d'Irak; La question kurde; OTAN; Turkey; United States; Cyprus; Iraqi War; Kurdish question; NATO
Parlar Dal, E. (2009). Les relations turco-américaines de l'entrée de la Turquie dans l'OTAN jusqu'à la crise Irakienne de 2003 : Turkish-American relations from Turkey's entry to NATO until the Iraqi crisis in 2003 . (Doctoral Dissertation). Université Sorbonne Nouvelle – Paris III. Retrieved from http://www.theses.fr/2009PA030046
Parlar Dal, Emel. "Les relations turco-américaines de l'entrée de la Turquie dans l'OTAN jusqu'à la crise Irakienne de 2003 : Turkish-American relations from Turkey's entry to NATO until the Iraqi crisis in 2003." 2009. Doctoral Dissertation, Université Sorbonne Nouvelle – Paris III. Accessed January 23, 2020. http://www.theses.fr/2009PA030046.
Parlar Dal, Emel. "Les relations turco-américaines de l'entrée de la Turquie dans l'OTAN jusqu'à la crise Irakienne de 2003 : Turkish-American relations from Turkey's entry to NATO until the Iraqi crisis in 2003." 2009. Web. 23 Jan 2020.
Parlar Dal E. Les relations turco-américaines de l'entrée de la Turquie dans l'OTAN jusqu'à la crise Irakienne de 2003 : Turkish-American relations from Turkey's entry to NATO until the Iraqi crisis in 2003. [Internet] [Doctoral dissertation]. Université Sorbonne Nouvelle – Paris III; 2009. [cited 2020 Jan 23]. Available from: http://www.theses.fr/2009PA030046.
Parlar Dal E. Les relations turco-américaines de l'entrée de la Turquie dans l'OTAN jusqu'à la crise Irakienne de 2003 : Turkish-American relations from Turkey's entry to NATO until the Iraqi crisis in 2003. [Doctoral Dissertation]. Université Sorbonne Nouvelle – Paris III; 2009. Available from: http://www.theses.fr/2009PA030046


Our mission is to provide the best food experience in Sunset Beach with unmatched service a neighborhood flavor, no matter if you're a long-time local or a visitor on vacation. Backstreet Cafe and Catering is a casual, comfortable eatery that focuses on unbelievably delectable food, including a wide variety of specialty sandwiches, salads, and hardy soups. With this many choices you can order from the café several times without having the same meal twice (unless you just want to!).
Backstreet Cafe proudly serves fresh, locally sourced fish and shrimp entrees, building a strong and beneficial relationship with our local fishing community. Grilled or blackened, no matter your preference, Backstreet Cafe has something to satisfy our seafood lovers.
Did you know our delicious deserts are made fresh on site? Hummingbird cake, coconut cake, carrot cake, double chocolate gnache, cheesecake, and Ghiradelli chocolate brownies.