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Ethan Chatagnier
Ethan Chatagnier is the author Singer Distance, a novel just out from Tin House Books, and of Warnings from the Future, a story collection from Acre Books in 2018. His short fiction has appeared in a variety of literary journals including the Kenyon Review Online, Georgia Review, New England Review, Story, Five Points, Michigan Quarterly Review, and the Cincinnati Review. His stories have won a Pushcart Prize and been listed as notable in the Best American Short Stories and the Million Writers Award.
Chatagnier is a graduate of Fresno State, where he won the Larry Levis Prize in Poetry, and of Emerson College, where he earned an MA in Publishing and Writing. He lives in Fresno, California with his family.
Singer Distance is a slightly mysterious and, hopefully, beguiling title. They're both familiar words, but it's hard to tell what they mean together. Is it talking about musicians? Is it talking about a person? Is singer the name of a kind of distance? I want readers' curiosity to be piqued by it, and want readers who are up for the ride of finding out.
"Distance" or "Distant" was always going to be a part of the title. The crux of the book is an alien math proof that indicates human's understand distance all wrong, and I use it as a way of exploring the emotional distances between characters. The narrator spends a lot of the novel pained by the distance of his fiancée, Crystal Singer, and overcoming that distance becomes his key quest.
I started with the name Crystal for the genius mathematician and love interest of the book because I wanted her to have a bit of a hippie edge, an expansive and unpredictable emotional intelligence. Her last name, Singer, came later when I wanted to tie some themes in the novel to her love of music.
The narrator, Rick Hayworth, grew up on a farm and wants very much to be more salt-of-the-earth than he actually is, so I wanted a name with some simple strength to it, but also a nod to his attempted humility.
Less surprised than my college self, I think. As a teenager I read mostly genre books. John Grisham, John Saul, Michael Crichton. Science fiction, detective books, thrillers. In college I found myself with more literary and realist ambitions. I'm happy to say I think I've worked my way around to a novel that includes and honors both, one that feels equal parts science fiction and literary.
Beginnings are much easier. I don't begin a project until I feel like some key elements have clicked into place in my mind, so by the time I sit down to write, I have some starting momentum. A good ending needs to fulfill the storylines already set in motion, but to surprise the reader at the same time. There are a lot more moving pieces and it's much more challenging. But surprisingly, I tend to change beginnings more. Because the tune changes as you play it, when you get to the end you need to make sure the beginning is still in the same key.
My narrator, Rick, is a fair amount like me. My mom's side of the family is in cattle ranching, but I grew up with only occasional exposures to it, and I ended up feeling a bit self-conscious about missing my connection to the land and that way of life. I'm not an insider there, and though Rick grows up with farm life, he's a mathematician at heart. An academic longing to be something he sees as more authentic.
Finding the right writing music is important for me. I like to find an artist or song for each section that helps me capture the emotional tenor of it. For Singer Distance, there were a mix of songs but I listened to Max Richter more than anything else. The name of the Richter Site, in the book, is a nod to him. There's also a really rich tradition of science fiction in movies. Growing up with everything from Stargate to 2001: A Space Odyssey did a lot to get me interested in the genre and its possibilities.
Visit Ethan Chatagnier's website.
Joyce St. Anthony
Joyce St. Anthony was a police secretary for ten years and more than once envisioned the demise of certain co-workers, but settled on writing as a way to keep herself out of jail. She is the author of the award winning Brewing Trouble mysteries set in Pittsburgh. A native Pittsburgher, she now lives in the beautiful Laurel Highlands of Pennsylvania with her husband.
St. Anthony's new novel is Death on a Deadline, the second Homefront News mystery.
The team at Crooked Lane came up with the title. My agent and I gave them a few sample titles and they decided on Death on a Deadline. My main character, Irene, is an editor/reporter so the title fits the series. It doesn't relay anything about the plot though.
My protagonist is named Irene Ingram. To tell the truth, I'm not sure how I came up with her name. It just popped into my head. Since the book is set in 1942, I used some online resources to be sure any of my character's names fit the era. If I really get stuck on a name I use an online random name generator and keep clicking until a name jumps out at me.
That was so long ago! I was extremely shy when I was that age. If I had to give a speech or anything like that in school, I'd get physically ill and my mother would have to call me off for the day. I had a core group of friends but even with them, I rarely spoke. I spent most of my free time reading. My teenage self would be pleased that I was a writer and she'd be completely shocked that I was now able to actually get up in front of people and talk.
I'd have to say beginnings—or really middles. The first few pages go all right, then after that it's a struggle. Endings are more fun to write. I get to pull everything together, the bad guy gets his comeuppance, and mostly everyone lives happily ever after.
I think all writers put a little bit of themselves into their characters. My protagonists are always much braver than I ever was. They're definitely more outgoing. They're sort of how I wish I had been.
Death on a Deadline is set during World War II. I've always been fascinated by that era, partly due to my mother. She and my dad met on a blind date in 1943 and were married two weeks later, and two weeks after that he was sent overseas. He died when I was two years old but my mother kept him alive by playing her Big Band records—Glenn Miller's "String of Pearls" was her favorite song. I've wanted to write something set in the 1940s for a long time and I finally got my wish. My other non-literary inspiration is beer, but that's a story for another day.
Visit Joyce St. Anthony's website.
D.M. Rowell
Like her protagonist Mud, D.M. Rowell (Koyh Mi O Boy Dah) comes from a long line of Kiowa Storytellers. After a thirty-two-year career spinning stories for Silicon Valley startups and corporations with a few escapes creating award-winning independent documentaries, Rowell started a new chapter writing mysteries that share information about her Plains Indian tribe, the Kiowas.
Her new novel is Never Name the Dead.
I don't think my book's title, Never Name the Dead gives readers insight into the actual story, but for me it does mark it a Kiowa story. The title comes directly from text in the book. The protagonist, Mud discovers a body, when she tells her cousin Denny about the body, she stops abruptly before naming the man.
""… we will know who killed—." I stopped before finishing the dead man's name, remembering, we never name the dead."
In the Kiowa culture, we do not say the name of the dead in fear of holding the spirit back from moving on. While the title wasn't my first choice, I have come to like it. I think the title provides a hint of the Native American aspect in my mystery novel.
I knew from the beginning that my Kiowa mixed-race protagonist would be named Mae and called Mud by family, friends and the Native community of her childhood. I chose the names specifically to honor my mom, Mae and her mother. I loved my grandmother's nickname, Mud and knew it would be the perfect name for my main character. Mud/Mae is a strong, competent woman, just like her namesakes.
Teenage me would be beyond shock that I have a published novel. While I always dreamed of writing mysteries, it was in high school that a teacher shattered the dream for me. In an advanced writing class, a teacher strongly suggested I stick to nonfiction. She didn't think I had the imagination or ability to create fiction. Unfortunately, I believed her.
I would love the teenage me to see we can live our dream.
Definitely harder to write beginnings. I've planned the first four Mud Sawpole mysteries to be brisk mysteries, each happening in less than twenty-four hours within a four-day period. The novels are fast paced, with Mud going from one adventure to the next before she finally solves a murder in each novel.
In my first drafts, I tend to crowd the first chapter with characters and happenings to get things moving. Fortunately, I have a wonderful editor that reminds me to slow down a bit in the beginning before letting the ride take off.
I do draw upon my experience as a curly-headed Kiowa grandchild running around summers in the backcountry of Oklahoma to build my character Mud. Though, I find that I take different elements from people I observe to create the perfect characters for my novel.
I was greatly influenced by my Kiowa grandfather, C. E. Rowell. He was the tribe's historian, a traditional artist, and a master storyteller. His art and storytelling instilled a deep love and respect in me for my Kiowa heritage. Grandpa inspired me to be a storyteller and is the reason I blend insights about my Kiowa tribe's history and traditions into each mystery.
Visit D. M. Rowell's website.
My Book, The Movie: Never Name the Dead.
Emily J. Edwards
Emily Edwards earned her degree in Writing, Literature, and Publishing from Emerson College and took the long road to becoming an author, working for over a decade as a wine and spirits journalist, radio producer, and creator of the podcast, F*ckbois of Literature. She currently resides in Connecticut with her husband, and several quadrupeds.
Edwards's new novel is Viviana Valentine Gets Her Man.
I think my favorite part about the titles of my first two books, but Viviana Valentine Gets Her Man in specific, is that they're present-tense action titles. The title of the first book is also a bit of a spoiler, but the key essence of a mystery novel is that the mystery will be solved, so it's not that spoiler-y. Viviana Valentine Gets Her Man is a given– but the core of any mystery novel is asking "How?" And even though there is absolutely no reason why it does this, it feels extremely old fashioned and of-the-time. I don't think anyone is going to pick up this book and expect a modernly-set story. Something about the snappiness of the title lets you know that this is an historical mystery.
If Viviana Valentine Gets Her Man was just called "Girl Friday Mysteries," I don't think you'd be as compelled to pick it up. You need to know who Viviana is and how she's living with that absolute millstone of a name. You know everything about her– based on the name. I have a long-running joke about having an alter ego named Viv, a kind of little old lady who can hold a drink and a cigarette all in the same hand, wears too much leopard print, has four-pack-a-day smoker's voice, and just is a bit of a mess. She's my Viviana, only older. Viviana Valentine is just "too much," and she doesn't care one fig that she is!
Teenage me was pretty depressed, and I think she would've been incredibly surprised that I finished writing 80,000 words! Kids have a tendency to quit on projects, because something that takes a year takes 1/13th the life of a thirteen year-old, you know? So I had a tendency to drop projects quite a bit and walk away. But once you get to be in your mid-30s, what is dedicating five years to getting a book off the ground? Literally nothing. Being in your 30s is the best.
I'm so steeped in film culture, after having gone to Emerson College and living so many years in Los Angeles, that I always have my "opening shot" in mind when starting a new book. I need my characters to be in action. The other part about mysteries is that the ending is where you tie up all your loose threads. Unfortunately, I'm a bit scatterbrained (I'm a pants-er not a plotter!) and endings are the place where you need to make sure nothing got left out. That's the hardest part for me!
Viv is so much more confident than I could ever be. I'm much more like Dottie, one of Viviana's housemates, who is a quiet, bookish elementary school teacher. Dottie is how I would fit into the murder mystery– giving sage advice to the person going off on an adventure. And telling them to be careful!
The visuals of noir movies obviously play a huge role in the book, but also, jazz music. I'm not the world's most voracious jazz cat, but I just love the aesthetic of it and what it meant, politically, in the post-War years. The year 1950 was much, much more tumultuous than most people think it was, and that chaos of bebop and mid-century jazz just feels so accurate, looking back!
Visit Emily J. Edwards's website.
My Book, The Movie: Viviana Valentine Gets Her Man.
Roger A. Canaff
Roger A. Canaff is a former special victims prosecutor and author of crime thrillers including Bleed Through, second in the ADA Alex Greco series and the 2020 IBPA Benjamin Franklin silver award winner for Mystery and Thriller.
Canaff's newest novel is City Dark.
I think City Dark takes the reader well into the story, or at least the literary backdrop, which is the 1977 blackout that struck New York City in July of 1977. The title itself comes from a series of communiques between leadership at ConEd (Consolidated Edison, the power company that serves NYC). The communiques described various markers as the crisis unfolded due to the strong storms in the area (individual power plants down, overload notifications, etc.). The last communique, at 9:37 p.m., was by some accounts "Consolidated Edison Power Down." From that, I added a final, if obvious endnote: "City Dark."
Most of the names of the characters were chosen because they struck me as appropriate at the time of creation. But there is one exception: One of the principal antagonists in the story is a notorious physician, pedophile and genius. His name is Aaron Hathorne. Hathorne has completed a prison sentence for serial child sexual abuse and is now facing further confinement as a mentally ill sexual predator under New York's "civil management" law. Joe DeSantos, the protagonist, is the Assistant Attorney General responsible for the case against Hathorne.
Aaron Hathorne was born into a wealthy family with the last name "Hawthorne." But the character changes his name to "Hathorne" in a gesture designed to emulate the opposite of one made by the New England author Nathaniel Hawthorne (The Scarlet Letter, 1850). Hawthorne the author added a "w" to his name to distance himself from his ancestors, in particular the infamous Judge John Hathorne who in part presided over the Salem Witch Trials. The evil character Aaron Hathorne purposely does the opposite and drops the "w" so to present as more sinister and provocative.
I find endings harder to write, simply because it's about tying together all the threads of the story theretofore. For detail-oriented readers in particular, all the clues left must play a part in the end reveal; all non-essential description or story material should be eliminated or made relevant; everything should be consistent and aim toward the conclusion. I can begin a complex story very easily, understanding that I will likely write material that won't make the final cut. I usually start with threads, weaving them closer and closer together until I'm satisfied with the tightness and texture of the plot.
Without a doubt, I see myself in most of my characters. The adage "write what you know" is useful, especially when the author is younger and less experienced in life. My first book was a coming-of-age story written in first person and very autobiographical despite the fictional story. This made perfect sense as I started the book as an adolescent and polished it years later. Then as a career special victims prosecutor, my work informed my writing. Utilizing more of my professional experience, coupled with maturing and thus having more personal life experience, I was able to separate myself more and more from the characters I create. There are still aspects of myself and my personality in them—Joe DeSantos in City Dark is exactly my age, for instance, and a Staten Island native. But beyond that he is a very different person. It's a challenge to draw a character significantly unlike oneself, and I enjoy it.
Visit Roger A. Canaff's website.
My Book, The Movie: City Dark.
The Page 69 Test: City Dark.
Lisa Unger is a New York Times and internationally bestselling author. Her books are published in 26 languages, with millions of copies sold worldwide. In 2019, she received two Edgar Award nominations, an honor held by only a few writers including Agatha Christie. Her work has been named on "Best Book" lists from Today, People, GMA, EW, Amazon, IndieBound and many others. She has written for the NYT, WSJ, NPR, and Travel+Leisure. Netflix is currently making her 2020 book Confessions on the 7:45 into a series starring Jessica Alba. She lives in Florida with her family.
Unger's new novel is Secluded Cabin Sleeps Six.
Titling a book may be more difficult than actually writing one. (Well, not really.) But I have loved titles that wound up on the cutting room floor in favor of something that I loved less but made more sense for the book. (The Stranger Inside was originally The Nightjar.) I have slapped a working title on a manuscript, thinking I'd have time to come up with something better, only to have an editor fall in love with it. (Beautiful Lies) Sometimes it's collaborative, lots of emails back and forth until someone comes up with an idea that makes everyone go "Aha!" For example, Confessions on the 7:45 was originally Black Butterfly. After a lot of back-and-forth, it was my editor who came up with Confessions on the 7:45 – which may be one of my all-time favorites.
For Secluded Cabin Sleeps Six, all the credit goes to Margaret Marbury, VP of Editorial at Park Row. This one was a little painful. Originally, it was Blow Your House Down and I was weirdly attached to it, though you'd think I'd know better by now. But everybody – my editor, my agent, my husband, even my mother -- loved Secluded Cabin Sleeps Six. Everyone except for me! But over the years I have come to understand that the title of a book falls less in the area of the author and more in the area of the marketing department. So, I deferred to the judgement of people I trust, and it slowly started to grow on me. Now I can't go a day without hearing what a fabulous title it is. And it really does capture the vibe of the book. So now I love it, too!
A long time ago I stopped thinking of characters as people I create and started thinking of them as people that I meet. That's not the whole truth of it, but it is how I experience the process. So, there's no real choosing, or baby name books, or naming characters after this one or that. They just arrived as Eloise or Jones, Ian or Lana. Like anyone you would meet, right?
Over the years, I have agreed to auction off a character name in a book to benefit a charity. I struggled with this. It was difficult to have the name first and find someone in the novel who didn't already have one. Another time, I agreed to name a cat in my book after the cat of a charitable person who'd donated some money to a worthy cause. I even struggled with that. And then when bad things happened to that cat (Don't worry! It didn't die! I know you can't kill the cat!) I felt kind of bad. But, also, I found it a little funny. I no longer auction off character or cat names.
Once I had to change a character's name for legal reasons. It was torture. And I never stopped thinking about the character by her original name.
All of this is to say that my work is deeply unconscious and internal. Things that might seem like choices, and are in some ways, don't feel like choices to me. And trying to work in a way that is not organic – like inserting names where they don't belong – destabilizes the creative process. Not that there's anything stable about the creative process.
Wow. Very. First of all, my father told me that people didn't write for a living, and I should, instead of making up stories all the time, focus some attention on what kind of a real job I could possibly get after college. So, I think she would have been shocked that I've gotten as far as I have with this writing thing. Also, I think she would have raised an eyebrow to find I was writing crime fiction. My teenage reader self was a literary omnivore, reading wildly across genre from Stephen King to Charlotte and Emily Brontë, from Jane Austen to Robert Heinlein, to VC Andrews, to Truman Capote. Anything big and purple and gothic, doorways into another universe of time and place. I didn't choose crime fiction. It chose me.
When I published my first novel in 2002, a reviewer wrote that she enjoyed the fact that I was a young writer and that my characters had a youthful sensibility. (I think it was a compliment?) I was thirty-something at the time, but I had started writing that novel, Angel Fire, when I was 19. This year, I turned 52. And I have had the rare opportunity to grow up on the page in front of my readers. Every book is very personal, the place where I grapple with my questions about life and people and what makes us all tick. There hasn't been a year in my adult life where I wasn't working on a novel. So maybe she'd be surprised by how much each novel has to say about my life at the time of its writing, and hopefully by how much better we are than when we started.
Everything in fiction is autobiographical and nothing is. Every character is an amalgamation of my thoughts, ideas, observations, people I know, things I've overheard, slivers of myself. There might be pieces of me in any of my characters. Some of them are total strangers. Some I fall in love with. Some, even though I have empathy for them or may be compelled by them, I don't like very much at all. A few of them stay with me and turn up again and again in novels and short stories, their stories progressing a little each time.
Music is a big part of my process. If I'm stuck in my novel, a good long walk or a workout just listening to my various playlists usually does the trick. Travel; whole books have been inspired by places I have visited. Living an authentic life. Paying attention when people tell me their stories. Eavesdropping on conversations that don't involve me. Film and television, of course. Any form of artistic expression can fuel inspiration. I am often very moved in museums, just immersing myself in the creative work of visual artists. Personal struggles, questions about life and people. The news. Podcasts. What doesn't serve as inspiration, really? I can't think of a single thing!
Visit Lisa Unger's website.
Susan Walter
Susan Walter was born in Cambridge, Massachusetts. After being given every opportunity to become a concert violinist but failing, she attended Harvard University. Walter hoped to be a newscaster, but the local TV station had different ideas and hired her to write and produce promos instead. Seeking sunshine and a change of scenery, she moved to Los Angeles to work in film and television production. Upon realizing writers were having all the fun, Walter transitioned to screenwriting, then directing. She made her directorial debut with the film All I Wish, starring Sharon Stone, which she also wrote, and her fiction debut with the bestseller Good as Dead.
Walter's new novel is Over Her Dead Body.
Oooh I love this question! But I can't answer it fully because that would give too much away. If you have ever heard someone reply to a request or a command with "over my dead body!" you know that it means "never will I ever!" Louisa Lake George, the ageing casting director our actress-protagonist meets on her late night dog walk, is a multi-millionaire. She is also deathly ill, and has to get her affairs in order ASAP. Upon meeting Louisa, we learn she had a falling out with her children and wants to cut them out of her will. Her nephew warns that if she doesn't do what's customary (leave her fortune to her kids) the family will implode: "It will be like the Hunger Games, with everyone out for blood." But she refuses. It's an "over my dead body" moment – literally! There are other layers to this title, it comes to have a double, even triple meaning. But you have to read the book to find out!
Character names just land in my lap. My protagonist is Ashley Brooks. A cheerful name for a cheerful gal from the Midwest. She's in a love triangle with Jordan and Nathan, two names I like but chose me more than I chose them. When it came to naming Louisa, I let a more uncommon name seduce me; I like it because it evokes someone of a different generation (baby boomer). She goes by both her last names: maiden name Lake (which I stole from a friend), and George (random) because she's a liberated woman who would not be content to use just one last name, certainly not the one that implies that the life she lived before marrying was irrelevant. As for her children's names, I found Charlie and Winnie just right. Winnie's given name is Winifred, and the character has quite a strong opinion about being named after the martyred patron saint of virgins; "I have reached the undeniable conclusion that my problems started at birth, upon being named Winifred." Charlie is a Jr., named after his father, as sometimes (favorite) first born sons are.
My teenage self would be surprised by every aspect of this novel, most notably that I wrote any novel at all! I wasn't a big reader of fiction in my teens. I was a violinist and listened to music… OK, and chased boys. I always thought I would write comedy or rom com, and I did for a while. The switch to suspense thrillers was not planned. I just woke up one day with an idea and decided to see if I could work it out. That story became my first novel, Good as Dead. It's about a woman who loses her husband in a car crash, and is bribed to stay silent about what she knows about the driver. And even that one, which starts out as a character-driven drama, only became a thriller when I indulged its explosive ending. So yes, surprises all around!
I'm a pantser, which means I don't outline, but rather, as they say, fly by the seat of my pants. I describe my process as getting into a boat and paddling out to the middle of the ocean to wait for a storm then see where it takes me. It's a terribly exciting process, emphasis on terrible. But if I write to an outline, the story feels forced, like I am connecting plot points instead of letting the characters get themselves into trouble. All that to say, endings are hard. Because I have to pull all the threads together in a way that surprises even myself. I love beginnings. I would start a hundred novels if I could sell them without finishing them! I love creating worlds and characters, and infusing them with textures and intricate backstories. It's those textures and backstories that save me in the end, because there's always something there to pay off, a detail I can use to make a character credible or push them where I need them to go. I did that with Ashley … her backstory becomes super important in the final twist (that I didn't plan, but was right there for me to exploit).
Both my books have characters who work in Hollywood, as I did for over twenty years. So I use not only details about "the business," but also my love-hate feelings about it. Ashley, my protagonist in Over Her Dead Body, is a struggling actress, and she is ambitious and a bit of a dreamer. That's totally me. She also is a bit boy crazy, as I once was. I have a screenwriter character in my first novel, Good as Dead, who offers a brutal take of what it's like to work in Hollywood (hint: it's hard and cruelly unfair). Writing that character was cathartic for me because he speaks what is in my soul. So yes, there's a lot of me in many of my characters. And guess what, there's other people in there, too. People I know, or who I've worked with, but whose identities will remain secret because some of them are bad.
My favorite movies of all time are the thrillers from the late 80's and 90's: Jagged Edge, Sliver, Fatal Attraction, A Simple Plan, Outrageous People, Spy Game, Indecent Proposal, Sneakers, any Tom Clancy novel turned into a movie. I want to write books that could be made into these kinds of character-driven suspense-thrillers. The Jason Bourne trilogy with Matt Damon is one of my all time favorites, I wish I could watch them all for the first time again… and maybe even create the next Jason Bourne!
Visit Susan Walter's website.
Posted by Marshal Zeringue at 12:05 PM
Serena Burdick
Serena Burdick graduated from The American Academy of Dramatic Arts in California before moving to New York City to pursue a degree in English Literature at Brooklyn College. The author of Girl in the Afternoon, Find Me in Havana, and The Girls with No Names, Burdick lives in Western Massachusetts with her husband and two sons.
Her new novel is The Stolen Book of Evelyn Aubrey.
When I first wrote this book seventeen years ago, I titled it Evelyn. Since then, it's gone through many title changes. At one point it was called An Educated Woman—the protagonist is a female writer trying to make it in alongside her famous writer husband, so this made sense—but in the end, The Stolen Book of Evelyn Aubrey, was more layered. Evelyn's journal goes missing in 1910. In 2006, her great, great granddaughter, Abby, while searching for the father she never knew, learns about this lost journal and begins searching for it. She also learns about a literary scandal that went down when Evelyn disappeared the day her husband's final book was published. The Stolen Book of Evelyn Aubrey is a book about a book, as well as a dual-timeline with Evelyn's story told through her missing journal. Hence the multilayered title.
My grandmother, Evelyn, died when I was ten years old. My mother did not give me a middle name when I was born so that I could choose my own when I was ready. On my grandmother's deathbed, I told her I would take her name. The Stolen Book of Evelyn Aubrey is my fourth book published, but the first book I ever wrote, which makes Evelyn the first character I ever created. I choose the name to honor my grandmother, but also because the book is about ancestry, unearthing who we are and where we come from. Using the name that is both mine, and my grandmother's, felt symbolic.
My teen would roll her eyes and say, "this is so like you!" I was reading Pride and Prejudice at thirteen years old. I devoured any books that took place in England in old manor houses. Possession and The French Lieutenant's Woman were among my favorites. No surprises here.
I always know where to start, but I often have no idea how I will end a book. Originally, in keeping with a good Victorian novel, the ending of The Stolen Book of Evelyn Aubrey was utterly tragic. Then I thought, I can't do that? Life is messy, so I definitely don't like a perfectly wrapped up ending, but I do like to leave my readers satisfied, and with at least a glimmer of hope.
I collect stories around me all the time. Beware if you're hanging out with me, I am always tucking away things people say about their experiences, family, relationships, to use later in my writing. The Stolen Book of Evelyn Aubrey was partly inspired by the fact that my sister and I have different fathers, and she never knew hers. The protagonist who goes in search of her father is very much based on this personal experience.
Visit Serena Burdick's website.
My Book, The Movie: The Girls with No Names.
The Page 69 Test: The Girls with No Names.
Sarah Darer Littman is the critically acclaimed author of middle grade and young adult novels for young people, including Some Kind of Hate, Deepfake, Backlash (Winner of the Iowa Teen Book Award and the Grand Canyon Reader Award) and Confessions of a Closet Catholic, winner of the Sydney Taylor Book Award. As well as writing novels, Littman teaches in the MFA program at Western CT State University, and with the Yale Writers' Workshop. She is also an award-winning columnist. Littman lives in Connecticut, in a house that never seems to have enough bookshelves.
Quite a bit! Both the title, Some Kind of Hate, and the dark, ominous cover art serve to warn anyone that picks up the book that this will not be a light, easy read. That's intentional - as are the content warning at the beginning of the book and the author's note at the end. The novel is told from dual perspectives - Declan, a teen boy who becomes radicalized to right-wing extremism after an event that could destroy his future, and Jake, his friend and baseball teammate who happens to be Jewish.
Jake's surname is Lehrer, an homage to the mathematician, musician, and satirist Tom Lehrer, whose albums I listened to as a teen. I would love to be able to write satire with the same brilliant, biting wit that he employed. A future life goal...
My teenage self wouldn't be at all surprised that I was inspired to write a novel about rising antisemitism, because like many Jewish teens with Holocaust trauma in the family, I was obsessed by trying to understand how it could have happened. I wanted to figure out what the warning signs were, and developed almost a hyperalertness for that danger.
Teen Sarah would be proud of me for facing our deepest fears and interviewing former Neo-Nazis for research. She wouldn't have had the courage and confidence to do that.
Young people see this "woman of a certain age" and ask how I'm able to write so convincingly as a teenager. I tell them that while the technology and lingo change, the emotions are the same.
The news. I'm an avid consumer of news, and try to ensure that I'm getting it from sources around the world so I can see how the same story is reported in different ways. Whenever there's a breaking news event, I flip between channels to see how differently the story is being framed depending on the source - or if a particular source is making the choice not to cover it.
Two of my previous careers - working on Wall Street with a focus on the technology sector and newspaper columnist - have also had a major impact on my writing. My background as a financial analyst allows me to look at technology with a critical eye. As a columnist I've been on the receiving end of some of technology's downsides (hate mail, threats etc.)
But I'm also fascinated by the intersection of teen life and technology, because I grew up without the internet and social media. That allowed me to make my teenage mistakes (and believe me, there were many) in relative privacy. What we hopefully learn from the mistakes we made as teens helps us become better adults. So what happens when the cost of making those mistakes becomes so high, due to social media and the fact that "the internet never forgets"?
I'm not a Luddite. I can see how technology makes our life easier in many ways. But I worry that teens today don't have the same freedom from constant surveillance and connection that I had growing up, and think about what implications that has for their ability to problem solve, and most of all their mental health and resilience.
Visit Sarah Darer Littman's website.


Zhang, Z., B. T. Joyce, J. K. Kresovich, Y. Zheng, J. Zhong, R. Patel, W. Zhang, et al. 2017. "Blood pressure and expression of microRNAs in whole blood." PLoS ONE 12 (3): e0173550. doi:10.1371/journal.pone.0173550. http://dx.doi.org/10.1371/journal.pone.0173550.
Background: Blood pressure (BP) is a complex, multifactorial clinical outcome driven by genetic susceptibility, behavioral choices, and environmental factors. Many molecular mechanisms have been proposed for the pathophysiology of high BP even as its prevalence continues to grow worldwide, increasing morbidity and marking it as a major public health concern. To address this, we evaluated miRNA profiling in blood leukocytes as potential biomarkers of BP and BP-related risk factors. Methods: The Beijing Truck Driver Air Pollution Study included 60 truck drivers and 60 office workers examined in 2008. On two days separated by 1–2 weeks, we examined three BP measures: systolic, diastolic, and mean arterial pressure measured at both pre- and post-work exams for blood NanoString nCounter miRNA profiles. We used covariate-adjusted linear mixed-effect models to examine associations between BP and increased miRNA expression in both pooled and risk factor-stratified analyses. Results: Overall 43 miRNAs were associated with pre-work BP (FDR<0.05). In stratified analyses different but overlapping groups of miRNAs were associated with pre-work BP in truck drivers, high-BMI participants, and usual alcohol drinkers (FDR<0.05). Only four miRNAs were associated with post-work BP (FDR<0.05), in ever smokers. Conclusion: Our results suggest that many miRNAs were significantly associated with BP in subgroups exposed to known hypertension risk factors. These findings shed light on the underlying molecular mechanisms of BP, and may assist with the development of a miRNA panel for early detection of hypertension.


text:
Let's first take a look at the following example which creates two Sub objects. One is assigned to a Sub reference, the other is assigned to a Super reference.
```
package oo;

class Super {
	String s = "Super";
}

class Sub extends Super {
	String s = "Sub";
}

public class FieldOverriding {
	public static void main(String[] args) {
		Sub c1 = new Sub();
		System.out.println(c1.s);

		Super c2 = new Sub();
		System.out.println(c2.s);
	}
}
```
What is the output?
```
Sub
Super
```
We did create two Sub objects, but why the second one prints out "Super"?

## Hiding Fields Instead Of Overriding Them

In [1], there is a clear definition of Hiding Fields:

>Within a class, a field that has the same name as a field in the superclass hides the superclass's field, even if their types are different. Within the subclass, the field in the superclass cannot be referenced by its simple name. Instead, the field must be accessed through super. Generally speaking, we don't recommend hiding fields as it makes code difficult to read.

From this definition, member fields can not be overridden like methods. When a subclass defines a field with the same name, the subclass just declares a new field. The field in the superclass is hidden. It is NOT overridden, so it can not be accessed polymorphically.

## Ways to Access Hidden Fields

1. By using parenting reference type, the hidden parent fields can be access, like the example above.
2. By casting you can access the hidden member in the superclass.
```
System.out.println(((Super)c1).s);
```

redpajama_set_name: RedPajamaGithub


• (v. t.) To anoint. • (v. t.) To give extreme unction to.
A·nele' transitive verb [ Middle English anelien ; an on + Anglo-Saxon ele oil, Latin oleum . See Oil , Anoil .] 1. To anoint. Shipley. 2. To give extreme unction to. [ Obsolete] R. of Brunne.


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text:
Review of "Knives Out"
Successful murder mystery author Harlan Thrombey (Christopher Plummer) is found dead, with his throat slit, in the third-floor study of his elegant home the morning after a celebration of his 85th birthday with his entire family. On hand were his daughter Linda Drysdale (Jamie Lee Curtis), her husband Richard (Don Johnson), their son Ransom (Chris Evans), Harlan's son Walt (Michael Shannon), his wife Donna (Riki Lindhome) and son Jacob (Jaeden Martell), Harlan's late son's wife Joni (Toni Collette) and her daughter Meg (Katherine Langford), Harlan's mother Wanetta (K Callan), Harlan's housekeeper Fran (Edi Patterson) and his nurse Marta Cabrera (Ana DeArmas). Police believe Harlan's death is a suicide, but no note is found. A detective, Benoit Blanc (Daniel Craig) is hired by a secretive client to investigate the death of Harlan Thrombey. Blanc knows something is odd about the case as there are plenty of motives amongst the family to kill Harlan, but everyone appears to be accounted for at the time of death. The case takes on a new urgency when Harlan's will is read leaving everything to Marta. In order to regain their inheritance, the family pushes the police and Blanc to prove Marta is the killer.
I love a good murder mystery. I listen to several true crime podcasts, watch documentaries about serial killers and how they were caught, and enjoy TV shows and movies with twisty, complicated conspiracies to commit unspeakable crimes (watch "Dark" and "Black Spot" on Netflix to get an idea of what I enjoy). One might question my sanity with my viewing history on a couple of streaming services, but I enjoy unraveling the puzzle of the crime. Was it someone familiar with the victim? Was it a stranger in a "wrong place, wrong time" scenario? Was the motive money, anger or love? What would drive someone to violate the most sacred law and take the life of another? In "Knives Out" the motive is clearly money, but the question of "Who dunnit?" requires a brilliant mind and the help of a woman who vomits when she lies.
Rian Johnson, director, producer and writer of "Knives Out," manages to make it impossible to figure out who the killer is until the final scene. Information is carefully withheld, or hidden in plain sight, that can identify the culprit. It is a masterfully crafted mystery with plenty of loathsome characters, all believably capable of killing Harlan. Johnson also injects political and personal commentary about toxic online culture using the character of Jacob Thrombey, played by Jaeden Martell, as an alt-right internet troll, and Don Johnson's Richard Drysdale talking about immigrants "waiting their turn" to enter the country legally (Ana DeArmas' Marta is the daughter of immigrants).
While the cast is huge and loaded with A-List stars, Johnson is smart to focus on three characters: Blanc, Marta and Ransom. This trio is the eye of the storm and Johnson studies them like a plane sent into a hurricane. Each is given a moment to shine, each actor is brilliant in their role and none disappoints when they are in the spotlight.
Chris Evans takes his All-American image from the Marvel Universe and uses Thor's hammer to destroy it. Evans' Ransom is a terrible person. A trust fund playboy, Ransom has never made anything of himself. He looks down on common people and believes he's superior because he was born into a rich family. Despite his odious nature, Evans still give Ransom a touch of decency. After the will is read giving Marta all the fortune, Ransom helps Marta escape the clamoring Thrombey heirs. He wants to help her as he sees being written out of the will as a second chance to make something of himself. His offer to help Marta feels sincere, despite the strings attached, and we are willing to give Ransom the benefit of the doubt. Evans charm and sincerity makes us feel sorry for Ransom and willing to give him a chance.
Ana DeArmas' Marta is the moral center of the film. She is incapable of lying as it makes her vomit. She is a walking self lie detector. DeArmas makes you feel sympathy for Marta. She's put into an impossible situation, facing down a ruthless family willing to do anything to reclaim their fortune. She's been otherwise ignored and seen as just "one of the help" by everyone else, but Marta had a close, familial relationship with Harlan. She didn't want anything from him other than to take care of him, and he took her into his confidence, knowing he could trust her. Harlan's death has a profound effect on Marta and DeArmas conveys that pain throughout the film.
Daniel Craig is the main reasons to see "Knives Out." His Benoit Blanc, referred to as one of the last "Gentleman Detectives," steals nearly every scene he's in. He can do as little as strike a note on a piano and the scene changes in tone and tension. Craig lays on a thick Southern accent, slightly different from his drawl as Joe Bang in "Logan Lucky," that makes every word he says sing like a choir. Some might think the accent is too much, but I loved it. Its sound and phrasing draw in the ear like a homing signal. You can't ignore anything Blanc says as he might throw in some bit of homegrown wisdom or a unique turn of phrase that adds more color to an already vibrant pallet. He speaks of the mystery being like a donut, and there being a hole in the center of that donut where the solution lies. Then he discovers there's another donut within the hole of the donut. A donut within a donut. Craig delivers the lines with such excitement and passion you might think he's about to burst into tears.
The entire cast of "Knives Out" is wonderful, delivering performances of terrible people in beautiful ways. While Don Johnson, Jamie Lee Curtis, Michael Shannon, Katherine Langford and Christopher Plummer get the most screen time, the rest of the ensemble fills their roles well without a weakness in the lot. Rian Johnson gives a masterclass in juggling characters and talent with a cast that any director would kill to work with.
"Knives Out" is rated PG-13 for thematic elements including brief violence, some strong language, sexual references, and drug material. There is a brief fight between two male members of the family. Harlan's death is shown in a very quick flash. A character is shown near death with a spider crawling on its face. Marta is shown throwing up on a couple of occasions, including in one character's face. Sexual references are limited to the family asking Marta if she was having sex with Harlan and mentions of a character masturbating. A joint is briefly shown being smoked and there is a reference to using a vape pen. Foul language is scattered and mild.
While "Knives Out" is all about the murder, it also is very funny. Director Rian Johnson clearly intended for the story to have humorous elements, including the actions of the family to be viewed as comical. Still, Johnson knows how to balance the humorous with the mysterious as discovering the identity of the killer is always at the forefront, even when the audience thinks they know who's responsible. As with all good murder mysteries, you don't know until you really, really know. And you won't know until Rian Johnson is ready to tell you.
"Knives Out" gets five very sharp, pointy, dangerous stars.
There's only one wide release this week, so I may watch and review something available at my local arthouse theater.
Playmobil: The Movie—
December 1, 2019 stanthemovieman	Ana de Armas, Chris Evans, Christopher Plummer, Daniel Craig, Don Johnson, Jaeden Martell, Jamie Lee Curtis, Katherine Langford, Knives Out, Michael Shannon, Movie review, Riki Lindhome, Toni Collette	1 Comment
Review of "Halloween 2018"
It's been 40 years since the murderous rampage that wiped out the family and some friends of Laurie Strode (Jamie Lee Curtis). The person responsible for the carnage, Michael Myers (Nick Castle and James Jude Courtney) has been locked up in a mental hospital ever since. His physician Dr. Ranbir Sartain (Haluk Bilginer) has agreed to a allow a couple of podcasters, Dana Haines and Aaron Korey (Rhian Rees and Jefferson Hall), to talk with Michael. Michael is about to be transferred to a more secure, and less therapeutic, prison and the podcasters want to see if he will speak to them. Dr. Sartain, who took over after the death of Michael's original psychiatrist Dr. Loomis, tells them Michael can speak but he chooses not to. The podcasters hold up Michael's mask and get a mild reaction from him, but the other patients begin screaming and howling. Since the attack, Laurie has been preparing herself for the day she feels is inevitable: When Michael escapes and comes for her. Her obsession with security has driven away two husbands and alienated her daughter Karen (Judy Greer). The two women rarely speak. Karen's daughter Allyson (Andi Matichak) is in high school and would like to have a closer relationship with her grandmother. The tension between Laurie and Karen makes that difficult. While Michael is being transferred on a bus with several other mental patients, the bus crashes in a ditch and Michael escapes. Sheriff's deputy Frank Hawkins (Will Patton) responds to the scene and finds several dead bodies. He soon learns that Michael Myers was on the bus and is unaccounted for. Michael tracks down the Dana and Aaron, kills them and gets his mask back. It's Halloween night and Michael Myers is on the hunt for more victims and to finish up some 40 year old business.
This sequel to the original 1978 "Halloween" ignores all the sequels from "Halloween II" through "Halloween: Resurrection" and both the Rob Zombie-directed "Halloween" films. The film is a love letter to John Carpenter's original slasher classic. Carpenter was involved in this movie's creation and he provided the soundtrack built around his original score. It isn't the most imaginative horror movie ever made but it is a loving tribute to the original film and to its knife-wielding antagonist as well as the damsel that is no longer in distress.
Written by Danny McBride, Jeff Fradley and David Gordon Green, and directed by Green, this film tells much the same story in much the same way as the original. Michael is an unstoppable killing machine that just can't quite seal the deal with Laurie. Last time, she would escape by the skin of her teeth. This time, she still just barely escapes but causes more damage than their last meeting. The subject matter is treated as deadly serious in the script but there are moments of levity and a few characters that are strictly for comic relief. It makes this slasher film a bit more entertaining in between gruesome and gory deaths.
Jamie Lee Curtis's Laurie Strode is a far more complicated character than her teen scream queen of 40 years ago. Laurie tells Michael's doctor that she has prayed every day for him to escape so she could kill him. She has turned her home into a fort with an arsenal of weapons, metal security doors that drop from the ceiling and a hidden access to her basement that works on hydraulics. She uses mannequins in her backyard for target practice, has floodlights on her roof that turn day to night and half a dozen locks on her doors to keep her safe. Curtis is a ball of anger and rage and she dominates the screen in ever scene she's in. Her long grey hair is a symbol of her decades of worry and fear. She is the embodiment of PTSD. Laurie has run off (or worn out) two husbands and lost custody of her daughter at age 12 due to her obsession with preparedness. While she didn't die at the point of Michael's blade she has paid a high price for surviving and is hoping for some payback.
The rest of the cast performs their underwritten and underutilized parts as well as could be expected. Andi Matichak is given the most to do as the granddaughter of Laurie Strode. I believe Matichak's Allyson is being set up as the next obsession of Michael Myers in future sequels. She is given a largely time-wasting subplot involving a boyfriend and a school Halloween dance. This is mostly just an excuse for her to lose her phone, making it impossible for her mother and grandmother to get in touch with her when the Michael hits the fan. Matichak isn't a great actress but she gives an acceptable performance when she's asked to look fearful and to scream.
The story of "Halloween" is a bit meandering with several side trips that eventually are made relevant by having a character show up that ties things together. We all know the point of this exercise is for Michael to kill people in gory ways. There are some nasty kills that I'm sure required the special effects shop to work overtime to pull off convincingly. There are also some kills that I found troubling: Namely the death of a preteen boy. Michael strangles then breaks the boy's neck. This death felt especially gratuitous in a film filled with gratuitous violence. Perhaps the boy's accidently shooting another character when he was startled is supposed to make it okay for him to be killed by Michael. Another scene in the film shows Michael walking past a crib containing a crying baby. Michael looks at the child and walks past, leaving the infant alone. Is there a line that even Michael won't cross or was this a choice by the writers fearing the audience would turn against the movie if he killed a baby? Another child, older than the baby but younger than the murdered boy, manages to escape from Michael. We get to know this kid a little bit as he's being babysat by one of Allyson's friends. Why does this kid get to live but the first one has to die? The film seems a bit inconsistent with its victim selection. If you're an adult, you're fair game. If you're a teenager, you're fair game. If you're 13 and carry a rifle, you're fair game. Younger than that and you might be safe. It seems a bit arbitrary, especially since Michael is such an indiscriminate killer.
The movie also falls back on the tried and true teenage victim attributes: Sexual exploration, alcohol consumption and weed use virtually guarantee you will die at the hands of Michael Myers. Only one character shown drinking and kissing a sexily-costumed young woman that isn't his girlfriend survives the night. I suppose if he'd been smoking weed and completed the Devil's Triangle his fate would have been sealed as well. Many of the victims in slasher films of the 1970's and 1980's was participating in these activities as their killers approached. Perhaps Carpenter and others were trying to sneak a morality lesson into their works; but I believe the writers of this film were probably just trying to pay homage to the original "Halloween."
"Halloween" is rated R for horror violence and bloody images, language, brief drug use and nudity. There are several gory murders including a head being stomped flat, a jaw that appears to have been partially ripped off, a decapitated head with a flashlight stuck in it, various strangling's, shootings and neck breakings. We see one kid smoking a joint and there is also underage drinking. We see one young woman topless as she's murdered. Foul language is scattered.
There are many scenes in this film that will remind fans of the 1978 classic. There are tributes dropped in here and there that those with sharp eyes and good memories will find nostalgic. The whole movie is a tribute to that first film as it essentially tells the same story with a few tweaks and twists thrown in to freshen it up a bit. It isn't scary as we've seen all this before. It isn't original for the same reason. However, it is a well-done homage that is proud of how much it loves that which it is honoring.
"Halloween 2018" gets four stars out of five.
This week there are three new films and I guarantee I'll see at least one of them and review it.
Johnny English Strikes Again—
Listen to The Fractured Frame for the latest in TV, streaming and movie news available wherever you get podcasts. Follow me on Twitter @moviemanstan and send emails to stanthemovieman123@gmail.com.
October 22, 2018 stanthemovieman	Andi Matichak, Halloween, Jamie Lee Curtis, Judy Greer, Movie review, Will Patton	Leave a comment

redpajama_set_name: RedPajamaCommonCrawl


text:
package com.knownstylenolife.hadoop.scalding.etl

import scala.collection.mutable.Buffer
import org.junit.runner.RunWith
import org.scalatest.FlatSpec
import org.scalatest.Matchers
import com.knownstylenolife.hadoop.scalding.JobTestHelper.Lines
import com.twitter.scalding.JobTest
import com.twitter.scalding.TextLine
import com.twitter.scalding.Tsv
import cascading.tuple.TupleEntry
import org.scalatest.junit.JUnitRunner

object AccessLogLine {

  val lines = Lines(
    """192.168.1.1 - - [01/Dec/2012:01:00:00] "GET /test?pId=001&JSESSIONID=SID012FF7ADFF4953 HTTP 1.1" 200 1352 "http://www.example.com/abc.html" "Mozilla/5.0 (Windows NT 6.1; WOW64) AppleWebKit/536.5 (KHTML, like Gecko) Chrome/19.0.1084.46 Safari/536.5" ext001""",
    """209.160.24.63 - - [20/Dec/2014:18:22:16] "GET /test?productId=WC-SH-A02&JSESSIONID=SD0SL6FF7ADFF4953 HTTP 1.1" 200 3878 "http://www.google.com" "Mozilla/5.0 (Windows NT 6.1; WOW64) AppleWebKit/536.5 (KHTML, like Gecko) Chrome/19.0.1084.46 Safari/536.5" """"
  )
}

@RunWith(classOf[JUnitRunner])
class AccessLogEtlJobTest extends FlatSpec with Matchers {

  "AccessLogEtl job" should "output good and bad access logs" in {
    JobTest(classOf[AccessLogEtlJob].getName).
      arg("inDir", "inDir").
      arg("outDir", "outDir").
      arg("badDir", "badDir").
      arg("exceptionDir", "exceptionDir").
      source(TextLine("inDir"), AccessLogLine.lines.scaldingLines).
      sink[String](Tsv("outDir")){ buf : Buffer[String] =>
        val lines = buf.toList
        val expected = AccessLogLine.lines.rawLines
        buf.size should equal(expected.size)
        for ((line, i) <- lines zip (0 until lines.size))
          line should equal(expected(i))
      }.
      sink[TupleEntry](Tsv("badDir")){ error : Buffer[TupleEntry] =>
        error shouldBe empty
      }.
      sink[TupleEntry](Tsv("exceptionDir")){ trap =>
        trap shouldBe empty
      }.
      run.finish
  }
}


I'm not a fan of party politics. Quite frankly I could care less which "party" is in charge. I care more about who the people in government are and what kinds of decisions they make. With three leadership races going on at the provincial level there is an immense?possibility?for new leadership, some names are even being touted as leader for more than one party.
I'll add Satya Das, too.
Added. Although I'm not sure many know Satya.
It would please me to have a premier who has some political maturity. One who is determined to stand up to Ottawa and challenge them on every level. And I mean on every level. Lastly one who puts people first, infrastructure and R&D 2nd and corporate last. Corporate has had it too good for too long at the expense of people. I do realize that this will not happen, but you did ask.
Thought about that but until it's an option in real life I figured I'd leave it off of here too.
Doug Griffiths all the way to the top!!
Bah. These online polls have become little more than social media networking contests.
I agree… if you think the outcome of the poll is somehow magically supposed to be representative of the actual voting outcome. For me it's more interesting to look for emergent patterns rather than number of votes. That's something no organized "vote for this person" social media campaign can take away, especially because we can see these and account for them in the analysis.
Just as long as it isn't a Wild Rose government that keeps interfering with municipal elections. They also lied. I tore up my Wild Rose membership after reading the lies that Keith Wilson was scaring the hell out of everyone with regarding bills 19, 36 and 50. I spent money on a lawyer cause I believed him and my lawyer says the Wild Rose is misrepresenting the legislation. For Conservatives, I'd definitely take a Jim Prentice over a self indulgent and pompous Ted Morton. Dave Taylor should take the leadership of the Alberta party fairly handily. He's matured politically and concentrates more on policy than rhetoric now that he's left the Liberals. Speaking of Liberals, who even wants that job as captain of a sinking ship? As for NDP, they are inconsequential in Alberta. Unions killed any chance they ever had.


There comes a time every year when we meet our family or friends to sit down and enjoy a holiday meal together. There will most certainly be those family members who try to bring a little fun to the dinner party by wearing illuminated sweaters or the very common reindeer horn head piece. Sure it may be cute but in all honestly it doesn't look good. As style conscious men we want to look well put together but at the same time not seem too uptight. My outfit here is an example of a perfect Christmas outfit. It has all the colors that are associated with Christmas but doesn't seem too tacky or costume like. By switching out a blazer for a more comfortable cardigan it gives a very welcoming and homey feeling. I know the holidays can be stressful, especially when you are hosting a party. I think it's important to try to eliminate some of that stress by caring for yourself. Wear something that makes you happy and be comfortable. Whether that be something similar to my outfit, a more formal suit or even that shiny reindeer sweater. The holidays are about relaxing and being happy so take a moment to enjoy it.


text:
Tag: magnetism
Magnetism – A Cosmic Web
Physics, Space Sciences
Source : Quanta Magazine
Date : July 2020
Magnetic fields are present in our Universe, wherever we look at, on the Earth, the Sun, the Milky Way, clusters of galaxies, . . . and even in the interstellar void, connecting clusters of galaxies via gigantic filaments. The origin of these force fields is still unknown. One possibility could be that it was created at the (re)birth of our Universe. Therefore, it would be considered as primordial. Such an hypothesis could explain the current accelerated expansion of the visible Universe. Magnetism, together with gravity are the forces shaping out the large-structure of the cosmos.
Read more : Quantas Magazine, ScienceMag, SSRG, arXiv
Role of magnetic fields in star formation
Date: October, 2016
Source: Nature 538,8
Because the theoretical predictions for star formation in science do not match what is actually observed, scientist have lately begun to consider the possibility that electromagnetism plays a roll in the process.
The Scientific Journal Nature (538,8), published an article : " Astronomy: Magnetism drives star birth". In this article, Nature refers to an article from Astronomy & Astrophysics (593,L14, 2016), where a team of scientists made observations of a large gas cloud with the Atacama Large Millimeter/sub-millimeter Array (ALMA) telescope in northern Chile. They observed that the gas of a stellar system collapsed and fragmented, . . . forming a string of clumps. The clumps will eventually form the cores of future stars. From these observations, they ran numerical simulations to match the observations, and they discovered that these formations can be modeled, using strong magnetic fields. The study findings confirm theoretical predictions that magnetic fields play a major part in protostars formation.
Blavatsky proposes that electromagnetism (the primary manifestation of Fohat on the physical plane) is the main force responsible for cosmic processes. In the Secret Doctrine, she quotes an "ancient Commentary to Stanza IV," which describes the formation of a cosmic systems in a way that matches what science observes today:
"The grains (of spawn) are soon attracted to each other and form the curds in the Ocean (of Space). The larger lumps coalesce and receive new spawn . . . and at the appointed time some of the lumps detach themselves and assume spheroidal form . . . after which . . . motion (the Breath) becomes the whirlwind and sets them into rotation." (SD vol. 1, p. 97)
see : Nature article
see : Astronomy and Astrophysics article
Electric Gravity in an Electrical Universe
Source: Holoscience.com
Ralph Sansbury of MIT's magnet laboratory proposes an electromagnetic theory of gravity. According to this view, gravity is the result of the aligning of electric dipoles in subatomic particles — protons, neutrons and electrons.
In her writings, H. P. Blavatsky made the startling statement that gravity is not a force of nature.[SD1, p. 490 et seq.] This was supported by her teachers. For example, in 1882 Mahatma K.H. wrote that "there is no gravitation properly speaking; only attraction and repulsion".[ML93B] According to Blavatsky, the agent behind the phenomenon of attraction and repulsion is Fohat, whose chief manifestation on the physical plane is electricity and magnetism.
The "Electric Universe" Project (now "Thunderbolt" Project) has been advertising for years that all previous scientists like Newton, Einstein, Bohr, Hawking, Penrose, … were ignorant of the reality of Physics, and that everything in the Universe can be explained by electric fields. This approach is very attractive for theosophists, because it has similitude with the Ancient Wisdom teachings, but it fails, up to now, to provide with any mathematical model – except the Birkland Field Theory – which would explain any of the observed physical phenomenon like cosmogenesis, baryogenesis, standard model, etc.
Source: http://www.holoscience.com/wp/electric-gravity-in-an-electric-universe/
Blavatsky (2)
bouncing universe (1)
brain scan (1)
cells (2)
cosmic web (2)
cosmogenesis (2)
Enceladus (2)
life-between-life (1)
lithopanspermia (2)
mindfullness (3)
near-death (2)
reincarnation (2)
Secret Doctrine (4)
telekinesis (1)
Reincarnation: Psychological Studies
Enceladus: A New Enigma in our Solar System
Visualizing the Soul: A Sufi Approach
Mind-Body Interaction : A Remedy for Chronic Headache Pain
COVID19 and Yoga
A Search for Divine Action in the World
MYCORRHIZAS: The Internet of Plants
XENOBOTS : When Cells decide to Live on their Own
Plate tectonics Revisited
What is Life ? How It started ?


Opulence doesn't always have to be on a grand scale, as the Troy marble dining table beautifully confirms.
Opulence doesn't always have to be on a grand scale, as the Troy marble dining tablebeautifully confirms.
This stylish round dining table, seating up to 4, is scaled for more compact spaces yet brings home a wealth of gorgeous style. Its top is made of your choice of brown Spanish marble or stunning white Volkas marble, both cool and polished with a warm-toned grain.
Two pairs of U-shaped legs interlock to form a cross-shaped base. Made of metal, and with a brushed bronze finish, they're a modern and stylish finishing touch.
Opulent in feel and exemplifying cool contemporary design, the Troy marble dining table is part of the Troy range of compact dining and occasional tables.


Football fans were stirring, and, of course, running their mouths.
Vol fans are finally ready for some football, last season was kind of a bear.
While visions of fullbacks danced in their heads.
We're just munching on some cornbread, it's our coach's favorite snack.
It was the Pride of the Southland band, playing around the ladder.
We've got to get to our seats before they strike up the band.
And out will run Smokey, such a good little pup.
There's more buzz in the air than Santa could ever provide.
They urge you to pay these prices, and PLEASE. PAY. NO. MORE.
They're about to look eye to eye with the Tennessee Volunteers.
Isn't it football season? What's up with this heat?
There's enough orange in this place to make John Denver blush.
The Vols have entered the building, its time to get loud!
The fans aren't asking for much, just get us to the Belk Bowl!
"On, Jarrett! On, Taylor! On, Warrior! And on, Shy!
On, On! On, Kongbo and Trey! Y'all remember Florida 2015? It's time to make Will Grier pay!
There's just nothing better than hearing the Pride blast Rocky Top.
We're in the hands of Phillip Fulmer and Jermey Pruitt, we're gonna be fine. Aight?
It's finally here, my friends, IT'S FOOTBALL TIME IN TENNESSEE!


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text:
Disidencia sexual y de género en Gabriela Mistral / Gender and Sexual Dissidence in Gabriela Mistral
Presented by Kellogg Institute for International Studies
Friday, December 2, 2022 12:00 pm EST
Offered in Spanish and English with simultaneous interpretation.
Claudia Cabello-Hutt
Associate Professor of Spanish
In this talk, Cabello-Hutt will answer the following questions: How is gender dissidence inscribed in Gabriela Mistral's body, performance, and discourse? How is this dissidence represented today, in the context of social outburst and sexual dissidence activisms? Where do we look for these dissidences and what do we expect from Mistral?
¿Cómo se inscribe la disidencia de género en el cuerpo, la performance y el discurso de Gabriela Mistral? ¿Cómo se representa esta disidencia hoy, en el contexto del estallido social y los activismos de disidencia sexual? ¿Dónde estamos buscando estas disidencias y qué esperamos de Mistral?
* This is one of seven lectures in the series "Rereading Gabriela Mistral 100 years after Desolación (1922-2022): A Transhemispheric Encounter," which explores the poetry of Nobel Laureate Chilean Gabriela Mistral (1889-1957) amid the political, social, and economic crises of the new millennium. All sessions are offered in Spanish and English with simultaneous interpretation.
Presented by the Kellogg Institute for International Studies with cosponsorship by the Nanovic Institute for European Studies, the Center for the Study of Languages and Cultures, Institute for Scholarship in the Liberal Arts (ISLA), and the Gender Studies Program at the University of Notre Dame. Join us on Friday, December 2, 2022, from 12:00 p.m. to 1:30 p.m. ET.
Claudia Cabello-Hutt, Associate Professor of Spanish and Director of Graduate Studies at the University of North Carolina at Greensboro
For more information visit the event website.
Art and HistoryCenter for the Study of Languages and CulturesChiledigest154Gabriela MistralGenderGender Studies ProgramHistoryInstitute for Scholarship in the Liberal Arts (ISLA)Kellogg Institute for International StudiesNanovic Institute for European StudiesPoetrySexual Identity
Justice and Asia Distinguished Lecture by Historian Romila Thapar
In a lecture titled "Writing History in Contemporary India," Thapar will examine academic freedom in India, especially the divide between the academic writing of history and...
Trans Sans Frontières: Transtopia, the Asia Pacific, and the Politics of Historical Difference
Wednesday, 09/07/2022, at 4:00 p.m. ET – The concept of transtopia, which posits a continuum model of transness, activates a space of historical inquiry that exceeds both the...
Rescuing Rolle: H.R. Bramley edits the English Psalter with Michael P. Kuczynski (Tulane University)
International scholars partake in a 9-part seminar series devoted to psalms sponsored by The John Paul II Catholic University of Lublin, the Research Group for the Study of...


text:
Геннадий Николаевич Тепляшин (1930—2012) — советский, российский врач. Народный врач СССР (1983).

Биография
Родился 4 мая 1930 года в селе Беляево Кикнурского района (ныне в Кировской области России) в семье служащих. Отец был ветеринарным фельдшером, мать работала в колхозе.

В 1938 году отец был репрессирован как «враг народа», в 1941 году умер в тюрьме. Мать умерла в 1942 году. Был отдан в детский дом.

После окончания в 1945 году семилетней школы, поступил в Яранскую фельдшерско-акушерскую школу.

Два года работал фельдшером Кикнурской районной больницы. В 1951 году поступил в Ижевский медицинский институт.

После окончания института в 1957 году получил направление в Бурят-Монгольскую АССР хирургом в Петропавловскую районную больниц Джидинского района.

В 1965 году по семейным обстоятельствам переехал на работу в Селенгинскую больницу Кабанского района Бурятии, где проработал 32 года, в том числе заместителем главного врача по лечебной части, а большую часть времени — заведующим хирургическим отделением.

Вёл общественную работу в больнице. Был членом Кабанского райкома КПСС, Бурятского областного комитета КПСС.

С 1997 года работал хирургом в поликлинике № 3 Улан-Удэ.

Умер в 2012 году.

Семья
 Жена — работник образования
 Дети — сын, сотрудник МВД Бурятии; дочь, врач-педиатр в больнице № 4 Улан-Удэ.

Звания и награды
 Заслуженный врач Бурятской АССР (1975)
 Народный врач СССР (1983)
 Значок «Отличнику здравоохранения» (1973)
 Почётные грамоты Министерства здравоохранения Бурятской АССР, областного комитета КПСС, Кабанского райкома КПСС.

Примечания

Ссылки
 В. А. Козин, Е. И. Ермакова, З. М. Хамарханова Они сжигают себя понемногу, что бы не гасли другие сердца. К 80-летию Кабанского района — Улан-Удэ, Издательство ГУЗ РЦМП МЗ РП, 2007.

Выпускники Ижевской медицинской академии
Хирурги СССР
Хирурги России
Члены Бурятского обкома КПСС

redpajama_set_name: RedPajamaWikipedia


This Suffolk based technology company are one of the largest worldwide suppliers of miniature lighting solutions, they wanted to create a new production area with temperature and ventilation with both being critical to their production processes.
To begin the project ESE firstly constructed a light duty mezzanine floor structure measuring 12m x 12m this was to be the template for the production area to be built around and the support of mechanical and electrical services. Then double steel partitioning panels with a mixture of solid and mid glazed panels were installed to the perimeter of the mezzanine floor from ground to a height of 3.30m to create an enclosed area.
From the underside of the mezzanine steel work we hung the air conditioning and ventilation units which were pivotal to the client's requirements requiring 5 air changes per hour as well as temperature control. Once these services were installed our electricians ran their cabling. The underside of the mezzanine was finished with a suspended ceiling to hide of the M & E equipment and mezzanine columns clad with white plastisol coated cases.
In to the grid we fitted the lighting, ventilation ducts and smoke detectors. Finally, to prevent heat loss, insulated bags were placed above to ceiling tiles.
To finish we installed a chipboard deck to the topside of the mezzanine floor to fully enclose.
"ESE project staff were, at all times, extremely helpful and efficient. The installation was completed to a high standard and with minimal disruption to our production processes. Overall, I would have no hesitation in using them for future projects and would recommend them to other businesses."


text:
EDITORIAL: Hike gas tax? Then boost millionaire's tax too
Gas prices are low, and New Jersey badly needs money for transportation projects. Momentum is building for a gas-tax hike, a proposal that's part necessity, part opportunity.
The opportunity part is those low prices. Making gas more expensive is far more palatable when drivers are paying $2 a gallon instead of $4. We could even rationalize that, say, another 25 cents a gallon -- the latest idea from Assembly Transportation Chairman John Wisniewski – still doesn't get us close to the gas prices of a few years ago.
But of course prices won't stay that low. That's why advocates want to strike fast.
The necessity part is New Jersey running out of funds for transportation. The state coffers are empty, and there will soon be nothing left to help fix our roads and bridges.
We were again reminded of the scope of the problem recently when the state ordered the temporary closing of the Amwell Road Bridge in Franklin. That bridge spans the Delaware and Raritan Canal in the East Millstone section of the township, and while the closing will be an inconvenience for many, it also compromises public safety; the Millstone Valley First Aid Squad and Fire Company are located in East Millstone but serve both sides of the river, making the bridge an important community lifeline.
It will be fixed. But for how long? It will eventually have to be replaced, as is happening in Dover, where the state closed the Prospect Street Bridge late last year. That span will be replaced right away, thanks to funding from the North Jersey Transportation Planning Authority, but more deteriorating bridges will follow.
Democrats are increasingly telling us there are no other realistic options to a gas-tax hike. Republicans are saying volumes with their relative silence on the issue; they may be accepting the inevitable, even if they don't want to admit it publicly. Gov. Chris Christie's choice of old Dem warrior Jamie Fox to return to his post as transportation commissioner was made with that in mind.
We have been resistant to accept a gas-tax hike because we wanted lawmakers to thoroughly explore alternatives. But short of a suddenly and magically booming economy, those alternatives aren't surfacing. And time is running out. So we can have an open mind, take a step back, and reconsider a gas-tax hike as a necessary means to an end, however distasteful it may be.
There are, however, two caveats. The first is that there must be absolute guarantees that all of the money generated by the increase be directed solely to transportation projects. There cannot be any means by which lawmakers would be able to siphon off revenue for other purposes.
The second is that it would be unconscionable for the Legislature to approve a gas-tax hike — which by its nature hits middle- and lower-income people harder than the wealthy — without also restoring a millionaire's tax. New Jersey needs money for many things. Government should not be in the business of sucking more money out of the pockets of those who struggle to afford it without at least striking a balance that will also generate new revenue from the wealthy.
Democrats won't fight that fight. They want the gas tax hike, and while they may want the millionaire's tax too, they know the latter is a non-starter with Christie. So they won't tie the two together. But they should, and they should shout it from the rooftops. It's only fair.


text:
Chestnut-Blue home
1914 - 19 Honour Roll
Korean War Honour Roll
Some old postcards
Our Cemetery
People and photos you may find interesting
Herbert Brookes
M, b. 13 September 1900, d. 24 January 1973
Father Albert Philip Henry Brookes b. 1881, d. Aug 1949
Mother Emily Wilhelmina Poulson b. 1878, d. 11 Feb 1932
Last Edited 4 Oct 2012
Herbert Brookes was born on 13 September 1900 at Victoria, Australia. He died on 24 January 1973 at Footscray, Victoria, Australia, at age 72.
Phillip Henry Albert Brookes
M, b. 1901, d. 19 August 1963
Phillip Henry Albert Brookes was born in 1901 at Melbourne, Victoria, Australia. He died on 19 August 1963 at Melbourne, Victoria, Australia.
Elizabeth Theresa Brookes
F, b. 1903, d. 19 March 1979
Elizabeth Theresa Brookes was born in 1903 at Melbourne, Victoria, Australia. She died on 19 March 1979 at Greensborough, Victoria, Australia.
Christopher Brookes
M, b. 1907, d. February 1949
Christopher Brookes was born in 1907 at Carlton, Victoria, Australia. He died in February 1949 at Melbourne, Victoria, Australia.
Albert William Brookes
Albert William Brookes died in 1910 at Melbourne, Victoria, Australia. He was born in 1910 at Melbourne, Victoria, Australia.
Emily Brookes
F, b. 1913, d. 11 October 1996
Emily Brookes was born in 1913 at Melbourne, Victoria, Australia. She died on 11 October 1996.
Jean Challenger
Father Thomas James Challenger b. 8 Jun 1885, d. 25 Jun 1951
Mother Ruth Graham b. 1 Apr 1884, d. 7 Jul 1968
Jean Challenger was born in 1904 at Unknown.
Thomas Franics Challenger
M, b. 1906
Thomas Franics Challenger was born in 1906 at Unknown.
Rita May Challenger
F, b. 10 May 1916, d. 22 November 2000
Father William James Challenger b. 2 Mar 1887, d. 28 Apr 1966
Mother Dorothy Zella Hitchins b. 1900, d. 29 May 1970
Rita May Challenger was born on 10 May 1916 at Hastings, Tasmania, Australia. She died on 22 November 2000 at Hobart, Tasmania, Australia, at age 84.
Lesley Brian Challenger
M, b. 25 June 1929, d. 23 October 1980
Father John Challenger b. 16 Aug 1894, d. 11 Jul 1970
Mother Pearl Frances Kilpin b. 1897
Lesley Brian Challenger was born on 25 June 1929 at Tasmania, Australia. He died on 23 October 1980 at Hobart, Tasmania, Australia, at age 51.
Allen David Challenger
M, b. 2 May 1928, d. 19 June 1983
Allen David Challenger was born on 2 May 1928 at Hobart, Tasmania, Australia. He died on 19 June 1983 at Brisbane, Queensland, Australia, at age 55.
Albert John Challenger
M, b. 26 November 1917, d. 14 July 1956
Last Edited 15 Oct 2012
Albert John Challenger was born on 26 November 1917 at New Zealand. He served in an unknown place between 1939 and 1945. He departed Sydney, New South Wales, Australia June 1940. He arrived 29 July 1940 Liverpool, Lancashire, England. He lived in 1949 at 17 Powell Crescent, Footscray, Victoria, Australia. He lived in 1949 at Camp Bell, Melbourne, Victoria, Australia. He died on 14 July 1956 at Footscray, Victoria, Australia, at age 38.
Edwin 'Fred' George Sydney Salerno Cutajar1
M, b. 31 May 1935, d. 16 January 1995
Father Spridione Cutajar b. 1907, d. 7 Jul 1977
Mother Eliza Jane McAuliffe b. 15 Sep 1899, d. 1982
Edwin 'Fred' George Sydney Salerno Cutajar was born on 31 May 1935 at Geelong, Victoria, Australia. He died on 16 January 1995 at Rosebud, Victoria, Australia, at age 59.
[S7] Email message from John M.
M, b. 25 August 1954, d. 27 August 1954
Father Henry John Robert Asquith b. 21 Jan 1901, d. 1974
Mother Doris Grace Tilton b. 7 May 1912, d. 12 Jun 1990
Brian Asquith was buried at Euroa Cemetery, Euroa, Victoria, Australia. He was born on 25 August 1954 at Victoria, Australia. He died on 27 August 1954 at Mooroopna, Victoria, Australia.1
[S48] Website: Victoria Registrar Births, Deaths and Marriages.
Heather Dawn Botten
F, b. 17 June 1938, d. 18 January 1986
Father Richard Thomas Botten b. 18 Aug 1899, d. 24 Jul 1968
Mother Nellie Jane Asquith b. 23 Nov 1903, d. 13 Jan 1994
Heather Dawn Botten was born on 17 June 1938 at Victoria, Australia. She died on 18 January 1986 at Victoria, Australia, at age 47.
Dorothy May Botten
F, b. 1924, d. 4 January 2012
Dorothy May Botten was born in 1924 at Victoria, Australia. She died on 4 January 2012 at Shepparton, Victoria, Australia.
Chestnut Blue, bluenut64@bigpond.com
Site updated on 13 May 2019 at 2:35:35 PM; 51,864 people
Page created by John Cardinal's Second Site v7.03. | Graphics by Carla's Graphic Designs


text:
Promoter Frank Warren impressed by Olympian Billy Joe's pro debut
Published: 6:11 PM March 1, 2009 Updated: 7:56 PM November 3, 2020
BOXING promoter Frank Warren heaped praise on Olympian Billy Joe Saunders after his entry into the paid ranks. The 19-year-old from Hatfield beat Hungarian Attila Molnar inside two rounds at the Birmingham NIA last night. It was an assured start by teena
BOXING promoter Frank Warren heaped praise on Olympian Billy Joe Saunders after his entry into the paid ranks.
The 19-year-old from Hatfield beat Hungarian Attila Molnar inside two rounds at the Birmingham NIA last night.
It was an assured start by teenager Saunders in the pro game against a vastly more experience opponent from Eastern Europe.
New trainer Jimmy Tibbs has already gone on record as saying that he feels the Hatfield fighter has what it takes to make it to the very top.
And promoter Warren was equally impressed with his man after last night's opening bout in Birmingham.
Warren feels there are exciting times ahead for Billy Joe and fellow Olympians James DeGale and Frankie Gavin.
"What he (Billy Joe) showed tonight is that he has a good temperament, which I'm pleased with," said Warren on Sky Sports.
"I think it's going to be a real good time for him in the programme and at the end of the day if he keeps his head focused and keeps his feet on the floor he can get there.


Advanced gastric cancer in the lower third of the stomach often results in stricture of the gastric cavity and digestive symptoms. Gastrojejunostomy has been suggested to improve such symptoms, and the advent of new anticancer agents for gastric cancer has improved the response rate of the disease, which makes it possible to perform R0 gastrectomy in part of patients with stage IV gastric cancer. We experienced a rare case in which a patient with stage IV gastric cancer and cancerous pyloric stenosis was treated with R0 surgery after undergoing a gastrojejunal bypass procedure and multidisciplinary treatment. There have not been any previous reports about cases in which a previous gastrojejunostomy was utilized as a reconstruction route during distal gastrectomy in a patient with gastric cancer that had been treated with chemotherapy and/or CRT.
An 80-year-old female with advanced gastric cancer and pyloric stenosis was admitted to Kagoshima University Hospital. As peritoneal washing cytology produced a positive result, laparoscopic gastrojejunostomy (modified Devine procedure) was performed to improve food passage, and S-1 (100 mg/body, days 1–14) plus paclitaxel (120 mg/body, days 1 and 15) was administered. Although the tumor was temporarily reduced in size, an abdominal computed tomography scan obtained after four courses of chemotherapy showed progressive disease. Thus, chemoradiotherapy (56 Gy, S-1: 60 mg/body, CDDP: 5 mg/body, days 1–5) was indicated. Marked tumor shrinkage and negative peritoneal washing cytological results were achieved. Curative gastrectomy with D2 lymphadenectomy was performed. We carried out distal gastrectomy and lymph node dissection, and the gastrojejunostomy produced as a gastric bypass in the previous operation was preserved. The patient has not suffered a tumor relapse in 4 years since the surgery.
We surgeons increase a chance to perform R0 gastrectomy for stage IV gastric cancer following intensive chemotherapy and/or CRT. We should choose proper position of gastrojejunostomy in producing alimentary bypass for stage IV gastric cancer patients to facilitate curative surgery.
Intensive chemotherapy is indicated for stage IV gastric cancer, and its effects determine patient outcomes. Several reports have demonstrated the potential of S-1 as a treatment for advanced or recurrent gastric cancer in Japan . Advanced gastric cancer in the lower third of the stomach often results in stricture of the gastric cavity and digestive symptoms such as appetite loss and vomiting. Gastrojejunostomy has been suggested to improve such symptoms . The advent of new anticancer agents for gastric cancer has improved the response rate of the disease and has made it possible to destroy distant lesions [3–6]. Intensive chemotherapy might make it possible to perform R0 gastrectomy in part of patients with stage IV gastric cancer. In such cases, a gastrojejunostomy that was produced as a bypass might be used as a reconstruction route after curative gastrectomy.
We present a rare case of stage IV gastric cancer, in which curative surgery was performed after multidisciplinary treatment. A previous gastrojejunostomy was utilized as a reconstruction route during the curative procedure.
An 80-year-old woman was admitted to Kagoshima University Hospital with a chief complaint of epigastralgia. Gastroscopy revealed type 3 gastric cancer in the lesser curvature of the antrum (Fig. 1). The pathological diagnosis of the biopsy specimen was poorly differentiated adenocarcinoma. Abdominal computed tomography (CT) revealed thickening of the antrum wall, 70 mm in diameter, and suggested that perigastric lymph node metastases were present. A blood test showed serious anemia (Hb 4.7 g/dl), and the patient's carcinoembryonic antigen and carbohydrate antigen 19-9 levels were normal. The patient underwent a staging laparoscopy under general anesthesia, and perioperative washing cytology of her ascites produced a positive result. She was diagnosed with stage IV gastric cancer, and a gastrojejunostomy was produced in the middle third of her stomach to improve food passage. The status of gastric cancer was cT4a(SE)N2H0P0CY1 cStageIV (based on Japanese classification of gastric carcinoma ).
Therefore, a combination of S-1 (100 mg/body, days 1–14) plus paclitaxel (120 mg/body, days 1 and 15) was administered. Although the tumor was temporarily reduced in size, gastroscopy and abdominal CT showed tumor regrowth after four courses of chemotherapy (Fig. 2). However, a preoperative peritoneal washing cytology produced a negative result (CY0) so chemoradiotherapy (CRT; total dose 56 Gy, S-1: 60 mg/body, CDDP: 5 mg/body, days 1–5) was started for the purpose of local control. The CRT resulted in marked tumor and nodal shrinkage, as determined by CT and gastroscopy (Fig. 3), and preoperative peritoneal washing cytology continued to produce negative results (CY0). Then, distal gastrectomy with D2 lymphadenectomy was performed with curative intent. The stomach was resected on the distal side of the gastric bypass, and the gastrojejunostomy was reused as a route for the reconstruction of the remnant stomach and jejunum (Fig. 4). Macroscopically, the gastric lesion in the resected specimen was scarred (Fig. 5). The pathological diagnosis was poorly differentiated adenocarcinoma, 10 × 5 mm, ypT3(SS), ly1,v-,N0,M0 ypStageIIA. Pathological examination revealed the proper muscular layer had disappeared, which had been replaced by the fibrous tissue in the center of scar. A few viable cancer cells were found in the tumor nest, so histological effect by the CRT was evaluated as grade 2 according to the Japanese classification of gastric carcinoma .
The patient's postoperative course was uneventful. Because of a low level of white blood cell, she has been followed closely without adjuvant therapy. Four years after the operation, she is well, and the tumor has not relapsed.
The initial regimen used to treat this patient involved biweekly paclitaxel plus S-1. This regimen was originally established in our department [8, 9], and Nakajo et al. reported that it resulted in a response rate of 43.6% and a median survival time of 268 days, which are not inferior to those of the standard regimen for gastric cancer. Moreover, elderly patients are able to tolerate this approach and have been repeatedly treated with this regimen. In the present case, this chemotherapy regimen resulted in the disappearance of cytological positivity.
As the patient's tumor was resistant to the first regimen, we chose to treat the patient with CRT after confirming that her distant metastases were under control. The use of second-line chemotherapy after the failure of first-line chemotherapy seems to be a common approach to the treatment of advanced gastric cancer. Hironaka et al.  suggested the clinical usefulness of second-line chemotherapy for stage IV gastric cancer. However, the response rate was lower than 21%, which was significantly lower than that for first-line chemotherapy.
CRT is included in the current standard regimen for advanced gastric cancer. Ajani et al.  reported that combined treatment involving radiotherapy and chemotherapy (5-FU plus cisplatin) in a neoadjuvant setting produced a R0 resection rate of 77% and a pathological complete response rate of 26%. Moreover, in Japan, Saikawa et al.  reported a markedly high response rate in a phase II study of CRT involving S-1 and cisplatin for unresectable gastric cancer. Finally, we found that CRT had a markedly beneficial histological effect on gastric cancer. It is suggested that CRT is a possible second-line therapy for advanced or recurrent gastric cancer. Therefore, multidisciplinary treatment involving CRT might be useful as a second-line treatment for locally advanced gastric cancer.
Three surgical strategies have been indicated for gastric cancer patients with cancerous obstruction: palliative gastrectomy, an alimentary bypass, and stent insertion. Patients that exhibit a good performance status are often indicated for gastrojejunostomy to produce an alimentary bypass . Simple gastrojejunostomy often concomitant with delayed gastric emptying and bleeding from the tumor surface . Devine et al. introduced the novel gastrojejunal bypass with a transection between the tumor and gastrojejunostomy to prevent such complications . Schantz et al.  reported of modified Devine procedure with hemitransection of the stomach, which allows endoscopic examination. Therefore, modified Devine procedure seems to be suitable for stage IV gastric cancer patients planning to receive intensive chemotherapy and/or CRT like the current case. As a result, her pyloric stenosis improved, and she was able to receive treatment as an outpatient. The use of a laparoscopic approach during gastrojejunostomy is becoming increasingly common. In a previous series, we performed gastrojejunostomy after staging laparoscopy . At the first surgery, we paid attention to keep a good margin from the tumor to produce gastrojejunostomy.
In the second surgical procedure, we simply resected the distal stomach and lymph nodes, and we were able to utilize the gastrojejunostomy produced during the first surgical procedure.
There have not been any previous reports about cases in which a previous gastrojejunostomy was utilized as a reconstruction route during distal gastrectomy in a patient with gastric cancer that had been treated with chemotherapy and/or CRT.
MS participated in the conception, coordinated with other doctors about the design of the study, collected data and consent, and drafted the manuscript. SI participated in the surgery and in drafting the manuscript. TA and YU participated in the surgery. YU, YK, YK, HK, YM, KM, and SN conceived of the study, participated in its design and coordination, and helped to draft the manuscript. All authors read and approved the final manuscript.


knightsinncadizky.com - Chaos Yu-gi-oh! Fandom Powered By Wikia A museum scene in the Yu-Gi-Oh! . Yu Gi Oh Chaos Deck.. "Chaos Sorcerer" can work very well in this Deck, as can "Chaos Necromancer" due to the number of cards that are always being.... 11/10/2004�� What are Chaos Sorcerer decks supposed to look like? I need to see some good examples. Feel free to post your Chaos Sorcerer deck ideas here. I need to see some good examples. Feel free to post your Chaos Sorcerer deck ideas here.
In the chaotic online game how do you build an deck?
1/05/2018�� Wanna Find me? Heres my social links! Facebook : https://www.facebook.com/profile.php?... Facebook Page: https://www.facebook.com/lowtier4life... Twitter... There are just two rules: You need exactly sixty normal basic lands in your deck: Plains, Island, Swamp, Mountain, and Forest. You need exactly one �Momir Vig� Vanguard card in your deck.
knightsinncadizky.com - Chaos Yu-gi-oh! Fandom Powered By Wikia A museum scene in the Yu-Gi-Oh! . Yu Gi Oh Chaos Deck.. "Chaos Sorcerer" can work very well in this Deck, as can "Chaos Necromancer" due to the number of cards that are always being.
10/01/2008�� Upload an entire Starter Deck with a single code! Abilities are slightly different for each copy of a monster to keep things chaotic. Enough strategy for expert gamers.


We all need Tissue holders everywhere in our home, in the kitchen, in the living room, in the bedroom, and especially in the bathroom, so we prepare them with proper support to make everything comfortable. Of course, we often choose wooden paper holders not only for their use but also for their decoration. Then we will buy cute or elegant wooden tissue holders. However, if we choose a holder for the bathroom, we usually neglect the usefulness and durability of the tissue holder.You may want to switch to the use of tissue holders and get one of these great wooden tissue holders. Here are some great benefits that you can enjoy once you get one!