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Increased liability for managing directors – bow wave theory rejected by court
Insolvency & Restructuring Germany
Illiquidity
Bow wave theory
Consequences for practice
German regulations obliging managing directors to monitor the liquidity of a company during crisis situations are typically rather strict and give rise to the risk of personal liability in cases of non-compliance. Legislation requires company management to file for insolvency proceedings without undue delay in the case of illiquidity or over-indebtedness. Continued trading where the company is considered to be materially insolvent can have serious consequences for managing directors and leave them exposed to considerable damage claims. Therefore, in the context of a financial crisis or restructuring process, it is crucial that managing directors closely monitor the financial situation of the company on a daily basis. The Federal Court of Justice has now further specified the conditions under which a company is considered to be illiquid within the meaning of the Insolvency Code.
According to the Insolvency Code, 'illiquidity' is a debtor's inability to meet payment obligations when they fall due. It is generally indicated by the fact that the debtor has ceased to make payments. Illiquidity might not be considered where there is only a temporary delay in payments – for example, in cases where the state of illiquidity does not exceed a period of three weeks or in which the liquidity gap is below 10%.
A liquidity status and liquidity balance based on objective facts will form the basis of thorough liquidity planning and liquidity management. On its assets side, the liquidity balance must show the funds currently available to the debtor (Assets I), as well as the assets that can be liquidated or funds that will be made available within the next three weeks (Assets II). Additionally, it should be demonstrated by appropriate (precautionary) documentation that claims contained in Assets II are both valuable and enforceable. On the liabilities side, the balance must show the current liabilities of the debtor which have been called on by the creditors (Liabilities I). Until now, the Federal Court of Justice had remained silent on the question of whether, in addition to these liabilities, the management would also be obliged to include the liabilities of the debtor which come into existence within the three weeks following the date of the liquidity balance (Liabilities II). In the absence of clear guidance from the courts, it was heavily debated among German practitioners whether Liabilities II should be included in the liquidity status, as their inclusion would trigger the mandatory insolvency filing obligations earlier. For managing directors navigating their companies through crisis situations, the inclusion of future liabilities was viewed as the more conservative and secure approach. As such, managing directors typically seek to reduce the risk of personal liability to the highest extent possible.
Where managing directors capitalise on this flaw, they cannot be considered to have taken a conservative approach. These debtors would have found themselves in a situation where only the current amount of debt is taken into account when measuring liquidity, and not the so-called 'bow wave' of liabilities which the debtor would soon have to settle. In rare cases, debtors may even be inclined to build up a bow wave of debt and push such a wave ahead without considering themselves illiquid. Such an approach is often considered by insolvency practitioners to be an attempt to delay the mandatory insolvency filing, although jurisprudence did not necessarily support their case. The legal requirements have now been set out by the Federal Court of Justice, which finally brings an end to the bow wave theory.
The Federal Court of Justice has held that Liabilities II must be included in the liquidity status. In this case, the insolvency administrator of a GmbH (a limited liability company) sued the managing director for damages in relation to payments made from the account of the debtor in the months leading up to the company's insolvency filing. The insolvency administrator argued that the insolvency debtor had been materially insolvent for several weeks before it had actually filed for insolvency. As evidence, the insolvency administrator submitted a liquidity status based on the company's accounts at that time.
The Federal Court of Justice stated that in addition to liabilities, which are due on the date of the liquidity status (Liabilities I), such a liquidity status must also consider the liabilities that will fall due and be demanded within three weeks as of the date of the liquidity status (Liabilities II). It determined that the Insolvency Code seeks to achieve an early opening of proceedings. This goal would be undermined if Liabilities II were not taken into account; thereby allowing a debtor to postpone the deficit. Such a system was found to be unsustainable. The inclusion of Liabilities II was considered to be consistent only with the use of Assets II. In addition, disregarding Liabilities II was held to be contrary to the economic principles of valuation. The court has further held that the defendant cannot object to the accounts provided by the insolvency administrator on the basis that their own accounts were not properly managed during the crisis period.
The bow wave theory has been an area of controversy for a long time. The Federal Court of Justice has now removed uncertainty for managing directors and has defined a clear rule in this regard. For managing directors and restructuring consultants this means that the tools used to monitor the liquidity of a debtor must not only reflect the prospect of meeting at least 90% of the existing liabilities, but also the ability to serve the debts becoming due and payable in the relevant three-week period. In cases where planning does not cover Liabilities II, the managing directors may be exposed to the risk of incurring personal liability for continued trading in a crisis situation. Correspondingly, consultants may also find themselves exposed to a liability risk when preparing an insufficient plan.
For further information on this topic please contact Cristina Weidner or Stefan Sax at Clifford Chance LLP by telephone (+49 69 7199 01) or email (cristina.weidner@cliffordchance.com or stefan.sax@cliffordchance.com). The Clifford Chance website can be accessed at www.cliffordchance.com.
The materials contained on this website are for general information purposes only and are subject to the	disclaimer.
ILO is a premium online legal update service for major companies and law firms worldwide. In-house corporate counsel and other users of legal services, as well as law firm partners, qualify for a free subscription.
Cristina Weidner
Stefan Sax
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"Писък 2" () е американски слашър филм на ужасите от 1997 г.

Сюжет

Сидни Прескот вече е в колеж, докато серия от имитиращи престъпления започва. Убийците отново се крият зад Гоустфейс.

Актьорски състав
 Нийв Кембъл – Сидни Прескот
 Дейвид Аркет – Дуайт Райли
 Кортни Кокс – Гейл Уезърс
 Сара Мишел Гелар – Си Си Купър
 Джейми Кенеди – Ранди Микс
 Джери О'Конъл – Дерек

Продукция
Сценарият на филма изтича по време на снимките, разкривайки самоличността на убийците и това налага обширно пренаписване и смяна на героите на убийците.

Бележки

Външни препратки

Американски филми на ужасите
Американски трилъри
Слашър филми
Филми от 1997 година
Филми на Уес Крейвън

redpajama_set_name: RedPajamaWikipedia


Chris Miller Construction LLC can be found at Cottage Grove in . The following is offered: General Contractors, Residential Contractors, Heavy Construction Contractors . In Cottage Grove there are 5 other General Contractors. An overview can be found here.


Product prices and availability are accurate as of 2019-04-21 00:14:57 UTC and are subject to change. Any price and availability information displayed on http://www.amazon.co.uk/ at the time of purchase will apply to the purchase of this product.
We are reluctantly presenting the popular Mudder Portable Dual Zippers Case Bag Pouch Travel Carrying Case for Electronic Cigarette Kit, Power Bank and Cellphone Repair Tools, Black at a great price. Don't pass it by - buy the Mudder Portable Dual Zippers Case Bag Pouch Travel Carrying Case for Electronic Cigarette Kit, Power Bank and Cellphone Repair Tools, Black here now!


Adventure sports have always been the best way to get the adrenaline kick into one's system, while there are many ways to feel that rush, like sitting on a ferrous wheel that is 40 feet in diameter or speeding up in heavy traffic. I personally believe that the best way to get that adrenalin pumping in is by going in for adventure sports the reason being that these adventure sports are held at nature's hotspots that are full of vital energy. The best part is that you get to feel this raw energy while doing something really wild and it's more of a combo pack as you get to visit some of the greatest places in the world along with doing the adventure sport. Here is a list of the best adventure sports that you can be a part of while taking in the scenic beauty of the most divine places in the world.
I have no idea how many times we have watched an actor doing this on TV and been carried away by it. Well, here's your chance to jump and feel the wind lashing across your face as you take a head long plunge into the valley of nothingness. The best place to do this is Nepal as they have some really great spots for bungee jumping and as a whole they lay great stress on adventure sports which is a major reason for tourists who throng into their country. Bungee jumping is held close to the Himalayas and you need to jump of a bridge that is suspended five hundred feet above the ground.
Nepal is the country that is home to the tallest mountain peak in the world, the Mount Everest and the Himalayan range. It is probably the best place to go in case you are interested in mountaineering as the country offers up to 153 peaks for this purpose. Millions of tourist reach every year in nepal for mountaineering Nepal himalayas. There are certain formalities that need to be completed before going for mountaineering. Certain permits have to be signed by the Ministry of Tourism and Civil Association and only then can a person go in for mountaineering. Braving the freezing temperatures, the diminishing oxygen and various other obstacles in the way would sure get the adrenaline pumping. Lumle brings you many attractive packages that includes mountaineering. Dont forget to check them.
Ice climbing is one of the most dangerous adventure sports. Using your senses just to feel your way around in the ice and climbing mountains at odd angles can lead you into a slippery situation (all pun intended). The ice climbing adventure will lead you to hanging from a very high altitude with either a lake gushing beneath you or a calm bed of rock hundreds of feet below. An adventure sports that is sure to enhance your spirits. While designing holiday packages we never forget to include ice climbing. Lumle help you to enjoy this sports with safety and ease.
Kayaking and river rafting are two water sports that people usually think of when the term "adventure sports" is mentioned. Many even use the term interchangeably. Well, the two are sports that lead to race against the freezing and gushing water that is nothing but glacial water and is so clear that you can see the river bed underneath. In case the little inflated boat that you are sitting in capsizes, then get ready to feel the pain of the water stabbing you in thousand different places. The best part about this sport is that it is a group sport and you can enjoy the rushes with your companions. this the sport where nepal win over other countries when adventure sport is discussed. We have included this sport in every package that we offer. Sea kayaking holidays are well added in every package so that our customer's are not left with anything untouched.
What better place can you find for rock climbing than the great Himalayan range and the icing on the cake is that getting to Nepal and acquiring a permit to do so is not really a big deal. There are a couple of options related to the way that you do it and that is, either by being tied down or doing a free climb, the choice is completely yours and to add to the set of positives is the fact that you can get all the gear and outfit that is required for this purpose from the trekking agency itself. Rock Climbing Holidays are just one click away.
Though it does not sound like much of an adventure, it actually is quite interesting if you don't want a very strong adrenaline dose. Almost all the mountain peaks that are present in Nepal have been trudged upon and you have the option of enjoying solitude while experiencing all the hardships that any other mountaineer would encounter while he/she is trekking as you go out on an world expeditions everest base camps in the areas that have been opened for this purpose by the government of Nepal.


Unmanned drones will be employed to deliver small packages in Switzerland, as the country's postal service begins testing the viability of the technology.
Swiss Post showed off the drones it hopes would deliver small goods across the country on 7 July, but commercial use of the vehicles is not likely for another five years.
The drones have four propellers each, extending from its main body, with a yellow box attached to the centre for carrying goods.
They are connected via cloud computing that aggregates the weather, terrain and airspace data, and can carry a load of up to 1kg over a distance of more than 10kms with a single battery charge.
The project is a collaboration between Swiss Post, Swiss WorldCargo and California-based drone manufacturer Matternet.
"The possible areas of application offered by drone technology are very diverse, ranging from delivery to peripheral areas to the express delivery of goods," Swiss Post said.
"This could, for example, involve bringing supplies to an area that has been cut off from the outside world following a storm.
"Another realistic possibility is the urgent transport of consignments with the highest priority, such as laboratory tests," it added.
Swiss Post stressed it would carry out extensive tests to assess the feasibility of the technology, including limited battery life.
"Until the time of their realistic commercial use in around five years, there are various requirements which need to be clarified," it said.
For now, the company said, drones would be used for deliveries in "emergency situations".
The news comes as drone technology is being adopted by governments and businesses around the world for various purposes.
Earlier in May, e-commerce giant Amazon had revealed its proposed drone delivery service, which the company would use to deliver goods by tracking the location of recipients using their smartphone data.
Surveillance drones are also set to be rolled out at London airports by police. As of now, the UK has an estimated 50,000 drones in use.


text:
Q: entrypoint.sh: exec: gunicorn: not found (Ubuntu) I am unable to run a Docker container with a gunicorn entrypoint. I receive the error:
gunicorn_1  | /entrypoint.sh: 46: exec: gunicorn: not found

I'm building the docker images (gunicorn + nginx), hosting in a container registry and then pulling the image. I receive the error when I run docker-compose up on the server.
Dockerfile (gunicorn):
FROM python:3.9.5-slim-buster

WORKDIR /usr/src/app

ENV PYTHONDONTWRITEBYTECODE 1
ENV PYTHONUNBUFFERED 1

RUN pip install --upgrade pip
COPY ./requirements.txt /usr/src/app/requirements.txt
RUN pip install -r /usr/src/app/requirements.txt

COPY . /usr/src/app/

EXPOSE 8000

Dockerfile (nginx):
FROM nginx:1.19-alpine

RUN rm /etc/nginx/conf.d/default.conf
COPY nginx.conf /etc/nginx/conf.d

Docker-compose:
version: '2'
services:
    gunicorn:
        image: link_to_built_gunicorn_image
        command: gunicorn --bind 0.0.0.0:8000 wsgi:app
        ports:
          - 8000:8000
    nginx:
      image: link_to_built_nginx_image
      ports:
        - 80:80
      depends_on:
        - gunicorn

Requirements.txt:
Flask
oauthlib
pyOpenSSL
gunicorn

I've looked at similar posts (1, 2 and 3) and checked the following:

*

*gunicorn is included in the requirements.txt

*Tried downgrading gunicorn version in requirements.txt
Additional information:

*

*Ubuntu 20.04.3 LTS OS hosted with Digital Ocean

redpajama_set_name: RedPajamaStackExchange


I've been a fan of Kelly Clarkson since her first album. Why? Well, she sounds great. SUCH a voice. And, she gets that she'd not be a star without her fans, and treats 'em with love and respect.
Recently, Kelly (look at me, calling her Kelly, like we're buddies) was at Sam's in Nashville, and a ten-year-old named Ava Davis asked her to sing karaoke with her. She agreed, and they did a duet of the B52's "Love Shack".
Watch the video and you'll see they're having a blast. Too too cool!


Following convention leads to a more usable site. Convention presents the known and expected to visitors, which helps them orient themselves and lets them use existing knowledge and apply it to your site. If convention is so helpful, is it ok to ever break from it?


An osteochondral lesion are damages to the talus (the bone under the ankle). Affected areas include the ankle bone and surrounding cartilage. An osteochondral lesion can be inflammation and irritation of the cartilage, bone cysts and tiny cracks in the bottom of the ankle joint.
Patients with osteochondral lesions experience pain and swelling, which can worsen if left untreated. If you develop symptoms of osteochondral lesions, your medical professional will have a wide range of treatments for you to choose, including medications and therapy.
An osteochondral lesion is caused by traumatic injuries from sports and activities, especially when the ankle receives extreme stress or pressure (i.e., ankle sprains/strains). Sometimes, when a person falls onto his or her ankle, surrounding tissue will crush the talus, resulting in tiny cracks in the bone or micro-tears or inflammation in the cartilage.
Other injuries to the talus are occur from repeated injures. When the talus area is weakened in a previous injury, but not torn or broken, the chances of experiencing a future lesion increase.
The symptoms of an osteochondral lesion present as pain, inflammation of the ankle, burning, "clicking" sounds, weakness, and stiffness. Usually, symptoms occur around the ankle, but pain may radiate toward the knee if the lesion is extreme. Some patients report a loose feeling in their foot. All symptoms of osteochondral lesion will progress if left untreated, and may develop into a more serious condition.
An Osteochondral lesion is diagnosed through a physical examination, and radiographic or MRI studies. Once the diagnosis is made, your doctor will recommend rest, ice, compression, elevation, pain medications, and assistive devices such as crutches or a wheelchair.
Other options include physical therapy, non-steroidal anti-inflammatory medications, and anti-inflammatory injections. An arthroscopic surgery may be requested by the doctor to better evaluate the source and reattach torn tissue.


Flores graduated from the National School of Plastic Arts at Mexico's National University (UNAM) with an honorific mention in the Visual Arts. One of Mexico's more internationally renowned artists, he has won numerous scholarships and residencies and has been a member of the National System of Creators set up by the National Endowment for Culture and the Arts (FONCA) since 2010.
Founder of La Curtiduría and Taller Gráfica Actual in his native Oaxaca, Demián takes a critical, contemporary approach to the reinterpretation of the traditions of the Zapotec people, weaving a living tapestry by blending cultural references to the Isthmus of Tehuantepec with analogies of the urban milieu where he was raised and forged his career as an artist.
Casa Lamm (2010, 2009, 2008, 2004, 2001 and 1999), the University of Essex (England, 2005), the Museum of Mexico City (Mexico City, 2006), the Hilario Galguera gallery (Mexico City, 2007), Latin American Masters (Santa Monica, California, United States, 2009) and the Talmart Gallery (Paris, France, 2011) have all staged solo exhibitions of his work, which forms part of the collections of the Contemporary Art Museum (MUAC-UNAM, Mexico City), University of Essex Collection of Latin American Art (England), Valencian Institute of Modern Art (IVAM, Valencia, Spain), Contemporary Art Museum of Oaxaca (Oaxaca, Mexico), Panstwowe Muzeum (Majdanek, Poland) and Casa de las Américas (Havana, Cuba).


Hanging with a mate and whānau is important if you're feeling low. The best thing you can do is stay in touch - it can help you get out of your head and remind you that things aren't as bad as they seem. And if you're not really up to having a korero, you can do something where you don't have to talk, like watching a movie or going to a gig.


Katrina Kaif last worked with Sidharth Malhotra in Baar Baar Dekho, which failed to make a mark at the box office. There were rumours of the duo reuniting for Prakash Jha's next, a political drama.
However, according to the latest report, Katrina has denied being on board for the film. The actor said that she has not been approached for the film hence there is no truth to the rumours.
Meanwhile, Katrina fans were in for a surprise when Shah Rukh Khan took to social media to share the first look of the actress' character from their upcoming movie, Zero.
Shah Rukh shared, "We know she is beautiful. We know she has set our hearts fluttering. She has loved like she has never been hurt. She dances like nobody's watching.
She has lived like it's heaven on earth. But all us actors wait for the moment when we can sink our teeth into a character deeper than beauty and it's trappings.
The film stars Anushka Sharma, R. Madhavan and Abhay Deol. Zero is slated to release on December 21, 2018.
Saif Ali Khan to play villain in Ajay Devgn's Taanaji: The Unsung Warrior?


Take a look at this interview of Extreme Makeover Home Edition's Ty Pennington, who spoke with Redbook magazine. He covers topics from DIY tips, to green building materials, to how the economic downturn will affect how homeowners approach renovations.
When reading this, it occurred to me that I think of Ty Pennington mostly as a high energy TV host, and not the designer that he is. But he's got some pretty great insights to offer. One is that there is a time and a place for DIY, and sometimes it pays to hire a professional to do a job correctly, rather than to hire one to fix a DIY error. The first is often less costly than the second. And in saying that, that it is a good idea to outline costs and timeline expectations from the get-go, and get them in writing. Sound advice.
Another thing he mentions is that the influence of a flagging economy is likely to create a different approach as to how people conceive their projects and buy building materials. Pennington suggests that there will be more choices in re-purposed building materials, and a 'return to a simpler time' in terms of look to offset our increasingly high-tech culture. If he's right, that should produce some pretty interesting contrast.
Another thing he mentions is the reasons he feels his program is so successful. He says that deep down, people need to be reminded that when terrible things happen, that there are people and communities out there who are more than willing to help out. That's a pretty powerful idea. And it's one that reinforces our notion here that building materials are not just things to buy. They can be the tools for transforming lives for the better, too.


Jim Steenbergen holds a masters in Exercise Physiology and a PHD in Athletic Administration. Jim began his fitness career in 1976 after retiring from professional baseball. His desire is to maintain a friendly service-oriented environment that will produce and deliver the best quality product to you at the most affordable price.
We are proud to have a staff who care about your needs and are knowledgeable about fitness equipment.
All administrative staff members are either certified or active in personal fitness programs.


text:
Home » Global Fund Observer » Articles » Back Issues
The Global Fund Board should emphasize transition planning and outcomes
Issue 367 6 November 2019
1. COMMENTARY
The Global Fund Board will discuss the Sustainability, Transition and Co-Financing policy next week at its 42nd Board meeting. Planning transition from Global Fund support, as well as transition implementation, and outcomes, deserves the attention of the Board. The fact that countries that had transitioned away from Global Fund grants witness a spike in HIV infections and that some of those countries apply anew for support is a worrisome trend.
Technical Review Panel publishes observations on 2017-2019 Allocation Cycle as aid to countries' funding requests for 2020-2022
In advance of the next Global Fund Board meeting, where allocations for the 2020-2022 funding cycle will be confirmed following the Sixth Replenishment's confirmation of a $14.02 billion budget, the Technical Review Panel has published a detailed report about the 2017-2019 funding cycle on the Global Fund website, including observations, trends, and recommendations for countries as they develop their new funding requests.
Global Fund Board to discuss ongoing piloting of country-specific performance on several Key Performance Indicators
The Global Fund Board is expected to discuss the continuation of a pilot initiative reporting on country-specific results on Key Performance Indicators (KPIs). Previously, the KPIs were reported in aggregate and, when it was relevant, at the regional level, and the Secretariat did not report any country-specific results to the Board or to Committees. The change came earlier this year in response to requests from constituencies for country-specific analysis at the country and grant level to better understand challenges and performance.
4. ANALYSIS AND COMMENTARY
Are Country Coordinating Mechanisms a modus operandum, a governance ideal or a tool for countries to progress towards universal health coverage?
The Secretariat has assessed the first results of the CCM Evolution strategy, and intends to scale up the initiative to 48 new CCMs in 2020. Unfortunately, some of the key challenges to CCMs have not been addressed and should be openly discussed if we want CCMs to meaningfully contribute to our common objectives to eliminate the pandemics. In particular: the moral and legal character of the CCM and its positioning, to enable efficient dialogue with Ministries of Finance and Health, the role of Civil Society Organizations, in particular in criminalizing environments, and the composition of the CCM according to the role it is given: Is it a governance platform or a group of skilled professionals aiming to challenge the PR and the SR? Do we want the CCM to be an instrument of grant management, or a governance ideal?
First OIG audit of Liberia's Global Fund grants highlights that financial management arrangements need 'significant improvement'
In the first country audit by the Office of the Inspector General of Global Fund grants in Liberia, while acknowledging the challenges imposed on the country by long periods of civil war and the 2014-2016 Ebola epidemic, the OIG points out some critical issues needing improvement, including sub-recipient oversight, financial management and tracking of grant assets, weak supply chain structures, and gaps in linkages to HIV and TB services.
OIG audit of Global Fund grants to Papua New Guinea highlights increasing malaria prevalence and inadequate internal controls
The Global Fund announced its largest-ever funding allocations on 18 December, of $12.71 billion, with an overall increase of 23% over the 2017-2019 total allocations amount. All Global Fund regions are receiving more compared to the previous allocation period, with 84% of all eligible countries receiving an increase, and 32 countries receiving allocations that have increased by 40% or more. Funding requests from countries can now be submitted to the Global Fund before the Window 1 deadline of 23 March 2020. Changes to the application process represent 'refinements,' the Fund says, and include the provision to countries of tailored 'essential data' sets, to facilitate the development of countries' requests as well as their consideration by the Technical Review Panel.
Aidspan Team
Some countries that have transitioned from Global Fund support applied anew for grants: this is concerning
The Board of the Global Fund will discuss, at its 42nd Board meeting next week, the Sustainability, Transition and Co-financing (STC) Policy, and its implementation. This policy insists on, among other aspects, transition planning where a country "moves towards fully funding and implementing its health programs independent of Global Fund support while continuing to sustain the gains and scaling up as appropriate," according to the Global Fund.
Gains from Global Fund investments in transitioning countries appear fragile, as a spike in new HIV infections among key populations demonstrates. In order to sustain those fragile gains, it will be vital to help countries develop a clear transition plan, which takes into account not only the countries' strengths, like higher income per capita or the existence of national health coverage, but also the weaknesses of a country's health system and the constraints of its legal structures.
During the Global Fund's current funding cycle, countries can apply for grants to help them plan for transition, and this is commendable; but those grants lack an emphasis on system strengthening, which is a missed opportunity. Such a system-strengthening component is vital; we argue that the absence of system strengthening contributes largely to the fragility of the gains of the Global Fund investments in upper middle-income countries, especially in the fight against HIV/AIDS.
The Sustainability, Transition and Co-financing policy
The Global Fund Board adopted the Sustainability, Transition and Co-financing (STC) policy in 2016, to replace the Eligibility and Counterpart Financing Policy. In recent months, several reports by Global Fund institutions have highlighted implementation issues related to this policy.
The Technical Evaluation Reference Group (TERG), an independent committee of the Global Fund, reviewed the STC policy implementation and funding in ten countries. The TERG report concluded that the Secretariat made the transformative change within the organization required for the implementation of the STC Policy. The TERG recommended a follow-up review in three years on post-transition outcomes.
It would be important that such a follow-up review extends to countries that had transitioned earlier before the STC policy was adopted. In April 2018, Aidspan described the status of transition especially in Eastern Europe and Central Asia (EECA). EECA and the Latin America and Caribbean (LAC) regions have the highest number of transition countries in the Global Fund.
A review of outcomes in countries that have transitioned is vital for the reputation of the Global Fund, and lessons learned will be useful for the sustainability of all the Global Fund's investments, because of the potential fragility of gains made as a result of the Global Fund's investment. The Technical Review Panel (TRP), another independent institution that examines the submissions for funding to the Global Fund, reported that several countries that had previously transitioned from Global Fund support applied anew for funding for a variety of reasons. Among those reasons is the spike in disease incidence or program-specific issues such as the need to address key populations, including migrants. The TRP recommended emphasis on sustainability in transition countries. Sustainability of Global Fund-financed programs implies that the program or the country can control or eliminate either or all three diseases even after the Global Fund and other external donors have stopped their support.
Appropriate planning for sustainability and transition
During the current grant cycle of three years, the Global Fund has provided for specific funding for certain countries or programs to plan for their transition.
It is important to question whether a three-year period and accompanying funding provided are appropriate before a country committed to transition is 'weaned off' Global Fund support. A corollary question is what happens to people living with or affected by either one of those three diseases in case of poor transition planning or the absence of transition planning? Will those lives be saved if inadequate prevention, access to treatment, and care follow the transition?
Aidspan reported in the past on countries in the Eastern Europe and Central Asia (EECA) region where the Global Fund exit meant reduced prevention for HIV because the State in some countries cannot legally fund civil society organizations (CSOs). But those CSOs were more effective than State institutions in reaching key populations that are marginalized and whose activities are considered criminal under the laws of their countries. The Global Fund used to fund those CSOs. The European region, where EECA geographically is located, is the only one where the HIV epidemic is increasing, according to the World Health Organization.
Moreover, some countries, or disease components within countries, like the HIV programs in Bulgaria, Bosnia and Herzegovina, Macedonia, and Russia, became ineligible for Global Fund grants before the STC policy was adopted. Those countries did not receive support in planning for transition of their programs and financing before they stopped receiving Global Fund grants.
It is important to study countries with successful and unsuccessful transitions to draw lessons and best practices.
We acknowledge the possibility that the Global Fund Secretariat may have conducted or commissioned such studies to evaluate the outcomes of the transition in some countries. But the Secretariat has published little to no information on the outcomes of the countries that have transitioned, let alone on the methodology of these studies. Even Board members that Aidspan approached for this information appear to be in the dark.
At its upcoming meeting, the Board needs to take a closer look at the outcomes in countries that have transitioned from Global Fund support, and why some of them have come back to request more funding. Unpacking those cases now, at a still relatively early stage, opens a valuable opportunity to learn from mistakes made in a few countries, before these challenges constitute a growing trend.
Now is the right time to ask, understand and act to end the epidemics for good in countries that have transitioned from the Global Fund support.
The Global Fund Sustainability, Transition and Co-financing Policy' (GF/B35/04) – Revision 1 Board Decision
'Status of Transitions from Global Fund support in the EECA region,' GFO 334, 4 April 2018.
Transition and Co-financing policy
STC Policy
Next Article in Issue

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text:
The art of brokering peace
11yTony Cozier
Tony Cozier
Shridath Ramphal's confidence is heartening. It would be a masterstroke if he manages to influence a binding accord between the WICB and WIPA
Tony Cozier02-Aug-2009
Whether the truce is realistic is another matter. The evidence is that the WICB is in no mood for compromise just yet. AFP
Shridath Ramphal spoke optimistically during the week of having the latest in the never-ending rows between the West Indies Cricket Board (WICB) and the West Indies Players' Association (WIPA) settled by the end of this month.
According to the CMC report, the mutually-accepted mediator saw it as "critically important that an urgent solution was found" to the dispute over players' contracts that has led to the second players' strike in four years. Agreement, he said, would allow cricket in the region to "return to a state of normalcy".
The eminent regionalist and international diplomat that he is, the former Commonwealth secretary general's confidence is heartening. It would be a masterstroke if he manages to influence a binding accord between two organisations whose relationship has been typified by rancour and hostility for the better part of a decade.
Whether it is realistic is another matter. The evidence is that the WICB is in no mood for compromise just yet.
The final point in the relevant memorandum of understanding on Ramphal's role, signed by WICB president Julian Hunte and WIPA chief Dinanath Ramnarine following a meeting in Georgetown with the Caribbean Community and Common Market (CARICOM) chairman and Guyana president Bharat Jagdeo, on July 21, stated that "in light of the mediation agreement which the parties expect to lead to the resolution of outstanding issues, all the players will make themselves available for selection".
On the face of it, the intention seemed to clear the way for the 13 originally selected players who pulled out two days before the first Test against Bangladesh (and others who rejected calls to replace them) to again be chosen.
By then, the Tests were over and the WICB had already announced the squad for the first two ODIs as well a provisional 30 for the ICC Champions Trophy in South Africa in late September.
Not for changing
Three days after the Georgetown memorandum, the WICB made it plain that the Champions Trophy group was not for changing, even after officials at the ICC revealed that it could do so any time up to August 22.
"This squad was chosen from among those players who declared themselves available for selection for the tournament within the deadline date for finalisation of the 30," it stated. "The selection of players by the selection committee of the WICB will at all times be made from the pool of players who make themselves available for selection and based on performance, conduct and demonstrated commitment to West Indies cricket."
The message seemed clear. Or was it?
Vice-president Dave Cameron told a Trinidad newspaper that the situation would be reviewed by the WICB at its meeting on August 10. He said: "We have to do business differently and we can't assume players are available. We have to make sure we have ourselves covered as much as possible.
"We have to request if players are available then get agreement from the players so that we don't find ourselves in an embarrassing position again. Besides, in that [mediation] agreement, we never said the players were going to be automatically selected."
Picked in the first place on experience and record, they had a strong case to be called again once they made themselves available.
An explanation as to why they haven't been can be found in Cameron's comment and in the board's restated criteria for selection.
It is the second time the board has "found itself in an embarrassing position". Four years ago, it also had to hurriedly put together a reserve team after players chosen for a tour of Sri Lanka - present captain Chris Gayle, Ramnaresh Sarwan and Dwayne Bravo among them - opted out after another WIPA-WICB spat.
Peace between board and players is vital to start the long haul of dragging West Indies out of the deep hole dug by long years of inept leadership. Associated Press
Challenging situation
Once bitten, twice shy, the WICB obviously does not consider those who turned down selection this time to have "demonstrated commitment to West Indies cricket".
It is a challenge that Ramphal must sort out if his mediation is going to succeed. The selectors cannot continue to be compromised by having to choose from little more than half the first-class players.
No one expects the WICB to give in to the WIPA demands for the sake of expediency. That is precisely why it has agreed to mediation in the present case.
But West Indies cannot go to a global event like the Champions Trophy, which they won in 2004 and finished runners-up in 2006, in such circumstances. It would be an insult to the tournament and an unfair burden on players not properly prepared for such a jump.
As Ramphal noted, West Indies cricket "cannot afford a long stalemate". Two series against present-day powerhouses, Australia in Australia and at home against South Africa, follow in the coming year. The WICB also hosts a major global event, the third ICC World Twenty20, next April.
Urgent solution
Ramphal's goal is "for an urgent solution . . . so West Indies cricket could return to a state of normalcy". He was obviously speaking in the context of his remit but for too long normalcy has meant mediocrity - in administration, in facilities, in coaching, in players' attitudes, in almost every aspect of the game.
It did not take the Bangladesh series to provide the evidence.
The whitewash of a hurriedly cobbled together team of little international experience on pitches ideally suited to the opposition was no worse than the succession of the other washes of various types suffered through the first decade of the century by full strength West Indies teams, manned by some of the finest players of their generation.
There are a host of other issues that have to be addressed, but peace between board and players is vital to start the long haul of dragging West Indies out of the deep hole dug by long years of inept leadership.
Ramphal clearly recognises this. It is for the two organisations that sit on either side of him to recognise it too.
Tony Cozier has written about and commentated on cricket in the Caribbean for nearly 50 years


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by Lily Iona MacKenzie January, 2023 January, 2023
Those of us who write fiction aren't sure when we start out what our life-long themes will be. They evolve in the writing, often surprising us, surfacing in our images and characters, the nuts and bolts of stories. Our narratives offer a map to our deeper concerns. The better our explication skills, the more we are able to uncover them. Alice Munro's early works are rich in such details and demand a close reading, in particular, the episodic novel Lives of Girls and Women. It follows Del's development as an artist in a small Canadian town, paralleling Munro's evolution as a writer.
The title of the second story in Lives, "Heirs of the Living Body," is suggestive. In one sense, Munro is referring to the physical body itself, and especially the female body. She also is concerned with the body of literature and how women writers fit into it. Or, as Barbara Godard points out, Munro wants to know "How to write as a woman?" (43).
The word "heirs" itself implies that there is something to pass on, an inheritance. It also conveys the sense of a past that lives in the present. An image from the opening paragraph already sets forth this notion: a picture of a log cabin contained within the modern brick house, the family home of Del's Uncle Craig. Del, of course, is the narrative's main character. The cabin "seemed to have been in another country, where everything was much lower, muddier, darker than here" (Lives 24). However, while the log house appears to be an anachronism, it inhabits the same space as the more contemporary home.
"Heirs" also sounds very much like "hairs," making a different kind of connection between heir and body. Hairs act like sensors, often standing on end in response to danger or even delight. Hair also conveys the relationship between humans and animals. Our hair can protect the skin, keep us warm. It can hide and/or mask, as with beards and body hair, having the closest, most intimate relationship with the body. All of these associations reveal something more about "heir": they show how close heir/hair and body are, how inseparable the past is from the present, how bodies (physical and literary) embody past and present.
While Del—Munro's alter ego—may not complete her Uncle Craig's project, "a history of Wawanash County and a family tree going back to 1670 in Ireland" (26), she does inherit from him his interest in "the whole solid, intricate structure of lives supporting us from the past" (26), as well as people's daily lives. From this perspective, the past can be viewed as a physical entity, an objective correlative of our innermost selves.
Del's Aunt Elspeth and Auntie Grace are interested in history, too, but theirs is an oral history, the stories that keep them connected to their family and the past. The two women live essentially in the past, as does Uncle Craig. But while his past consists of outer events, newspaper clippings, descriptions of the weather, "a great accumulation of the most ordinary facts" (27), the aunts' past is of narratives depicting specific moments in time, complete with dialogue. These stories provide support for the women, an emotional history they shape in the telling, giving Del a picture of the family's inner life she otherwise would not have had.
Yet the aunts don't just provide a view of the family. They also show Del how stories can shift depending on who communicates them. When the aunts tell the story of the hired man (28), an Austrian who had appeared one day, needing work, they constantly modify each other's memory, giving another account. In this instance, one of the aunts (the passage doesn't indicate which one) decided to play a trick on the man. She darkened her hands and face, wore uncle Craig's overalls, and tucked her hair under her father's hat. Then, after lying in wait behind some trees and with a kitchen knife in hand, she confronted the Austrian. Terrified, he yelled and lit out for the barn. Then we learn that she had returned to the house and changed back into her own clothes. Not long after,
Father and Mother got back from town. There we were, all sitting round the
supper table, waiting on him. We were hoping secretly he'd run off.'
`Not me. I wasn't. I wanted to see the effect.' (29)
While the aunts seem more connected to the countryside, Del's mother values culture—what she finds in the town. She's educated and literary; the aunts aren't. Elspeth and Grace are as lost in the mother's world as she appears to be in theirs:
My mother went along straight lines. Aunt Elspeth and Auntie Grace wove in and
out around her, retreating and disappearing and coming back, slippery and soft-
voiced and indestructible…. There was a whole new language to learn in their
house. Conversations there had many levels, nothing could be stated directly,
every joke might be a thrust turned inside out. My mother's disapproval was open
and unmistakable, of kindness. (31)
From Del's encounters with these women—her mother and her aunts—she is learning her writer's craft, the many levels of reality that a writer portrays, the texts and subtexts that underlie seemingly innocent conversations and gestures. Godard says, "From these aunts, Del learns a 'whole new language' (Lives 37), one of 'rampaging mockery, embroidered with deference'" (55).
One of Del's equally important female teachers is Mary Agnes, her mentally disabled cousin. More animal than human in behavior, not belonging to the adult or the child's world, she rolls Del around on the floor as if she is a dog (Lives 35). Mary Agnes does not have an identity of her own. Del says, "She spoke to me in the harsh, hectoring, uncertain tones of somebody who is not just teasing but imitating teasing, imitating the way she had heard certain brash and jovial people, storekeepers maybe, talking to children" (35).
Someone without an identity easily can be filled, a direct vehicle for the unconscious, not unlike the artist herself: to be most effective, an artist must be open to the inner world, giving it voice—sensitive to what's pushing up from below (or beyond), what wants expression. In the scene where Mary Agnes and Del come upon a dead cow, Mary Agnes can experience death directly, unlike Del, who uses a stick to tap the cow's hide and explore its contours, and is "shy about looking at its eye" (37). Unable to touch the cow herself, Del says to Mary Agnes, "Touch a dead cow" (38):
Mary Agnes came up slowly, and to my astonishment she bent down, grunting,
looking at the eye as if she knew I had been wondering about it, and she laid her
hand—she laid the palm of her hand—over it, over the eye. She did this seriously,
shrinkingly, yet with a tender composure that was not like her. But as soon as she
had done it she stood up, and held her hand in front of her face, palm towards me,
fingers spread, so that it looked like a huge hand, bigger than her whole face, and
dark. She laughed right at me.
'You'd be scared to let me catch you now,' she said, and I was, but walked away
from her as insolently as I could manage.
It often seemed then that nobody else knew what really went on, or what a person
was, but me. For instance people said 'poor Mary Agnes' or implied it, by a drop
in pitch, a subdued protective tone of voice, as if she had no secrets, no place of
her own, and that was not true. (38)
These two characters mirror each other: Mary Agnes has secrets, and so does Del. Mary Agnes can sense the moods and thoughts of others. In this scene, she knows Del fears death and the cow's unseeing eye; she's able to do what Del can't yet. Mary Agnes shows Del the way to apprehend the unknown because Mary Agnes doesn't seem to fear death or darkness. It's as if she lives closer to a preconscious state and has a direct connection to the unconscious mind. As a budding artist, Del also has such a connection, and, like Mary Agnes, she can see into people and situations. In recognizing this capacity in Mary Agnes, she's acknowledging it in herself.
In this passage, Del also discovers a map on the cow that she traces with a stick: "The brown could be the ocean, the white the floating continents. With my stick, I traced their strange shapes, their curving coasts, trying to keep the point of the stick exactly between the white and the brown" (37). Cows move slowly, grazing and transforming grass into milk, a continuing cycle. A cow's milk can replace a woman's, essential nourishment for an infant. A cow is female.
In certain myths, the cow has a sacred role and has been associated with the feminine principle.[1] Beverly Rasporich, in Dance of the Sexes, talks about "Isis, the teacher of agriculture and goddess of fertility whose sacred symbol was the cow" (47). And there's such abundance, not just one teat or two, but four, a banquet of milk. The process a cow goes through by digesting her food in four stomachs suggests how a writer/artist works, taking base materials, her experiences, and changing them into art, a product that nourishes humans.
Roberto Calasso, in The Marriage of Cadmus and Harmony, describes the descent of Europa, a Phoenician princess loved by Zeus, from Io, her great-great-grandmother who had been turned into a heifer by Zeus. Io had been transformed from a priestess into a cow to fulfill a dream prophecy she'd had. Eventually, Io became a girl again and was united with Zeus. Europa inherited her ancestor's destiny. In Calasso's words, "A bull would carry her off from Asia toward the continent that was to be called Europe, just as years before the desperate sea wandering of a young cow who had first grazed in Greek pastures was to end in Egypt with the light touch of Zeus' hand" (6). The touch in Munro's modern-day tale, though, comes from a woman, Mary Agnes, who "sees" through her hands, as the writer Del does. The hands of an artist seem to have a direct link with the unconscious, as if connected to an inner eye.
After the "Heirs of the Living Body" section, Del's mother takes a more central role. In a later work, Munro states that her mother "is the one of course that I am trying to get; it is to reach her that this whole journey has been undertaken" (Something I've Been Meaning to Tell You 246). For many female artists, this search for the mother, in Jung's deeper, archetypal sense—meaning the impersonal mother principle [2] that has given birth to us all—has become the quest. In finding the mother, the source of their being, they find themselves, a truer, more complete, grounded sense of themselves. They also find their "voices," a way of working that articulates their vision. This discovery may include challenging the language they've inherited and its meanings. Del says, "Day-ud, cow" after Mary Agnes warns her to leave it alone: "That old dead cow. It's dirty. You get yourself dirty" (Lives 37).
Mary Agnes' words are not her own. These are sentiments she has learned from others and are not necessarily her own ideas about dead cows. Del, in her intuitive way, senses what is going on and attempts to rename what she's seeing (day-ud), changing the meaning slightly not only of the experience but of the word—dead. Instead of dead suggesting the end, the new word brings light into it, daylight, and a shortened version of udder—ud. (One can't help but also hear "id" contained in "ud.") These alterations suggest that Del will find in death its opposite, something fruitful for her vision of the universe. It won't be all dark and unfathomable; rather, it will nourish, as a cow's milk can nourish, as a mother's does.
For Del, a heightened vision comes in facing death, in not letting it overwhelm her with its power. It's part of her development of an artist's way of seeing. As Rasporich says,
From childhood through adolescence, Del is perennially in a state of heightened
imagination. Her psychology is composed of visionary states: at Uncle Craig's
funeral caught in a vision…of confusions and obscenity—of helplessness, which
was revealed as the most obscene thing there could be… [a vision] … which
collapsed of its own intensity'…. In short, Del becomes in the course of the
narrative not only a female adolescent heroine, but the developing artist and, as
other critics have observed, a female version of Joyce's Stephen Dedalus in A
Portrait of the Artist as a Young Man" (Dance 51).
One could say she's learning to see with the impersonality of the dead cow's eye, a lens similar to that of the photographer described in "Epilogue: The Photographer," a section I'll discuss later in this essay.
Then there are the markings on the cow's hide, suggestive of continents. What territory is Del discovering here? What world has she stumbled upon? Is it death? Darkness? Land and water, the conscious and unconscious mind? A new land, new contents to be discovered in writing? The stick she uses to trace their "strange shapes" seems reminiscent of a writer's pen, similar to the tool used by the Egyptian god Thoth, scribe of the gods, a device that Del will one day take up, using it deliberately to trace out the world of her imagination.
When Del attends her Uncle Craig's funeral, her initiation is complete. Again, as with Europa, women are her initiators. Del's mother insists that her daughter join her. She says, "You have to learn to face things sometime" (Lives 39). But after Del's initial curiosity about death, she becomes frightened and seeks refuge in the storeroom, an area that reminds her Auntie Grace of a tomb. Del says, "I loved the sound of that word when I first heard her say it. I did not know exactly what it was, or had got it mixed up with womb, and I saw us inside some sort of hollow marble egg, filled with blue light, that did not need to get in from outside" (45). The egg and its self-contained blue light suggest something gestating, and womb has the same association—a place of birth.
This birth happens in a room that appears to be part of the original house, shown in the photo in the story's opening paragraph: "I went through the door at the end of the side hall into the old part of the house. This part was called the storeroom; from outside, it looked like a little house of logs tacked on to the side of the big brick house" (45). In itself, this seems significant. The past lives on in Del, the history that she will reshape into art. But more important, her particular vision has emerged from whatever she inherited from her Scots-Irish ancestors and what they, in turn, bring with them from their Celtic origins. She will not be content to take up the Christianity she explores in another section in Lives but probes beneath it, as her mother did, in trying to explain to Del her ideas about death:
All these things, what are they? combinations of elements! combine them—
combine the combinations—and you've got a person! We call it Uncle Craig, or
your father, or me. But it's just these combinations, these parts put together and
running in a certain particular way, for the time being. Then what happens is that
one of the parts gives out, breaks down. In Uncle Craig's case, the heart. So we say,
Uncle Craig is dead. The person is dead. But that's just our way of looking at
it. That's just our human way. If we weren't thinking all the time in terms of
persons, if we were thinking of Nature, all Nature going on and on, parts of it
dying,—well not dying, changing, changing is the word I want, changing into
something else, all those elements that made the person changing and going back
into Nature again and reappearing over and over in birds and animals and
flowers—Uncle Craig doesn't have to be Uncle Craig! Uncle Craig is flowers! (40)
Nature and its mysteries, symbolized in the dead cow by the river, a world before civilization imposed structures upon it, will be Del's inheritance, a way of seeing that bypasses received truths to discover new ones: "Day-ud cow." As Barbara Godard points out,
Del is her mother's daughter as she rewrites him [Joyce], ultimately accepting her
mother's agnosticism with its revisionary swerve: 'God was made by man! Not
the other way around! … Man made God in his own image' (Lives 107). Such a
statement invites a theory of difference whereby woman might make God in her
own image. ("Heirs" 68).
In the storeroom, again Mary Agnes is present and recognizes Del's discomfort about seeing her dead Uncle Craig. Mary Agnes says, "You come and—see—Uncle Craig" (Lives 46). Then Mary Agnes tries to force Del to go with her. Del says, "I dropped my head and got her arm in my opened mouth, I got her solid downy arm just below the elbow, and I bit and bit and broke the skin and in pure freedom thinking I had done the worst thing that I would ever do, I tasted Mary Agnes Oliphant's blood" (46).
This scene is another stage in Del losing her innocence; a blood bonding occurs as if Del and Mary Agnes have formed a secret society. Not frightened of death, Mary Agnes, Del's alter ego, is able to face what is terrible. Here Del partakes in Mary Agnes' ability to taste what isn't visible to the average eye, Mary Agnes' knowledge—her secrets. There's a bond now between them. No longer just cousins, they are blood sisters.
The final step in Del's initiation occurs when Del decides to enter the front room where her uncle's body lies, "just in time for the Last Look" (49):
He himself was wiped out; this face was like a delicate mask of skin, varnished,
and laid over the real face—or over nothing at all, ready to crack when you poked
a finger into it. I did have this impulse, but at a level far, far removed from
possibility, just as you might have an impulse to touch a live wire. Uncle Craig
was like that under his lilies, on his satin pillow; he was the terrible, silent,
indifferent conductor of forces that could flare up, in an instant, and burn through
this room, all reality, leave us dark. (49)
Through looking intensely, Del's newly awakened eye "touches" the image of death, as Mary Agnes' hand had done in the scene with the cow. The first thing Del notices is that the surface of things can't be trusted, that her uncle's real face is under this "varnished" surface. Here she is seeing a totally new reality, a new way of being. Death casts a cloak over things, takes the essence of a person and leaves only a shell—a mask. The dead Uncle Craig becomes a symbol of all that's unfathomable in life, the unpredictable and uncontrollable themes that turn up repeatedly in Munro's later work. Striking with the finality of death, these forces can undermine whatever certainty we have in an orderly world, art as ephemeral as anything else that we humans may produce. Still, as Ildiko de Papp Carrington notes in Controlling the Uncontrollable, "… Del's struggle to control a frighteningly loose power embodies one of Munro's own purposes in writing" (82).
Death's constant presence shimmers in everything (day-ud), lighting up as it darkens. Death provides the electricity of the unknown. It attracts as it repels, containing the excitement and power of sexual attraction: Thanatos collaborates with Eros in this new vision. Uncle Craig's mask-like face suggests that the everyday world is one of illusion, as followers of certain religions believe. Something lies beneath these surfaces.
In "Epilogue: The Photographer," Munro presents her artistic manifesto—her credo, drawing closer to this underlying world. The photographer referred to here is a character in Lives of Girls and Women:
He drove around the country in a high square car whose top was of flapping black
cloth. The pictures he took turned out to be unusual, even frightening. People saw
that in his pictures they had aged twenty or thirty years. Middle-aged people saw
in their own features the terrible, growing, inescapable likeness of their dead
parents; young fresh girls and men showed what gaunt or dulled or stupid faces
they would have when they were fifty. Brides looked pregnant, children
adenoidal. So he was not a popular photographer, though cheap. However no one
liked to refuse him business; everybody was afraid of him. (205)
These photos illustrate the power of the camera's impersonal eye to penetrate behind surfaces and show what may not be readily apparent to the human eye. The camera, just as the writer/artist does, objectively takes in everything, revealing what we would prefer to ignore: the inevitable passing of time and its results, the way we are often trapped by our history—our genes—into perpetuating family weaknesses. As Lorraine M. York states, "…the photographs reveal what is present—whether in the past or in the future—or what is potentially true….. The truth which the photographer reveals, Munro emphasizes, is an unpleasant but 'inescapable' one" (The Other Side of Dailiness 38). The writer can see into the future, even create a future that may not exist. She sees what lies behind the surface of things, discovers the town that "was lying close behind the one I walked through every day" (Lives 206).
In creating Del and exploring her world, Alice Munro has learned what it means to write like a woman. In Del's/Munro's words: "No list could hold what I wanted, for what I wanted was every last thing, every layer of speech and thought, a stroke of light on bark or walls, every smell, pothole, pain, crack, delusion, held still and held together—radiant, everlasting" (Lives 210). She'll embrace multiplicity, moving back and forth between kitchen and culture, the nursery and the world, involved simultaneously with a baby's cry, sexual desire, food, and death, images forming under her pen, breaking apart, transforming themselves on the page and in the reader's imagination, connecting us to our pasts, to each other.
Calasso, Roberto. The Marriage of Cadmus and Harmony. Trans. Tim Parks. New York: Knopf, 1993. Print.
Carrington, Ildiko de Papp. Controlling the Uncontrollable: The Fiction of Alice Munro. Dekalb, ILL: Northern Illinois UP, 1989. Print.
Godard, Barbara. "'Heirs of the Living Body': Alice Munro and the Question of a Female Aesthetic," The Art of Alice Munro: Saying the Unsayable. Judith Miller, ed. Waterloo, Ontario: University of Waterloo Press, 1984. Print.
Martin, W. R. Alice Munro: Paradox and Parallel. Edmonton, Alberta: University of Alberta
Press, 1987. Print.
Rasporich, Beverly J. Dance of the Sexes. Edmonton, Alberta: University of Alberta Press, 1990. Print.
Ross, Catherine Sheldrick. "Alice Munro." Dictionary of Literary Biography, No. 53. Print.
York, Lorraine M. "The Other Side of Dailiness": Photography in the Works of Alice Munro, Timothy Findley, Michael Ondaatje, and Margaret Laurence. Downsview, Ontario: University of Toronto Press, 1988. Print.
Blodgett, E.D. Alice Munro. Boston: Twayne Publisher, A division of G.K. Hall & Co., 1988. Print.
Contemporary Literature, Volumes 10 & 19.
Dahlie, Hallvard. Alice Munro and Her Works. Toronto: ECW Press, 1985. Print.
MacKendrick, Louis K., ed. Probable Fictions: Alice Munro's Narrative Acts. Downsview, Ontario: ECW Press, 1983. Print.
Martin, W. R. Alice Munro: Paradox and Parallel. Edmonton, Alberta:
University of Alberta Press, 1987. Print.
Munro, Alice. Dance of the Happy Shades. Toronto: Ryerson, 1968. Print.
__. Lives of Girls and Women. Toronto: McGraw-Hill Ryerson, 1971. Print.
__. Something I've Been Meaning to Tell You. New York: McGraw-Hill; Toronto: McGraw-Hill Ryerson, 1974. Print.
__. Who Do You Think You Are?/The Beggar Maid. Toronto: ˜Macmillan, 1978. Print.
__. The Love of a Good Woman. New York: Alfred A. Knopf, 1999. Print.
__. The Moons of Jupiter. Toronto: Macmillan, 1982. Print.
__. The Progress of Love. New York: Knopf; Toronto: McClelland and Stewart, 1986. Print.
__. Friends of My Youth. New York: Vintage Contemporaries, 1990. Print.
__. "Working for a Living." Grand Street 1, no. 1 (Autumn 1981): 9-37. Print.
[1] I'm using "feminine principle" in a Jungian sense where, psychologically and physiologically, males and females each have the other's gender characteristics. Jung's thinking here corresponds to the Chinese idea of "yin" and "yang," yin representing the receptive, feminine force in the world, "yang" the assertive, masculine energy. One is always contained in the other, as in the yin/yang symbol of dark embodying light, and vice versa.
[2] Again, I'm using "mother principle" in a similar way as "feminine principle." Underlying each human mother is an image of mother—an "archetypal" pattern—that both contains the actual individual mother image and extends beyond it to an impersonal mother source.
CategoriesLiterature
Lily Iona MacKenzie
A poet, essayist, and novelist, Lily MacKenzie's work has appeared in over 165 venues. She has also published four novels (Fling!, Curva Peligrosa, Freefall: A Divine Comedy, and The Ripening: A Canadian Girl Grows Up, a sequel to Freefall). Her poetry collection All This and chapbook No More Kings are also published. Shanti Arts Publishing will release her hybrid memoir Dreaming Myself into Old Age: One Woman's Search for Meaning in 2023. I teach creative writing at the University of San Francisco's Fromm Institute for Lifelong Learning and blog about reading and writing at http://lilyionamackenzie.com.
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