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Álvaro Mutis Jaramillo (ur. 25 sierpnia 1923 w Bogocie, zm. 22 września 2013 w Meksyku) – kolumbijski poeta, powieściopisarz i eseista. Laureat Nagrody Cervantesa z 2001.

Życiorys
Urodził się jako pierwsze dziecko kolumbijskiego dyplomaty i prawnika Santiago Mutisa Dávili i Caroliny Jaramillo. Rodzina jego ojca wywodzi się z Kadyksu (Hiszpania), z linii, do której należał m.in. José Celestino Mutis, słynny botanik Nowego Świata XVIII w. Dzieciństwo Álvaro spędził w Brukseli (Belgia), dokąd jego rodzina przeniosła się, kiedy miał dwa lata. Ojciec pełnił tam funkcję radcy prawnego w randze ministra przy Ambasadzie Kolumbijskiej. W 1928 urodził się jego brat Leopoldo. W 1933 po nagłej śmierci ojca, matka z dwójką dzieci zdecydowała się na powrót do Kolumbii. Zamieszkali na plantacji kawy dziadka w miejscowości Coello.

Po śmierci ojca Álvaro sprawiał kłopoty wychowawcze. Raz po raz przenoszono go ze szkoły do szkoły, w rezultacie żadnej nie ukończył. Mimo to zawsze interesował się literaturą, dużo czytał, a w 1942 zaczął pisać i publikować w lokalnej prasie. W tymże roku rozpoczął pracę w Radiu Kolumbijskim jako redaktor programów kulturalnych i lektor. W 1948 wydał pierwszy tomik wierszy La Balanza, będący zbiorem poezji jego własnych i przyjaciela. Nawiązał także pierwsze kontakty z późniejszą elitą artystyczną Kolumbii, m.in. malarzem Fernandem Botero i Gabrielem Garcią Márquezem, którzy odtąd będą jego wiernymi przyjaciółmi. Pracował kolejno w branży piwnej, ubezpieczeniowej i lotniczej, wreszcie znalazł zatrudnienie w międzynarodowym koncernie naftowym ESSO. Jako dyrektor ds. reklamy odbywał podróże po całym terytorium Kolumbii. Doświadczenia przeżyte podczas tamtych podróży miały znaczący wpływ na jego późniejsze pisarstwo. Niejednokrotnie w swoich książkach będzie wracał w te rejony, jak również na plantację kawy jego dziadka, która stanie się niemal obszarem mitycznym.

W 1956 zarzucono mu defraudację pokaźnej sumy z funduszu reprezentacyjnego ESSO (sam mówi, iż "w większości były to niewinne kaprysy związane z promocją kultury") i postawiony w stan oskarżenia zdecydował się wyemigrować wpierw do Europy, a następnie do Meksyku, gdzie koncern ESSO nie miał wstępu z uwagi na nacjonalizację przemysłu naftowego przeprowadzoną w latach 40. przez rząd Cardenasa.

W Meksyku prędko znalazł pracę w branży reklamowej i telewizji, np. użyczył swojego głosu do dubbingu znanego amerykańskiego serialu Nietykalni. Natomiast jego artystyczne zainteresowania zjednały mu wielu przyjaciół w środowisku literatów i filmowców, takich jak Octavio Paz, Juan José Arreola, Carlos Fuentes, Elena Poniatowska i Luis Buñuel.

W 1959 w wyniku uznania roszczeń koncernu naftowego ESSO Mutis został skazany i osadzony na 15 miesięcy w więzieniu prewencyjnym Lecumberri. Było to dla niego wydarzenie decydujące nie tylko z życiowego punktu widzenia, ale i w kontekście dalszej drogi artystycznej. W więzieniu napisał swoją pierwszą powieść Diario de Lecumberri, która przyniosła mu rozgłos i została opublikowana w Meksyku jeszcze w 1960.

W ciągu następnych 15 lat wydał kilka tomów poezji i powieści. Pierwsze sukcesy i uznanie przyszły jednak dopiero w 1974, kiedy to otrzymał Nagrodę Państwową w Kolumbii. Od tego momentu jego autorytet ciągle rośnie. Otrzymał wiele nagród, jest uważany za największego pisarza kolumbijskiego obok Garcii Marqueza. Międzynarodową sławę przyniosła mu powieść La Nieve del Almirante (1986). Jego książki zostały przetłumaczone na wiele języków, jedna Ilona przychodzi z deszczem – na j. polski.

Dwie jego powieści doczekały się ekranizacji:
 La mansión de Araucaima, Kolumbia (1986), reż. Carlos Mayolo.
 Ilona przychodzi z deszczem, Kolumbia-Włochy-Hiszpania (1996), reż. Sergio Cabrera.

Został wyróżniony wieloma ważnymi nagrodami literackimi, m.in. Księcia Asturii, Cervantesa i Neustadt. Od 1988 jest doktorem honoris causa kolumbijskiego Uniwersytetu del Valle. W 2001 otrzymał tytuł honorowego obywatela Kadyksu, skąd wywodzi się jego ród. Ponadto w 2005 jego imieniem została nazwana Biblioteka Instytutu Cervantesa w Stambule.

Był trzy razy żonaty. Miał czwórkę dzieci (trójkę z pierwszego i jedno z drugiego małżeństwa). Na stałe osiadł i tworzył w stolicy Meksyku, w kolonii San Jerónimo Lídice (dzielnica La Magdalena Contreras).

Twórczość
Álvaro Mutis już w swoich pierwszych wierszach odnalazł właściwy sobie styl obecny później również w jego utworach prozatorskich. Niektórzy widzą w nim wpływy Aloysiusa Bertranda czy Baudlaire'a.

W pierwszym wydanym tomie poezji La Balanza stworzył postać, która stała się osią wszystkich jego późniejszych utworów: Maqroll el Gaviero. Początkowo był on tylko jednym z bohaterów, w późniejszym okresie urósł do rangi heteronimu, swoistego alter ego autora. Nazwisko el Gaviero, wywiodzi się od terminu żeglarskiego, który oznacza marynarza pełniącego funkcję obserwatora na bocianim gnieździe. Tak skonstruowana postać dała Mutisowi pretekst do rozważań na temat otaczającej go rzeczywistości, ale także do poruszania problematyki moralnej. Maqroll jest żeglarzem i podróżnikiem-filozofem, chwytającym się najprzeróżniejszych, czasem bardzo ryzykownych i skazanych na niepowodzenie, przedsięwzięć – bo przecież nikt tak bardzo nie błądzi jak żeglarz.

Spośród wielu form literackich Mutis często i z upodobaniem zapuszcza się w formę powieści przygodowej, a nawet łotrzykowskiej, która, będąc z jednej strony bardzo pojemną, z drugiej jest mocno osadzona w tradycji literatury latynoamerykańskiej. Literacka przestrzeń Mutisa to zazwyczaj Karaiby, co jednak nie uniemożliwia mu dokonywać ciągłych wypraw i aluzji do tematów, historii i rzeczywistości europejskiej. Nie należy także zapominać, że twórczość Alvaro Mutisa należy do tzw. literatury emigracyjnej, a więc niejako oglądającej wszystko z pewnego dystansu, z bocianiego gniazda – niczym Gaviero.

Pytany w wywiadach o wpływy literackie, Álvaro Mutis często powołuje się na autorów książek realistycznych czy wręcz przygodowych, takich jak Dickens, Stevenson, Melville, Salgari, Verne, podkreśla także znaczenie, jakie miała dla nie niego twórczość Prousta i Conrada. Oczywiście przyznaje się także do wpływów poetów i pisarzy latynoamerykańskich takich jak Neruda, Paz, Fuentes, ale także sam wielu z nich inspirował, np. Gabriel Garcia Marquez podkreśla, jak wiele zawdzięcza jego krytycznemu spojrzeniu, a nawet pomysłom.

Poezja
 La Balanza, Talleres Prag, Bogotá 1948 (wraz z Carlosem Patiño Rosellim)
 Los elementos del desastre, Losada, Buenos Aires 1953
 Reseñas de los hospitales de Ultramar, Separata revista "Mito", Bogotá 1955
 Los trabajos perdidos, Era, Ciudad de México 1965
 Summa de Maqroll el Gaviero, Barral Editores, Barcelona 1973
 Caravansary, FCE, Ciudad de México 1981
 Los emisarios, FCE, Ciudad de México 1984
 Crónica regia y alabanza del reino, Cátedra, Madrid 1985
 Un homenaje y siete nocturnos, El Equilibrista, Ciudad de México 1986

Proza
 Diario de Lecumberri, Universidad Veracruzana 1960
 La mansión de Araucaíma, Sudamericana 1973
 La verdadera historia del flautista de Hammelin, Ediciones Penélope 1982
 La Nieve del Almirante, 1986
 Soñador de navíos, Norma 1986
 Ilona llega con la lluvia, Oveja Negra 1987/Ilona przychodzi z deszczem, Muza 1999, przeł. z hiszp. Danuta Rycerz
 Un bel morir, Oveja Negra – Mondadori 1989
 La última escala del Tramp Steamer, El Equilibrista, Ciudad de México 1989
 La muerte del estratega, FCE, Ciudad de México 1990
 Amirbar, Norma – Siruela 1990
 Abdul Bashur, soñador de navíos, Norma – Siruela 1991
 Tríptico de mar y tierra, Norma 1993

Esej
 Contextos para Maqroll, Igitur-Cilcultura 1997
 De lecturas y algo del mundo, Seix Barral 1999
 Caminos y encuentros de Maqroll el Gaviero, Editorial Áltera 2001

Nagrody i wyróżnienia
 1974 Nagroda Państwowa w dziedzinie Literatury (Kolumbia)
 1983 Nagroda Państwowa w dziedzinie Poezji (Kolumbia)
 1985 Nagroda Krytyków "Los Abriles" (Meksyk)
 1988 Gwiazda Orderu Orła Azteków (Meksyk)
 Nagroda im. Xaviera Villaurrutii (Meksyk)
 Doktor honoris causa Uniwersytetu del Valle (Kolumbia)
 1989 Kawaler Orderu Sztuki i Literatury (Francja)
 Nagroda Médicis (Francja)
 1990 Nagroda Nonino (Włochy)
 1992 X Nagroda Instituto Italo-Latinoamericano (Włochy)
 1993 Kawaler Narodowego Orderu Zasługi (Francja)
 Nagroda im. Rogera Caillois (Francja)
 Krzyż Wielki Orderu Boyacá (Kolumbia)
 1996 Krzyż Wielki Orderu Alfonsa X Mądrego (Hiszpania)
 1997 Nagroda Księcia Asturii w dziedzinie literatury
 1997 Nagroda Grinzane Cavour (Włochy)
 Nagroda Królowej Zofii w dziedzinie Poezji Iberoamerykańskiej (Hiszpania)
 Nagroda Rossone d'Oro (Włochy)
 2000 Nagroda Miasta Triest w dziedzinie poezji (Włochy)
 2001 Nagroda Cervantesa (Hiszpania)
 2002 Międzynarodowa Nagroda Neustadt w dziedzinie literatury (USA)
 2003 Kawaler Legii Honorowej (Francja)

Przypisy

Bibliografia

Linki zewnętrzne
 Oficjalna biografia – Instytut Cervantesa

Kolumbijscy pisarze
Kolumbijscy poeci
Laureaci Nagrody Cervantesa
Kawalerowie Legii Honorowej
Odznaczeni Orderem Narodowym Zasługi (Francja)
Odznaczeni Orderem Alfonsa X Mądrego
Odznaczeni Orderem Boyacá
Odznaczeni Orderem Orła Azteckiego
Kolumbijczycy odznaczeni Orderem Sztuki i Literatury
Doktorzy honoris causa
Urodzeni w 1923
Zmarli w 2013
Kawalerowie Orderu Sztuki i Literatury
Ludzie urodzeni w Bogocie

redpajama_set_name: RedPajamaWikipedia


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text:
2010 Emerging Pro Angela Marklew
Angela Marklew
Location: Venice, CA
From Canada to California, and from testing explosives for the government to capturing images of abandoned places, Angela Marklew turned her attention to photographing people after working as an assistant to Los Angeles-based photographer Mark Robert Halper. When she first arrived in the U.S., Marklew set out to take pictures of forgotten places in North America. Now, her work can be seen on exhibit in Ottawa, Québec, Louisville, San Diego and Los Angeles. Her clients include Elle Decor, Signature LA Direct magazine, Ephoe Couture, Go Gently Baby, Beata Dirycz and Tobi Tobin Design.
Where did you go to school?
My formal education was in science, specifically chemistry. Aside from a few night-school photography courses, I got my photography education in the field, from books and from my own experimentation. Prior to moving to Los Angeles, I learned about natural light from photographing the interiors of abandoned buildings. Since I've lived here, I've been assisting and taking workshops to expand both my lighting skills and my dealing-with-people skills.
What's the most important lesson you've learned either from a teacher or mentor?
A photographer who I consider a mentor once told me to "just do my work." It's a simple idea but a powerful one. My whole life, I've been really good at talking myself out of things for various reasons—my idea isn't original, it's not good enough, it's not…etc. By just doing my work, I focus on what my ideas are instead of what they aren't. It made me realize that I just have to keep doing what I do and, eventually, I'll find my niche instead of worrying about how my work compares to the latest trend in photography.
My first real job was shooting a look book for a start-up children's clothing company called Go Gently Baby. The clothing designer was a friend of a friend, and despite the fact that I had never before photographed children, she wanted to work with me. It turned out that photographing children is actually really fun. That was back in the summer of 2008, and I've continued to shoot their look book every season.
What advice would you give to a photographer who's still in school?
I think it's important to find your style and stick with it. If you're good, eventually people will take notice. As a young photographer, the impulse to jump from trend to trend can be great. But by only emulating other people's work, you'll never find your own voice. Shoot what you love and what you're passionate about, not what you think you should be photographing. And always learn new things. Keep taking workshops and watching tutorials to learn new skills or refine old ones. Above all, remember that you're always photographing light so you have to learn how to control it, manipulate it, and in some cases, take it away. Another piece of advice would be to take as many business courses as your school offers. When I started on this path, I didn't realize how much of being a photographer meant knowing business. The business aspect of photography, especially commercial photography, is one area where I definitely still need to supplement my education.
What inspires you about photography?
The thing that inspires me most about photography is that it allows me to show others not only how I see the world, but how I feel as well. I'm a very visual person. Written communication isn't my strong suit, so photography lets me express my point of view. And it has this immediacy (unlike pa
inting or drawing) that I'm drawn to. When I photograph in an abandoned or empty space, I like to focus on the details—things that people might overlook when walking through but things that give a huge insight as to the people who once lived or worked there. I put a lot of myself into my work, and this is especially apparent in my portraiture. The moods the viewer gets from my subjects are usually direct reflections of my feelings at that moment in time.
What makes you go out and shoot?
A line from a song can inspire me to get outside and shoot—to capture the same feeling I had while listening to the music. Looking through photo books and magazines and seeing techniques I could incorporate into my own work. Wanting to experiment and try out a new idea or technique gets me out shooting. Periodically, food also sparks an idea. I'm a little obsessed with what people eat, and so I like to find ways to incorporate food into my photos.
What do you like best about the whole process?
I've always loved science, and science and photography are intertwined. I love the magic of seeing a print appear in the darkroom. I no longer have a darkroom at home, but I still experiment with alternative and historical processes and try to incorporate them into my work where possible. I also love the satisfaction of producing an image that matches what I saw in my mind (what I previsualized prior to shooting).
How long have you been shooting?
The first photography class I ever took was in 2000. I shot as a hobbyist until 2006 when I came to Los Angeles. I've been shooting seriously for the past four years.
What camera equipment do you use?
A Canon EOS 5D with a Canon EF 85mm ƒ/1.8 USM lens, a Canon EF 24-70mm ƒ/2.8L USM lens and a Lensbaby. For lighting, I use Dynalite strobes and a Canon Speedlite 580EX II flash.
What's your favorite piece of Canon gear?
The EF 70-200mm ƒ/4L IS USM lens because recently I've found myself shooting outdoors more and have been drawn to more natural environments. I love the way the lens compresses the busy backgrounds into these beautiful abstract designs. I also love it for the more practical reason that it allows me to put my subject in places that are far away from me, such as in the middle of a river, while still allowing me the option of shooting tight portraits.
To see more of Angela Marklew's work, go to www.fstopinertia.com.

redpajama_set_name: RedPajamaCommonCrawl


Finals week is Dec. 10-14 with Fall 2018 Graduation at 10am on Saturday, Dec. 15, in Bob Sneller Gymnasium on the Neosho campus.
SkillUp is a grant funded program aimed at engaging SNAP (Supplemental Nutritional Assistance Program) recipients in education and training needed to pursue long-term employment in a career pathway that is in demand and provides good wages. CJ Estes is the contact for this program at Crowder. She will be working the in Grants Office at the college for more information or assistance.
Cassville Art Appreciation class is hosting an Old-Fashioned Mail Art Show. Postcards will be on display through the end of January.
National Apprenticeship week is November 12-16 and to kick off the week Crowder College and Certified Express, Inc (CEI) will sign an apprenticeship agreement at 11am on Monday, Nov. 12 in Wright Conference Center, Room B. This marks the third apprenticeship for Crowder.
Contact the Foundation Office for more information, 417.455.5646.
Crowder Technical Education Center (CTEC) will host 8th Grade Day Camps Nov. 13-15. Eighth graders from Neosho, McDonald County, East Newton, Seneca and Diamond will choose two programs and spend the day with hands-on projects in those programs. For more information contact Jim Williams at 417.455.5650.
Crowder Agriculture Division will host the State Post-Secondary Agriculture Student competition Nov. 15-17 with over 150 Missouri college students competing.
Theatre Department will hold auditions for Cat in the Hat, The Musical, Nov. 26, 2:30-4pm & Nov. 27, 4-6pm. Prep includes comedic monologue and 16 bars of music. For more information contact NatashaDavies@Crowder.edu or call 417.455.5458.
Theatre Department presents A Christmas Carol, Dec. 6-8, pm in the Black Box theatre in the Elsie Plaster Community Center. For more information contact NatashaDavies@Crowder.edu or call 417.455.5458.


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Square for Business
What are Square's transaction fees?
by Darin Moriki
There's nothing quite like buying something on the cheap, especially for smaller businesses that are just getting off the ground.
So it should come as good news that Square doesn't charge you to open an account with them.
As an added benefit, Square doesn't ask for any documentation before businesses activate an account, unlike more formal merchant accounts that often require businesses to submit bank statements or credit reports.
It doesn't even cost a thing to access Square's standard software and dashboard once everything's up and running. That means you can use Square's app and POS system — along with their sales, customer, and analytics portal — at no cost. In fact, there are no monthly or annual fees to use Square's services, and you don't have to pay anything if you want to cancel.
Still, like its payment processing counterparts, Square charges businesses a transaction fee on every electronic payment processed through their system.
This means that Square will deduct a small percentage of the total amount you charge customers, including taxes and tips, before the funds are deposited in your bank account. Square collects fees on individual transactions regardless of whether you swipe a customer card on the Square Reader, enter a client's payment information manually on the Square Dashboard, or charge a subscriber a monthly fee online.
How much are Square's transaction fees in the United States?
Square's transaction fees largely depend on how payments are accepted.
For instance, Square charges a 2.6 percent fee, plus 10 cents, on each transaction for credit card payments that are dipped, tapped, or swiped on Square devices, such as those collected through their magstripe-reading dongle and Square Reader. The magstripe-reading dongle, however, is limited to credit card transactions, whereas Square Reader devices can accept chip card, gift card, NFC (contactless), and wireless payments.
By comparison, Square's fees for individual transactions are 2.5 percent, plus 10 cents, when businesses use the payment processor's Square Register or Square for Retail POS systems, which accept chip card, gift card, NFC (contactless), and wireless payments.
Although many of Square's transaction fees are relatively similar, there's one exception. Square will charge merchants a 3.5 percent fee, plus 15 cents, on the total amount — including taxes and tips — for transactions that don't require a credit card and cardholder to be present when a payment is made.
Scenarios when cardholders and their cards don't need to be present include
Card-on-file transactions, where merchants are authorized to store a cardholder's payment information and use it to bill cardholders for specific transactions. These transactions can be made using Square Invoices and Square's Point of Sale app on a customized mobile application.
Credit card payments that are manually entered into Square's Virtual Terminal system.
Since credit card fees are built into Square's processing fees, merchants don't need to worry about additional charges from credit card companies.
Square also keeps rates the same for all of the credit card brands they accept, which includes any U.S.-issued card — along with most cards issued internationally, as long as they have a Visa, Mastercard, American Express, Discover, JCB, or UnionPay logo.
Square's fees also apply to all types of businesses, including nonprofit organizations.
Did someone say free?
Jotform is partnering with Square to offer two special promotions for businesses that integrate their online forms with the payment processor's services.
Regardless of whether you're a new or existing Square customer, you can now accept up to 100 payments each month for free when you integrate Square into your online payment form in JotForm.
As an added bonus, new Square customers can get processing fees waived for up to $1,000 in card transactions made through a Square payment form in JotForm. This offer is good for your first 180 days as a new Square customer.
Once people fill out your form and submit it with their credit or debit card information, Square will process their payment and, once money is deposited into your account, reimburse the processing fees.
Since Jotform users who haven't created a Square account can take advantage of both of these offers, there's no better time than now to try out the payment processor's services.
What does Square charge for online transactions?
As more people buy goods and services online, Square is keeping up with that demand by creating their own one-stop-shop platform, Square Online Store. This comprehensive e-commerce solution helps businesses manage vital stages in their e-commerce workflow, from building a website to collecting payments.
Square also curates integrations with other popular software tools that e-commerce businesses use.
Retailers, for instance, can use Jotform's integration with Square to create professional-looking online order forms that can collect payments from customers and crucial order fulfillment details, such as size, color, quantity, and shipping preferences.
Physicians, doctors, and other medical professionals can use Jotform to create customizable HIPAA-compliant online forms that can securely collect protected health information and payments from patients. Case in point: San Francisco dentist Dr. Cynthia Brattesani allows patients to pay their bills online through Square using a Jotform payment form embedded on her website.
Regardless of how you integrate Square's services into your online strategy, and whether you have a free or paid plan with other software solutions, Square will charge a 2.9 percent fee, plus 30 cents, on each transaction.
This fee applies to transactions processed by Square through integrations with Jotform, Acuity Scheduling, Wix, WooCommerce, and other software solutions listed in Square's App Marketplace. It also applies to transactions made through Square Online Store.
How do Square's fees vary by country?
Before delving into Square's fees outside of the United States, it's important to mention that the payment provider's services are only available in the United Kingdom, Canada, Australia, and Japan.
In other words, Square can't process debit or credit card payments for businesses outside of these countries. Square also can't process debit or credit card payments for businesses in U.S. territories, including Puerto Rico, Guam, the U.S. Virgin Islands, American Samoa, and the Northern Mariana Islands. Credit or debit card transactions attempted outside of the country where a business' Square account was activated won't be processed as well.
Square processing fees vary by country and aren't very easy to locate on the payment provider's website. In fact, a detailed breakdown of processing fees by country isn't very clear unless you stumble upon the technical documentation that Square provides for developers.
Much like Square's processing fees in the U.S., rates generally vary depending on how businesses in Australia, Canada, Japan, and the United Kingdom accept payments.
Businesses in Australia are charged a 1.9 percent processing fee on each in-person transaction in which payment cards are tapped, dipped, or swiped on a Square Reader.
These same Australian businesses, however, pay a 2.2 percent fee on in-person transactions made without a Square Reader, such as recurring payments for subscriptions using a customer's debit or credit card information on file.
This 2.2 percent fee also applies to payments that are entered manually into the Square Point of Sale app, made with Square Invoices, completed using Square's Virtual Terminal, and submitted through Square eCommerce API, which allows businesses to accept credit and debit card payments from their website.
Meanwhile, a 1.6 percent fee applies to contactless payments, chip cards, and cards with magnetic strips that are processed through a Square Terminal.
Businesses in Canada are charged a 2.65 percent processing fee on each in-person transaction involving chip cards, cards with a magnetic stripe, prepaid gift cards, and contactless credit cards or devices.
This 2.65 percent fee also applies to in-person transactions in which cards with a magnetic stripe are swiped into Square's Virtual Terminal system.
Square charges a 2.9 percent fee, plus 30 cents, on the total amount paid using Square Invoices, Square Online Store, and Square eCommerce API. This fee also applies to payments processed using Square Appointments' no-show protection option, which allows businesses to charge customers or clients a fee if they don't show up.
On the slightly higher end, a 3.4 percent processing fee, plus 15 cents, is applied to all card-on-file transactions, as well as card payments that are manually entered into a Square-supported device or Square's Virtual Terminal.
An additional 10-cent fee is tacked onto each processed transaction involving Interac, the debit card service provider for Canada.
Businesses in Japan are charged a 3.25 percent processing fee on each in-person transaction involving Visa, Mastercard, American Express, Diners Club, and Discover card payments made through a Square Reader.
This 3.25 percent fee also applies to card-on-file transactions and payments made through Square Invoices using Visa, Mastercard, American Express, Diners Club, and Discover cards. The fee is slightly higher, at 3.95 percent, for card-on-file and Square Invoices transactions paid with JCB cards.
A 3.75 percent fee, meanwhile, is levied on each transaction made with Visa, Mastercard, and American Express cards on Square's Virtual Terminal.
If businesses use Square's e-commerce integrations or online payment APIs to collect payments on their website, a 3.6 percent processing fee will be added to Visa, Mastercard, and American Express card transactions.
Businesses in the United Kingdom are charged a 1.75 percent processing fee on every in-person transaction using chip cards, cards with a magnetic stripe, prepaid gift cards, and contactless credit cards or devices.
In cases where payment cards and card holders don't need to be physically present, Square will charge businesses a 2.5 percent processing fee on each transaction. This 2.5 percent fee applies to card-on-file transactions, any payments that are manually entered into a Square-supported device, and payments made through Square Invoices and Square Virtual Terminal.
Square's hardware, such as Square Reader and Square Register, can only be used in the country where it was purchased. This is because Square's hardware must be tested and certified to comply with specific regulations in each country.
This means that you can't buy Square's hardware in one country and use it in another. For instance, a Square Reader bought in the U.S. won't work in Japan, the United Kingdom, Canada, Australia, or Japan — you must buy Square's hardware in the country where you want to collect payments.
You also can't buy Square's hardware and use it in a country where Square can't process payments. For example, you can't buy a Square Reader in the U.S. and use it to accept payments in Mexico.
Selecting an automated solution to seamlessly collect and process payments can be a difficult task that often comes down to three key considerations: cost, compatibility, and learning curve.
When all is said and done, Square's fee structure varies depending on both where and how you're collecting payments.
If you still have some lingering questions about how Square works, Jotform's guide on Square for business will help.
This article is originally published on Feb 12, 2020, and updated on Oct 08, 2021.
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Darin Moriki
Darin is a content marketer who's passionate about disrupting perceptions, solving problems, and helping people be more productive. Outside of the office, he is a rush-hour straphanger, adventure seeker, coffee drinker, and frequent traveler.
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You can now accept recurring Square payments through your forms
by Chad Reid | January 18, 2019
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Co-operators General Insurance Company Ltd is a wholly owned subsidiary of the Barbados Co-operative Credit Union League Limited which provides motor, property and liability insurance together with other miscellaneous classes to Credit Unions, members of Credit Unions, the general public and businesses. In addition, it offers and operates a Mutual Benefits Plan to Credit Unions which provides Loan Protection and Life Savings' Benefits to their members and Fidelity Bonding to Credit Unions against any fraudulent acts by their employees.
At present, CGICL's Board of Directors is comprised of eleven (11) distinguished credit unionists and the Company is managed by a dedicated Team of knowledgeable and professional individuals.


GEORGE WASHINGTON Statue, UNION SQUARE New York ~ 1870 Art Print Engraving RARE!
Inauguration Of Statue Of George Washington. Clark Mills. Harper's 1860.
Statue Of George Washington. Clark Mills. Harper's Weekly. 1860.
George Washington statue sculpture 11"


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Celeb Pics Of The Week 6/19 – 6/25:…
Check out what your faves were up to this week.
AM BUZZ: 'The Real' Hosts Speak Out About…
This is the first time we've seen the hosts together since Tamar's departure.
Gary's Tea: Should Tamar Braxton Be Held Responsible…
Ever since Tamar Braxton got fired from "The Real," fans of the show and of Tamar alike were up in arms,…
Gary's Tea: How Tamar Braxton Is Still Winning…
We were all shocked when it was announced that producers of BET's daytime talk show "The Real" decided to axe…
Threats! The Producers At The Real Are Preparing…
Tamar re-enacted her dramatic firing during last night's episode of WE TV's Braxton Family Values, and parent company Warner Bros.…
NEWS ROUNDUP: Tamar Braxton To Get Her Own…
After being let go from the daytime television show The Real, Tamar Braxton will now be the host of her…
The Braxtons On How Tamar's Doing After Being…
Trina, Towanda and mama Evelyn Braxton came through to hang out with The Rickey Smiley Morning Show! They talk about the expectations they had…
Too Real: Tamar Braxton Finally Breaks Her Silence…
The Grammy-nominated singer is speaking out for the first time since she was let go from the show and made…
Tamar Braxton Opens Up About Being Fired From…
Tamar Braxton is rising up from the ashes and getting her own show.
Tamar Braxton Returns To Social Media Ahead Of…
What a tumultuous few weeks it has been for singer, reality star and former talk show host Tamar Braxton. By…
Could Keke Palmer Be Tamar Braxton's Replacement On…
Insiders say the 'The Real' already has plans to fill Braxton's slot, and the odds are highly stacked in Keke's…
Seriously? You Won't Believe Who Allegedly Knew Tamar…
Tamar Braxton's firing from The Real has become more juicy than a daytime soap opera. While all of her co-stars…
The Chopping Block! Tamar May Not Be The…
After news broke over the weekend that Tamar Braxton would not be returning to The Real, rumors began to surface…


Positioned above Stocklands in "The Village" luxury residential and retail complex, this state of the art executive apartment holds a prime north-easterly aspect and captures sweeping 270 degree district and Manly views. From the large undercover balcony with glass balustrades, enjoy entertaining guests with the stunning outlook and elevated tranquil setting, away from traffic.
Live a life of luxury in this grand 3 bedroom, featuring an uplifting blend of light and space with high calibre finishes throughout.
Council rates: $360 per quarter approx.
Strata rates: $3,763 per quarter approx.


The word 'N' is interpreted as Indefinite, Infinite, Countless. The process of Making and going through Infinite Designs for each Project. There is nothing called as an Absolute End.
"The Cycle or Life which we go-through has no start or End. It is a Continuous cycle. So any kind of Start will effect the Society and that start has to be in a good-way, so that when it returns, we will be in a position to take it. After all it is a Continuous cycle."
The Change should be Innovative, Inspirational, Climatic response, Cost efficient and Sustainable. And that is what we continued to do so.


It's so much better coming from a student rather than from me.
A returning placement student told how she'd been asked by an employer to do some Google searches into candidates for a job. Her advice? Learn how to change your security settings on Facebook.
But which is worse: some embarrassing personal photographs, or no 'Google juice'? PR students should be expected to do some PR for themselves.
The returning student was Katy Marshall. She's easily found on Google – mainly because she blogs.
Great story, Richard. Our class interviewed David Meerman Scott yesterday and he suggested the same thing … blog, do your own PR upfront. Make sure you represent yourself well.
As we know, it can help in the internship / job hunt. But, best heard from a 3rd party – like a fellow student / recent grad. I agree.
David Meerman Scott's book (The New Rules of Marketing & PR) is a good read too.
You can definitely use new social media tools to work to your advantage with prospective employers. What a great way to show off your writing and networking skills – my advice was simply to be aware and make sure your portraying yourself in the right way. There's nothing wrong with reflecting your personality through your facebook page or blog in order to sell that to employers too!
I also had to Google job applicants. Some of it was checking up on facts of their CV. For example if they previously worked for a PR agency, finding some of their press releases online can be handy.
Facebook is the least of your worries. Drunken photos and embarressing poses and other such items just reflect that you're a social person. No company will expect applicants not to have any sort of social life.
A bigger concern should be your written work for previous companies. I was worried about putting my name to press releases that certain clients had put through their corp-speak, hyperbole, machine.
Saying that one, when googling the e-mail address of one applicant she had posted one particuarly disturbing question up on Yahoo Answers.
We probably would have interviewed her anyway.


Microsoft Internet Explorer is prone to a cross-domain information-disclosure vulnerability because the application fails to properly enforce the same-origin policy. An attacker can exploit this issue to access local files or content from a browser window in another domain or security zone. This may allow the attacker to obtain sensitive information or may aid in further attacks.


Carst releases their follow-up to last year's The Horizontal Gate, which was one of the first albums published through the young label Black Mara Records, out of Russia. Cosmic Irracionalism is however the first full length released by Carst, as The Horizontal Gate only clocked in at just over a half hour. On Cosmic Irracionalism we are presented with a complex dark ambient album, which takes into consideration the cosmos themselves and makes an attempt to harness their grandeur and vastness through earthly art forms.
Humanity may seem old to us, who live but short fragile lives. However in the grand scheme, humanity is but a small speck of dust in the inifinite expanses, spacial and temporal. Our attempts at understanding the cosmos, throughout humanity's history, have proven comically misunderstood. What shapes these galaxies and this universe? Gods? Physics? Something else? The truth is, we may never know these answers, but as humans we have a need to make sense of the unknown. The cosmos have humbled humanity repeatedly and will continue to do so for the foreseeable future. In this mixture of fear, aspirations, and an innate need to understand, we find the themes of Cosmic Irracionalism.
Carst has worked slowly and meticulously over the last three years on piecing together Cosmic Irracionalism, an undertaking which seems to attempt to make sense of, and then ultimately discard, all reason pertaining to the cosmos. Deep metallic drones are interwoven with field recordings, occasional minimal synths, and live instrumentation. The result is an often dense, macro form of dark ambient, similar to the style of Yen Pox. Cosmic Irracionalism at times can be an all encompassing experience, the layers of sound washing over the listener, filling us with a sense of wonder and occasional dread. But one of the beauties of listening to this album is the ebb and flow of these denser sections. We are not constantly bombarded with a wall of noise. There are claustrophobic thick peaks in some places, building a tension in the listener, then moving into much more subtly dark moments. These lulls in the otherwise dense listening experience give the listener time to reflect and meditate upon the vastness of the infinite cosmos.
Black Mara Records has only been around for a little over a year, but they are definitely worth following for any dark ambient fan. Their releases have proven to be consistent in quality and they stick to the dark ambient/drone/ritual genres. Cosmic Irracionalism is, to me, the most polished release yet from the label. Taking their variety of purchase options one step further with Cosmic Irracionalism, it is offered as download, CD, or cassette and the artwork contained in the album is also available separately, in A3 format. The CD, as with many Black Mara releases, comes with a few extras: a spiral pendant and prints of the album artwork. The visual art really helps to bring another layer of understanding to the massive collage of sounds presented in Cosmic Irracionalism. The spiral pendant and the "Cosmic Pyramid" and "Orbitals" A3 prints illustrate the vast and bleak expanses of the universe. These symbolize an attempt to make sense of the cosmos; geometric shapes take form, only to be engulfed in a blackened and chaotic unknowing, or nothingness. The more we try to make sense of the vastness, the more we realize that we do not understand.
Cosmic Irracionalism is a brilliant release from Carst, the time spent sculpting this album can really be appreciated when listening to tracks like "Signal" among others, which seems stylistically similar to many of the veteran artists like Yen Pox, Troum, or Bad Sector. Cosmic Irracionalism is highly recommended to any dark ambient or drone fan that likes their music to come with a bite. This album is not a relaxing listen, it builds and holds a tension over the listener keeping us in the midst of the galactic chaos being represented within, yet it never becomes overly saturated in noise, a balancing act which can always prove tricky with this type of music. A stellar release from Carst, and one more step in the right direction for Black Mara Records.
What a delight it is to see a surprise long-form piece released on his 62nd birthday! This man cannot be stopped and was clearly sent here solely to guide us into our higher selves and bless us with his soundscapes. Steve Roach is at his highest tier in this release and shows his mastery at building an atmosphere… a world you can live inside and experience it in many ways. From the subtle thought provoking melodies he weaves throughout this track to the bass rumbling around you this will leave a mark on your life. If you're looking for some answers inside yourself or to let ghosts of the past rest easy, then plug this world into your ears and let it take you to places you never dreamt were real.


Netflix is heading back to The Ranch. Recently, the streaming service released new photos and the premiere date for season two of the TV series. Since each 20 episode season of The Ranch is split into two 10-episode parts, Netflix usually dispenses with season numbering and uses the sequential part numbers, instead. This means The Ranch is already renewed through Part Four.
The sitcom stars Ashton Kutcher as Colt Bennett, a former who returns to his hometown in Colorado after many years. The cast also includes Danny Masterson, Sam Elliott, and Debra Winger.
Season two of The Ranch debuts on Netflix on June 16th.
Set in present day on a Colorado ranch, this multi-camera family comedy features returning stars: Ashton Kutcher, Danny Masterson, Sam Elliott and Debra Winger. The show follows Colt's (Kutcher) return home after a brief and failed semi- pro football career to run the family ranching business with his older brother Jameson "Rooster" (Masterson) and father Beau (Elliott), whom he hasn't seen in 15 years. Winger stars as Colt's and Jimmy's mother, Maggie, who runs the local town bar. The series also features Elisha Cuthbert (Abby), and fellow That 70's Show alum Wilmer Valderrama (Umberto).
The Ranch: Part 3 picks up where we left off in winter of last year: Colt is forced to face the new reality of his complicated love triangle with Abby and Heather; Rooster settles into relationship life with Mary after bitterly moving off the ranch; and Maggie and Beau navigate life as divorced friends. Parts 1 and 2 of the series debuted last year on Netflix.
What do you think? Are you a fan of The Ranch? Will you watch the new season?
The Ranch: Season Four? Cancelled or Renewed by Netflix for Parts Seven and Eight?
Yes!! I love this show and they MUST have a part four !!!!
YES!! We love that show!!!!
I Love the show please make more episodes.
I'm confused, didn't we just watch Season 2? I thought this would be Season 3 or are they splitting the seasons? I enjoy this show very much.


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A to Z Doctor Directory
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Jayaram, Geetha, M.B.B.S., M.D.
Dr. Geetha Jayaram is a Professor in the Department of Psychiatry at the Johns Hopkins Hospital. She is also a Professor in the Departments of Health Policy and Management and Nursing. She has an MBA and is interested in health services r...
Jedrych, Jaroslaw J, M.D.
Dr. Jaroslaw Jedrych is an assistant professor of dermatology at the Johns Hopkins University School of Medicine. His areas of clinical expertise include dermatopathology and anatomic pathology.Dr. Jedrych received his M.D. from the Warsaw Medical Un...
Jeffers, Justin Michael, M.D., M.Ed.
Dr. Justin Jeffers is an assistant professor of pediatrics at the Johns Hopkins University School of Medicine. His area of clinical expertise is pediatric emergency medicine. After receiving his medical degree from the University of Toledo Colle...
Jelin, Eric Bradley, M.D.
Eric Jelin is a pediatric surgeon and director of the Johns Hopkins Children's Center Fetal Program—a multidisciplinary treatment team which features experts in fetal, maternal, neonatal and pediatric care.In his role for the Johns Hopkins Chil...
Jelin, Angie Child, M.D.
Dr. Angie Jelin is the assistant director of prenatal genetics at the Prenatal Diagnostic Center in the Division of Maternal-Fetal Medicine and an assistant professor in the Johns Hopkins Medicine Department of Gynecology and Obstetrics. Her areas of...
Jelovac, Danijela, M.D.
Dr. Jelovac is an assistant professor of oncology with primary interest in women malignancies, particularly breast cancer and gynecological malignancies. Her clinical focus is on development of new approaches for prevention and treatment of breast an...
Jenkins, Jennifer Lee, M.D., M.S.
J. Lee Jenkins, M.D., M.S., FACEP, joined the faculty in 2006 as Assistant Chief of Service and Disaster Fellow. She serves as the Disaster Control Physician for the Department of Emergency Medicine in addition to her roles as an Emergency Medi...
Jennings, Mark Thomas, M.D., M.H.S.
Dr. Mark Jennings is an instructor of medicine at the Johns Hopkins University School of Medicine. His areas of clinical expertise include pulmonary and critical care medicine.Dr. Jennings completed his undergraduate work at the University of Notre D...
Jha, Smita, M.B.B.S.
Dr. Smita Jha is a part-time board-certified endocrinologist at the Johns Hopkins Community Physicians Suburban Hospital. She performs clinical research at the National Institutes of Health, Bethesda MD in areas of metabolic bone diseases, genetics a...
Jhaveri, Mamta Bhasker, M.D., M.S.
Dr. Mamta Jhaveri is a board certified dermatologist and assistant professor of dermatology at the Johns Hopkins University School of Medicine. She specializes in eczema, contact dermatitis and chronic urticaria. She performs extended panel patch tes...
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Dr. Michelle C. Johansen is an assistant professor of neurology and attending physician in the Cerebrovascular Division at the Johns Hopkins Hospital. A board certified general and cerebrovascular neurologist, Dr. Johansen divides her time between re...
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Croquet is a familiar and fun outdoor game for everyone. Here are the official rules.
Croquet is a great game to have set up and ready to go for a backyard barbecue. It's a slow game of patience and precision and a great way to spend time chatting with your friends as you work your ball through the course. Croquet may be an ancestor of Billiards and Golf. The goal is to use a wooden mallet to hit a ball through a hole. Sound familiar?
Winning Plays
Croquet has its origins in France and dates back as far as the thirteenth century. It migrated to England in about the sixteenthcentury and is still a popular game today.
The game is fine for kids to play—as long as they are big enough to hold the mallet; they are old enough to play.
You can buy a croquet set for under $100.
You can play the game with two to six players. You can play in teams or as individuals (otherwise known as "Cutthroat Croquet.") Play usually takes about two hours.
To play the game, you will have to go to a sporting goods store and buy a croquet set. The set will consist of multicolored balls, long-handled mallets, about nine hoops (or wickets), and two wooden pegs.
The nine wire hoops are stuck into the ground in whatever pattern you choose, but the standard set-up is two diamond shapes—one on top of the other. Set your peg in the ground first with two hoops in front of it. Then a few feet ahead set two more hoops a few feet apart across from each other and another hoop aligned with the first two hoops you set in front of the peg. The shape should form a diamond. Repeat this pattern to create a second diamond on top of the first with the last point having two hoops and another peg behind the hoops.
The hoops should span over an area no more than 40 feet wide and 75 feet long. The wooden pegs mark the beginning and end of play. The balls must be struck through the hoops using the wooden mallets. The balls are also made of wood and are quite heavy. They are either solid in color or striped. You choose one ball and matching colored mallet and start the play at the wooden peg. You keep striking the ball through the hoops until you miss. Once you miss, you turn the play over to the next player. If someone's ball is in your way, you can knock it out with your own ball, but be careful not to knock your ball out in the process.
Croquet playing field.
One point is scored for each hoop you hit your ball through as long as you make the hoops in the proper order. You also score a point when you hit a wooden peg.
Each ball in the game can score a total of 16 points. There are 14 wicket points and 2 points for hitting the pegs. When you reach the end of the pattern and hit the peg at the end, you have to go back through those last two hoops again to score two more points. You can play with more than one ball per team. If you are playing the four-ball game, you can score a total of 32 points; if you are playing the six-ball game you can score a total of 48 points.
The order of play is designated by the color of the balls.
Six-ball game: Order of play is blue, red, black, yellow, green, and then orange. In teams one side plays blue, black, and green while the other side plays red, yellow, and orange.
Four-ball game: Order of play is blue, red, black, and yellow. In teams one side plays blue and black while the other plays red and yellow.
Singles: Use the four-ball version.
Doubles: Two players per side—each playing one ball. Use the four-ball version.
Triples: Three players per side—each playing one ball. Use the six-ball version.
Individual (Cutthroat): Use the six-ball version.
Now let's play ball!
The Complete Idiot's Guide to Family Games
Bring the family together with these fun games.
Entertainment and ActivitiesTop Outdoor Party Games for…
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Entertainment and ActivitiesTop 10 Neighborhood Games for…


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Bad Ride: An Excerpt from Maxine Unleashes Doomsday
By Nick Kolakowski
The United States has collapsed. Bandits stalk the highways, preying on the weak and unaware.
In order to transport goods between heavily fortified cities, companies hire convoy escorts. Maxine is the best of these new road warriors: tough, smart, and unbelievably fast. But she also has a secret: She's the niece of New York's most notorious outlaw, a man hunted by what's left of the nation's law enforcement.
Maxine wants to live a normal, upstanding life. But a bad incident on the road leaves her mauled, penniless…and fired. If she wants to survive, she's going to need to embrace her outlaw roots—and carry off the biggest heist that the post-apocalypse has ever seen. It's a journey that will take her through obstacle after obstacle to the edge of death itself—and beyond.
The year Maxine turned fourteen, she found her true calling, at the cost of two lives.
Maxine spent her childhood mornings at the front window of the crumbling farmhouse where she lived with her brother, Brad, her mother, Joan, and her mother's big bastard of a synthetic-heroin monkey, watching for cars on the road. Whenever one passed, she imagined herself behind its wheel, zooming out of her life with glorious speed, and her heart ached with need.
Maxine knew that, without her, life in the house would fall apart. She needed to feed and clean Brad, kill as many cockroaches and rats as possible, keep the phones powered, stop her mother from choking on her own vomit during the bad highs, and throw rocks at the junkies who lurked in the weedy driveway. That was a typical list of tasks before she left for school. Every two weeks or so, her uncle Preacher came down from the hills and, living his nickname to the fullest, spent hours yelling at her mother to clean up her act. Her mother would groan and shake her head and agree to go straight, only to break that promise once he disappeared back into hiding.
Maxine liked to play the No Crying Game, which goes like this: You run into a wall so hard it knocks you backward, leaving your nerves humming like guitar strings and your mouth salty with blood, but you never cry. If you slam yourself hard enough to chip a tooth or bruise your face, and not a single tear rolls down your cheek, you can stop doing it for a week.
On the fifth of every month, their benefits came, and Maxine's mother would pile them into the family's rattling wreck of a van for the fifteen-minute trip to Red Junction, where the big grocery store gladly accepted EBT. Maxine loved the store's bright lights, the aisles lined with shiny packaging, the sleekness and color that reminded her of the cars zipping down the road: signs that someone out there cared enough to do a good job, to make something perfect. Maxine chose not to see how some of the shoppers looked at them with horrified pity, as if they were roadkill.
Maxine's mother always acted happy in the store. She whistled and told knock-knock jokes as she filled their cart with cereal and the cheapest kelp-meat, which Maxine could stretch far if she mixed it with herbs and roots pulled from the small yard behind the house. When she was sober, her mother was very good at calculating everything down to the cent, in order to prevent the embarrassment of having to leave food on the cashier's conveyor belt. That had happened once, and Maxine's mother yelled, and someone called security, and it was only because Maxine acted so cute with the manager that they were ever allowed to come back.
Maxine's father was in prison forever, thanks to a drug deal gone wrong, and all their relatives were dead except for Preacher, who needed to stay in the hills because the police wanted him in a cell or a coffin, preferably the latter.
Maxine hated the police, especially the two who came around to stand in the weedy yard and call her a waste of life, dangling candy bars as they asked where her uncle was hiding, as if she were stupid enough to give up a blood relative for a sugar rush. Maxine would hiss at them and bare her teeth, but she knew to go no further. A friend of hers, Monica Miller from down the road, once bit a cop on the ankle during a scuffle, and they hit her in the head hard enough to put her in a coma. Sometimes stuff just happens. It's a mean world.
The cops called her family rednecks and trash and hillbillies. "You gonna be just like your mama," one of them liked to tell Maxine, "and your kids gonna be just like you. How you feel about that?"
Maxine always stuck out her tongue at that cop, whose name was Dwight and who rocked a blond caterpillar of a moustache. Dwight liked to take out his club and run at Maxine as if he intended to bash her brains all over the porch, but she knew to hold her ground.
"You never getting out of here," Dwight usually said. "You're just another waste of breath, you ask me."
Maxine thought of Dwight as an angry possum in a tent, anxious to bite anything trapped in there with it. But deep in her heart, she feared the cop was right. She had no idea of a life other than this one. On the cracked screen of her cheap-ass phone, she watched shows where beautiful people in sleek dresses and suits marched through gleaming spires of steel and glass, scenes from New York City that might as well have taken place on a planet far from this one. Her own eyes had never seen anyone in clothes so shiny, nor buildings so magical.
When the cops came by, Maxine imagined Preacher watching them from the black trees along the top of the ridge. When the roof collapsed, or some man in a suit threatened to kick them out of the house for good, or mother's EBT card no longer worked at the store, Maxine sent up a silent cry for Preacher to save them, knowing that he would never appear, not until the danger had passed. So she learned to do everything herself.
Maxine was very good around cops until she turned fourteen, and then everything went to hell.
To celebrate her birthday, Maxine took a little joyride.
She had skipped school that morning, choosing instead to hang out on the porch of The Tony Eight with her best friend, Michelle. The Tony Eight was a hard bar but its owner, Tony the Third, kept a counter by the front door stocked with goodies such as candy and burner phones. He let kids use his porch as a chill-out zone ("Better they stay here than go in the woods. They don't all come back from the woods," is how he defended that choice) from eight in the morning until five in the evening, when the number of drunks inside reached critical mass. He only had two rules: no cursing within his earshot, and none of that boy-band crap on the throwback jukebox he kept in one corner.
That Tuesday afternoon, Maxine and Michelle had already spent two hours on the wooden steps, smoking cheap Beijing Blue cigarettes and talking dreams.
"Someday I want to go to California," Michelle told Maxine. "Did you know it used to be a state?"
"Duh." Maxine rolled her eyes. "But good luck getting across their border. I heard it's total lockdown. Like, they shoot anyone that even tries to come close."
Michelle groaned. "Why?"
Maxine prided herself on reading the news every day, even though her mother liked to call it fake. "There was this thing called the Water Wars. We tried to cut off their supply, so they started shooting back. I'm not trying to be mean, but you really got to study."
Before Michelle could reply, a red Mustang screeched into the bar's gravel lot. They both tensed, knowing it was Ricky, a local weed dealer who liked his girls a little too young.
Ricky lurched from the car, creepy smile in place, and paused to check his phone before sauntering toward them. Maxine reached into the left pocket of her jeans jacket, palming the small knife she kept there. Without looking up, she could feel Ricky's gaze slithering over her legs, and shuddered. Please God, she begged, just make him go away.
God declined to answer, but someone else did. Ricky made it ten yards across the lot when a big black car slithered into view behind him, its lithium-ion motor silent but its tires squealing on the slick road, its passenger window zipping down to reveal a hand with a pistol—pop, pop, pop, and Ricky collapsed, his purple jumpsuit puffing as the bullets punched through his flesh. The black car zipped past the bar before disappearing around the far curve.
Through the open door behind her, Maxine heard Tony the Third curse. Michelle clutched her knees and rocked back and forth, tears rolling down her cheeks. Maxine felt curiously numb, her breathing nice and regular as she stood and walked over to Ricky just as he managed, with a loud grunt, to roll onto his back, his front stained black from moist gravel and probably a quart of spilled blood.
Maxine pulled out her phone and dialed 911. Those calls were free, which was good, because she was running low on minutes this month (again) and didn't like the idea of burning a few on a piece of crap like Ricky. As she held the phone to her ear, she knelt and rifled through the pockets of the jumpsuit, removing a wad of pleasingly retro twenty-dollar bills in a gaudy money clip (bloody), a key fob attached to a silver dog's head (ugly), and a brand-new phone (bonus!) with one of those cool bendable screens.
"Some of your dealer friends tracked you down, huh?" she asked Ricky.
"Help…" The sides of Ricky's mouth bubbled with pink froth. "Help…"
"Nine-one-one's on hold," she said, popping open the money clip and flicking through the stained bills. "Like, what else is new, right?"
Maxine handling his cash shocked a bit of life back into Ricky. His cold hand gripped her wrist and squeezed as he rasped, "Don't…take…bitch…"
She smacked him on the forehead with the money clip. "Hold on, the phone's ringing." The operator clicked to life, asking about her distress, and Maxine cheerfully told her all the gory details about a drive-by shooting at The Tony Eight. That task complete, she called over her shoulder, "Michelle, go inside. Tony's got a med-kit."
Michelle obeyed without backtalk. She was one of those types: prickly as a porcupine on a mega-dose of Heisenberg Blue most days, but a total lamb in a crisis. Maxine knew that Tony kept a fully loaded med-kit behind the bar, next to the shotgun. While she waited for Michelle to return, she helped herself to Ricky's car keys.
Ricky hissed, "Don't…take…"
"Look," she said. "You got shot, but you're gonna make it." That was definitely a lie, given the amount of blood pumping out Ricky's holes. "Tony got a good kit. Ambulance be here in a minute. We going through all this trouble for you, means you owe us a favor. So I'm taking a spin in your sweet car over there. Don't worry, you'll get it back."
Ricky tried to spit blood at her and missed.
She slid behind the Mustang's wheel, unsurprised at Ricky's choices in tricking out the interior: a blue glow from LEDs beneath the front seats, oversized speakers that probably cost three times more than the engine, and a steering wheel wrapped in the finest imitation leather. Maxine wrinkled her nose at the near-overpowering stench of cheap cologne and spilled beer as she popped the key fob into the slot on the dashboard, the gas engine awakening with a roar, the stereo booming vintage rap-rock (classy, Ricky, classy) loud enough to rattle the substandard fillings in her teeth.
Maxine smacked dashboard buttons until the music went quiet, spun the wheel, and gunned the Mustang out of the lot. In the rearview mirror, she saw the Tony rip Ricky's jumpsuit open and squirt something from a can into the wounds, but not before giving Maxine a big thumbs-up. What more pseudo-parental approval did she need?
Her first joyride almost went wrong ten seconds in, as she tried to muscle the Mustang's fat ass into the first sharp turn and almost skidded out, nearly ramming into a truck in the oncoming lane, spinning the wheel to correct and overcompensating, clipping a rusty traffic sign, shrieking in fear and joy as she finally pointed the car's nose in the right direction and slammed the gas pedal to the floor. The Mustang snarled its pleasure. It was her first time driving and she was a natural, powering into each curve, feathering the brake at the intersections.
The black car appeared just ahead, and her jubilation curdled into unease. From Preacher, she'd learned the first rule of doing crime: you hide after the crime's been done. So why were they still on the road? She needed to get out of here before they noticed Ricky's car in their rearview mirror, but they were on a straightaway: no turnoffs, no side roads.
The black car tapped its brakes. She slowed to keep distance, her dread igniting into outright fear as the car's front-passenger window buzzed down and the hand with the pistol emerged. She veered the Mustang left just as the gun spat fire, a bullet snapping off her roof.
If she stayed back, the next bullet might smash through the windshield and her forehead. If she stopped, they would turn around and hunt her down. That left her with one choice.
Punching the gas, she rammed her fender into the other car's trunk, bumping it forward and to the right. The shooter's head and shoulders appeared above the car roof, silhouetted by the sun, the gun waving as he tried to aim, and she accelerated again until her front tires came parallel with the other car's rear door and she swung the wheel hard right. With a crunch of metal, the other car left the road—a faint scream from the shooter above the boom of two tons of metal rolling into a deep ditch. The wheel slithered hot in Maxine's hands as she fought for control, finally skewing to a stop in her own lane.
You need to drive away, she thought. Get out of here.
An inner voice interrupted. It sounded like an adult, not some scared kid: You need to see if anyone survived.
What if they're still alive?
The voice declined to answer—maybe because the answer was obvious. Her hands shook as she searched the junk in the passenger footwell. Beneath a pile of soggy bills, she discovered a short pry bar, its tip a sharp point. Despite her fear, it felt good in her hand.
Before she climbed out of the Mustang, she wiped her shirttail on the steering wheel and anything else she might have touched. Her sweaty palms made it hard to grip the pry bar as she tiptoed into the weeds.
The black car had entered the ditch on its side, landing in three feet of oily water. A broken tree stump jutted through the crumpled steel of the hood. The windshield had cracked but not shattered, and through the webbed glass (Maxine snuck close now, breathing hard, ready for the bullet) she could see the body hunched in the driver's seat, limp hand on the steering wheel.
She leapt onto the far side of the ditch and discovered the top of the shooter's head in the water, blond hair streaming like kelp. No bubbles meant no breathing meant it was safe to come closer, which she did, recognizing the face just beneath the muddy surface.
It was her good friend Officer Dwight, his torso pinned beneath the car's frame.
Maxine's fear deepened into nausea. She sank to her knees on the wet grass and vomited a neon spray of half-digested junk food.
Now you can get out of here.
Yes, that was the best idea. Wiping her mouth, she stood and walked across the field beyond the ditch, toward the distant band of forest that would give her cover from anyone driving past on the road. Her boots sank into the muck, slowing her progress. Maxine pulled out her phone and made another call.
Copyright © 2019 Nick Kolakowski
Read More: Nick Kolakowski on How Gentrification Will Cause Crime Fiction to Change
Comment below for a chance to win a copy of Maxine Unleashes Doomsday by Nick Kolakowski!
Maxine Unleashes Doomsday Comment Sweepstakes: NO PURCHASE NECESSARY TO ENTER OR WIN. A purchase does not improve your chances of winning. Sweepstakes open to legal residents of 50 United States, D.C., and Canada (excluding Quebec), who are 18 years or older as of the date of entry. To enter, complete the "Post a Comment" entry at http://www.criminalelement.com/bad-ride-an-excerpt-from-maxine-unleashes-doomsday/ beginning at 12:00 p.m. Eastern Time (ET) November 4, 2019. Sweepstakes ends at 11:59 a.m. ET November 18, 2019. Void outside the United States and Canada and where prohibited by law. Please see full details and official rules here. Sponsor: Macmillan, 120 Broadway, New York, NY 10010.
Filed Under: ExcerptNick KolakowskiPost-ApocalypticSweepstakes
Nick Kolakowski's work has appeared in The Washington Post, McSweeney's, Washington City Paper, Thuglit, Shotgun Honey, North American Review, The Evergreen Review, and Rust & Moth, among other venues. He lives in New York City.
Joyce Benzing
Not something that would grab my attention normally, but the excerpt drew me in.
What a horrifying cover!
This sounds grear
Wow, this sounds so… good! Would love to win. Thanks for the chance.
Susan Meek
Hmmm…I like this!
Mary Kearney
Wow! Sounds good from the small excerpt I just read.
Okay, so Maxine is pretty much a badass at 14. She's cool under pressure, and though I wouldn't say she's fearless (obviously she was scared during the car incident) she doesn't freak out. I'm hooked!
Very disturbing! Glad I can read this from a safe distance.
martin bodnar
Independent . . ..to the Max!
Linda J. Marshall
Um, a lot of dystopian novels sound alike. You'll have to send me a copy to convince me this one is different.
Diana Hardt
It sounds like a very interesting book. Thank you for the chance.
This seems like a book I could get into. Please enter me in the draw.
Lisa Davidson
Very intriguing. I need to know what happens
Definitely my kind of book! Sounds great!
I'm not usually a fan of post-apocalypse novels, but this one sounds exciting. Can't wait to read the whole book!
Lisa Henson
I'd give it a read!
chrystal L jackson
i cant wait to read the rest of this!!!!!!
Marilyn Conger
This excerpt drew me in. You described Maxine's world so well that I felt like I was there watching her. I cannot wait to read the whole book. Thank you.
Great excerpt, can't wait to read the book.
Can't resist a good doomsday book!
I would be very grateful to win
Sounds like my kind of book!
The God Game by Danny Tobey: New Excerpt
1 THE GAME The blue light of the computer screen was flickering on Charlie's and Peter's faces, making them look like astronauts lit by the cosmos. "Say something." "No." "Seriously. Go for it." "This is stupid." "Don't you want to meet God?" There was a knock on the door. Charlie's father. Peter rushed to snub…
The Warsaw Protocol by Steve Berry: New Excerpt
By Steve Berry
CHAPTER ONE TUESDAY, JUNE 4 BRUGES, BELGIUM Cotton Malone hated when two plus two equaled five. Over the course of his former career as an American intelligence officer, that troubling result had happened far more often than not. Call it an occupational hazard or merely just plain bad luck. No matter. Nothing good ever came from fuzzy math.…
Book Review: In the Shadow of Vesuvius by Tasha Alexander
1902, Italy. Our heroine, Lady Emily Hargreaves, is visiting the ruins of Pompeii in the company of her husband, Colin, and her dear friend, Ivy Brandon, when Ivy notes that one of the plaster casts of corpses felled in the ancient eruption sports surprisingly modern sideburns. Colin, being no stranger to investigating acts of foul…


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FACTOID # 8: Bookworms: Vermont has the highest number of high school teachers per capita and third highest number of librarians per capita.
Interesting education facts »
Encyclopedia > Japanese Imperial Army
The Imperial Japanese Army (大日本帝国陸軍 Dai-Nippon Teikoku Rikugun) was in existence from the Meiji Reformation to the end of World War II. It was created to replace the traditional Japanese samurai with a modern Western-style conscript army.
The Imperial Japanese Army was initially developed with the assistance of French and German advisors; eventually it had grown to become the most modern army in Asia, well-trained and high in morale. However, it was at times relatively deficient in tanks and other armoured vehicles when compared with its European contemporaries. Since Japan had no independent air force, the Imperial Japanese Army also developed a potent air arm, equipped with modern locally-built aircraft.
The Imperial Japanese Army saw combat during the Sino-Japanese War (1894-1895) and the Russo-Japanese War; at the seizing of the German territory at Qingdao during World War I; at the occupation of Manchukuo in 1931; and throughout the Sino-Japanese War (1937-1945) beginning with the Nanjing Massacre of 1937. From December 1941 the Imperial Japanese Army served as the main instrument in the Japanese Empire's aggressive expansion across East Asia during World War II.
Throughout the Sino-Japanese War (1937-1945) and World War II the Imperial Japanese Army had gained a reputation both for its fanaticism and for its brutality against POWs and civilians alike. After Japan surrendered in the summer of 1945 many of the Imperial Japanese Army's officers were tried and punished for committing numerous War crimes throughout the wars.
List of Armies of the Japanese Army
Categories: Military stubs | Armies | Imperial Japanese Army | Military of Japan
Asia Times Online :: Japan News - Battle over Okinawa history rages on (869 words)
Such recordings are irksome for the Japanese government that is keen to whitewash this part of history.
Officials explain that the altering of original text that recorded the Imperial Army's instructions to Okinawans to kill themselves is based on the fact that there are divergent views of what exactly happened.
In another cave, more than a thousand occupants were saved because, according to Oshiro, they had disregarded orders from the Imperial Army and walked out waving their hands to signal surrender and were then taken away by the US troops to refugee camps.


The amputa (Dasycercus hillieri) lives in the Simpson Desert (Australia). There is limited information on the origins of the amputa. It is believed that the population of the amputa is dependent on the quality of each season. This species classified as "endangered". This species was once considered a subspecies of mulgara and is thought to be identical in appearance and behavior (except feeding).
Amputa are not fond of the heat and will retreat into their burrow. Burrows can be found on sand dunes possible in close proximity to other amputa burrows. Amputa tend to be very social with one another. Amputa are primarily nocturnal, probably more so in the summer to avoid the heat; however some amputa will enjoy the sun on warmer winter days.
Sand colored fur covers the back of the amputa (possibly as a survival tool) and fades into a pale grey on the underbelly and chin. The first half of tail has the same coloration as the body; the second half of the tail is covered in bushy, black fur. Short, round ears and a short nose are also present on the amputa. The tail of the amputa averages 100mm, the head and body together average 180mm, and the total body weight is about 130g.
The amputa will eat large arthropods and small vertebrates on occasion.
Breeding season occurs during the winter months. It is believed that gestation lasts for at least one month. A single littler can produce up to eight young. When young reach about four months of age they are completely weaned from their mother.


Busiest Day Ever! | I Am Gary Hampton.
Wow, it's only noon and today is officially the busiest day for this blog EVER. Checking the stats, it looks like this is mostly due to the My Chemical Romance interview from 2004 that I posted a few days ago. Thanks to Jaime_Lamour for linking me on the MCR Live Journal page. I'm also getting some traffic from the Jimmy Eat World message boards, so thanks!
I'll be posting more interviews soon, but thought I'd ask everyone what they'd like to see. Here's a short list, let me know what you want!
You can already see my Funeral For A Friend interview from 2004 here!
EDIT: A new record was set on August 8th 2008, the Radiohead in Montreal post.
I would love to see the interview with The Used!
i would love to read the The Used interview :D.