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Cornstarch & Vinegar for Blackheads
By: Chris Lombard
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Voyagerix/iStock/Getty Images
Blackheads are dark bumps visible on the surface of the skin. While they are medically harmless, their appearance can be embarrassing and distressing for the person involved. Blackheads are most common in "the T Zone," an area of skin on the face covering the forehead, nose and chin. Sometimes the affected area can also spread across the cheeks. On the body, blackheads are most common on the chest and back. Blackheads are a form of acne vulgaris, and may co-occur with the other skin lesions associated with acne.
What Causes Blackheads?
Your sebaceous glands are structures in the deeper layers of skin that release sebum, an oily substance that is made up of fat, wax and dead skin cells. This functions to moisturize and waterproof the skin. If a constant flow of sebum is not maintained, the sebum becomes stuck in the sebaceous gland's duct. Oxygen in the air reacts with the sebum and darkens it, forming a dark plug of matter called a blackhead or open comedo.
Who Gets Blackheads?
Blackheads are very common in people with oily or combination skin, especially in cooler climates. In warm climates the flow of sebum remains almost constant, and so the sebum does not remain in the duct long enough to be oxidized. Although inadequate cleansing can cause blackheads to form, most people with blackheads get them because of their oily skin type, no matter how good a cleansing regime they have. As adolescents are more likely to have oily skin than older people, they are the population most likely to have blackheads.
Cornstarch And Vinegar Mixture
Cornstarch and vinegar is a commonly used home treatment for blackheads. Pour ¼ to ½ cup of cornstarch into a bowl and add vinegar slowly while stirring. Add the vinegar until the mixture forms a thick paste. Apply the mixture to the blackhead affected areas on your face and leave on for 20 minutes. The mixture will dry to a hard plaster-like substance in the meantime. Rinse it off with warm water, and follow this with a cold water rinse to close the pores.
Cornstarch is a mild astringent, reducing the amount of oil produced temporarily. It also absorbs a large proportion of the oil that is on the surface of the skin at the time of application. Vinegar is an acid, and acids can reverse oxidation. In other words, vinegar can bleach the blackheads, turning them to their original pale clear/yellow color. For best effects, use this mixture two to three times per week.
This mixture is not suitable for people with sensitive skin. You should do a patch test at least 24 hours before applying the face mask, and do not use this remedy if you are allergic to any of the ingredients.
Natural-Cure-Guide.com: Blackheads
Medical News Today: What are Blackheads? How to Get Rid of Blackheads
Chris Lombard has been writing professionally since 2009. She has a background in psychology and healthcare. Lombard writes for many mental health related sites, including the peer support site Turn2me.org. Lombard holds a Bachelor of Arts degree in psychology from Trinity College Dublin, and is currently pursuing a Master of Science degree in foundations of clinical psychology from Bangor University, Wales.


Old Grace Episcopal is among the oldest churches in Sheffield. Constructed in 1903, it is a brick and stone building designed in the Late Victorian Gothic style. In 1963 the Episcopal Diocese sold the building and parishioners moved to a suburban location. Various congregations used it afterwards. Maintenance of the structure remains a concern, and leaks in the roof contribute to ongoing moisture damage in the building. The original woodwork and historic fixtures remain, but previous owners removed the stained glass and pews.


Is there any way to know the temperature of food cooking in the microwave?
I am making candy in the microwave and need to be able to cook it to the soft crack stage [290-300 degrees]. How do I know when it reaches this temperature?
Some microwaves (not many) include a temperature probe. If yours does not, no luck there.
Don't just stick in a thermometer, it will probably result in arcing and damage.
How do I control the temperature of water for an extended period of time?
What is water temperature after electric kettle switches off?
How do I reduce kitchen temperature during cooking?


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UAE and US pledge $20 billion for 15 gigawatts of new clean energy projects
The United Arab Emirates and the US on Sunday said they would pledge $20 billion to fund 15 new gigawatts of clean and renewable energy projects in the US before 2035 in the first investment wave under their $100 billion clean energy partnership provide energy.
The investments will be led by UAE-based Masdar and a consortium of US private investors, announced Sunday at a briefing for business and climate leaders during Abu Dhabi Sustainability Week.
This first wave of investments under the Clean Energy Accelerator Partnership will be "funded by $7 billion in cash from the private sector, which will catalyze $13 billion through U.S. debt financing and other instruments," the statement said.
The two nations signed a strategic partnership in November 2022 to invest $100 billion to produce 100 gigawatts of clean energy worldwide by 2035.
It will cover a wide range of established and emerging technologies, encompassing private and public sector support and reaching out widely to developed and developing countries.
The United Arab Emirates and the United States also announced the formation of a Pace Governance Expert Group, led by Dr Energy Security.
The bilateral body will be composed of representatives from the public and private sectors of both countries.
"The UAE, already one of the world's largest investors and developers of renewable energy, joins forces with the US in Pace to advance a just energy transition, improve energy security and demonstrate that climate action can create economic opportunities," said dr Al Jaber, who is also Chairman of Masdar and Managing Director and Group Chief Executive of Adnoc.
"As the international community prepares to take stock of global climate progress at Cop28 in the UAE, this multi-sector partnership is a transformative move to advance mitigation and adaptation through pragmatic investment and deployment of clean energy projects in the US, December 2019 UAE and emerging countries boost economies around the world.
"We are confident that this partnership will provide a new collaborative model that unifies global efforts toward Cop28 to make meaningful progress."
Cop28 Director-General Majid Al Suwaidi and David Livingston, Senior Advisor to US Special Envoy for Climate Issues John Kerry, have been appointed deputy co-chairs of the panel.
Group members will meet monthly to provide guidance on Pace's four strategic pillars: innovation, engagement and clean energy supply chains; carbon and methane management; nuclear energy; and decarbonization of industry and transport.
As one of the most active investors in clean and renewable energy projects in the US, the UAE has supported 10 clean energy projects totaling more than 1.75 GW in California, Texas, New Mexico and Nebraska through Masdar, the statement said.
The Emirates is investing Dh600 billion (US$163.5 billion) in clean and renewable energy projects over the next three decades to achieve net-zero emissions by 2050.
Updated Jan 16, 2023 3:21 am
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redpajama_set_name: RedPajamaCommonCrawl


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Q: DialogFragment attaches to MainActivity instead of parent fragment activity I create a DialogFragment from a Fragment and I have implemented a listener in the fragment, the problem is that the DialogFragment attaches to MainActivity instead of Parent Frame.
So I have this code in the DialogFragment which is called from the Fragment
// Override the Fragment.onAttach() method to instantiate the
// SensorRateChangeListener
@Override
public void onAttach(Activity activity) {
    super.onAttach(activity);
    // Verify that the host activity implements the callback interface
    try {
        // Instantiate the SensorRateChangeListener so we can send events to
        // the host
        mListener = (SensorRateChangeListener) activity;
    } catch (ClassCastException e) {
        // The activity doesn't implement the interface, throw exception
        throw new ClassCastException(activity.toString()
                + " must implement SensorRateChangeListener");
    }
}

And this is the code from Fragment which calls the dialog
FragmentTransaction ft = getFragmentManager().beginTransaction();
            Fragment prev = getFragmentManager().findFragmentByTag("dialog");
            if (prev != null) {
                ft.remove(prev);
            }
            ft.addToBackStack(null);

            // Create and show the dialog.
            DialogFragment newFragment = SensorRateChangeDlg.newInstance(mStackLevel);
            newFragment.show(ft, "rate");

And when I run the app and the DialogFragment is created it crashes with the error....MainActivity should implement SensorRateChangeListener, but it is implemented in the calling Fragment.
Error: MainActivity@424085b8 must implement SensorRateChangeListener

I cannot implement the SensorRateChangeListener interface in MainActivity, because it have a lot of other functions related to the Fragment and it would make things more complicated.

A: your app crashes here
 mListener = (SensorRateChangeListener) activity;

because it's expecting your Main Activity to be like this:
public class MainAcivity extends Activity implements SensorRateChangeListener{

since you implemented the SensorRateChangeListener interface in another fragment, it crashed.
so just implement the SensorRateChangeListener interface in MainActivity or just implement a method like this:
public void setOnSensorRateChangeListener(SensorRateChangeListener listener){
mListener=listener;
}

EDIT
and from the activity/fragment that implements the SensorRateChangeListener interface:
newFragment.setOnSensorRateChangeListener(this);

then check if the listener is not null before calling it:
if(mListener!=null)

redpajama_set_name: RedPajamaStackExchange


Dr. Quinton C. Robinson graduated with honors from the University of Tennessee Health Science Center with a BS degree in Medical Technology.
Dr. Robinson received his Doctor of Dental Surgery Degree (1984) where he graduated in the top 10% of his class, and a Post-Doctoral Masters of Science Degree in Orthodontics and Dentofacial Orthopedics (1988) from the University of Tennessee, College of Dentistry.
He is licensed by the State of Tennessee as a Specialist in Orthodontics. His practice is limited exclusively to the practice of Orthodontics for children, teens, and adults.
Dr. Robinson is a member of several dental organizations including the American Association of Orthodontist, the Southern Association of Orthodontists, the Tennessee Association of Orthodontists, the Tennessee Dental Association, the Memphis Dental Association, the Shelby County Dental Association, the Pan-Tennessee Dental Association, and the National Dental Association.
Dr. Robinson is supported by a professional and caring staff who work together to provide personal care for all of their patients. All dental assistants are registered by the Tennessee Board of Dentistry and were chosen for their technical skills. Each member of the office staff is highly trained and is an integral part of the practice.


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xQc Says Overwatch 2 Is The Same Game As Overwatch 1
"It's the same game" kind of sums up how many fans feel.
While xQc was streaming, a viewer mentioned a new Overwatch 2 video. xQc, a former top Overwatch pro, was eager to learn more about the game. He went to the newest clip and was shocked at what he saw.
Overwatch 2 doesn't look or play very differently than Overwatch. In fact, it just looks like a polished version of the original. In truth, xQc was pretty tame for this game and chose not to be too harsh, but it was hard to ignore the comments.
More Streamers: "Literally Prefiring!" - Snip3down Furious As He Catches Apex Legends Predator Cheating
Overwatch 2 Clips
xQc watched the video, and it received 574 likes to 729 dislikes. The dislike to like ratio of that video is 745 likes to 2k dislikes at the time of writing. It's pretty clear where this is going.
WATCH: xQc Gets Sucked Into A Tornado In Battlefield 2042
In the comments, many players thought this was an expansion rather than a sequel. Overwatch 2 has a new HUD, which alters how players perceive information from their screens. However, there are a lot more expectations for a sequel than for an expansion.
Angry comments and disliking videos are the only ways fans can express their feelings about games or potential upgrades. The comments are angry that Blizzard-Activision stopped giving updates to this game just to make a sequel. It is important to wait for the game to be released before deciding if the sequel was a good idea.
Fortnite took a different approach by upgrading its own game and then offering cosmetic incentives. At the moment, it's clear which strategy is paying off, but this may change with the new game.


With the goggles on I went under water and immediately felt different - Didn't have to worry about plugging my nose, like I usually do. Didn't have to worry about being blind under water, like I usually do. I could see everything and both hands were free. That's when it happened, a surge of courage burst through me, I suddenly felt capable of more. After touching the floor of the pool and attempting to nail down my freestyle technique I set my sights on the diving board. In all my years working this camp I've never tried diving off the diving board. I just figured it wasn't a wise move for me, I didn't want to make a fool of myself, I didn't want something to happen and have a lifeguard save me from drowning. Okay, fine. Maybe Gael was right, there was cowardice in me. I was afraid of looking weak. I was afraid of looking incompetent, so I never tried. But, today was different, today I had my trusty goggles on.
Goggles in place, I stepped up and, whispered, "Lord, don't let me drown," and clumsily hopped into the water. There were no points gained for style or technique, but I did it. This thing that I never had the courage to do, I did. And it was all because of Gael, here.
Older PostWon't You Be My Neighbor?


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CulturefeaturedSports
Meet an Akron Aviator- Desmond Gattis
Interview by Jillian Holness
The Devil Strip had the opportunity to go inside the locker room after the game and speak with point guard and shooting guard, Desmond Gattis.
The Akron Aviators ended up beating the Shizuoka Gym Rats 126-116. I had the opportunity to speak with one of the Aviators, 28-year-old Desmond Gattis from Alliance, about his experiences playing overseas, how he became an Aviator and his future plans in semi-pro basketball.
Jillian Holness: How do you think the game went tonight?
Desmond Gates: The game went really well. I was surprised at the guys because some of them didn't show up to practice. We were really hustling and offense clicked well. Some things we could have done better, like passing the ball instead of being selfish, but overall, we played a great game.
JH: What are your predictions for this season?
DG: I think we can win it all [in the American Basketball Association's Finals]. We definitely have a great team, you know, young, talented. We have a team that can make it far. If everyone comes together and plays as a unit, we can really go far.
JH: Besides being a member of the Aviators, what else do you do?
DG: I cut hair on the side. I'm working on getting my license in barbering, and I'm working on going back overseas.
JH: Where did you play overseas?
DG: I played for four years in Europe. I went to Kosovo and Montenegro.
JH: What was it like playing in Europe and experiencing a different culture?
DG: The culture was amazing. They treated us like we were royalty. Kind of rolled out the red carpet for us. Fans love you. People love you. With everything going on in the world, you would think that it's bad to go over there, but it's not, because we as Americans get treated differently, being in a different country. If you work with a great organization, they take care of you, they treat you good, no problems, none of that. That's the good thing about Europe.
JH: As a young black man are you treated better, worse or the same in Europe?
DG: I haven't had any problems while there. I didn't run into one person calling me the n-word or getting loud with me. Being in the States, we experience more racism. Being in Europe, you can go over there and be treated way better than in America.
Read more: Brian Collins and The Akron Aviators have revived semi-pro basketball in Akron
JH: How did you first learn about the Akron Aviators?
DG: I met Brian two years ago. I played in two games last year or two years ago for the Akron Aviators, and I ended up going back overseas.
JH: What brought you back to Akron?
DG: I'm waiting on a better contract. I got in touch with Brian and he put me back on the team. So, that's what made me come back.
JH: What's a typical day like for you?
DG: Busy, busy. I got a little boy. He's eight years old and lives in Charlotte. I cut my hair like a full-time barber, and I hang out with the boys. I'm pretty much busy from Monday to Sunday, to be honest.
JH: What's the hardest part about being a semi pro basketball player?
DG: I would say getting everyone to practice. That's the hardest thing. For real. Nobody shows up all the time. When it's game time, some people want to show up and expect to play. That's probably the hardest thing about it, to be honest, and travel. It could be snowing bad one day, not too many people can make it out. It's kind of far for certain people. Some people live in Cleveland, an hour away. Some people live in Alliance, that's like an hour away too. Hartville and Salem are also far.
JH: For games are you responsible for your own ride?
DG: Yeah. Some of us carpool. If you live in Alliance, Cleveland or wherever, you'll get with a teammate and they'll bring you here.
JH: What's the best part about being on the Akron Aviators?
DG: The players. I met some really good friends. It's probably the best part about it. Everybody getting along, everybody coming together and becoming a team.
JH: As an athlete, what are your goals?
DG: My goals are to be successful in what I do. To put 110% into everything I do, on and off the court. I take the time to practice every day. I work out everyday on top of my busy life. This is my passion. This is my future. This is me. So, my goal is to be the best that I can be at a pro level.
JH: Do you have plans for the future to play overseas again?
DG: I do have plans to go back, probably this summer, in August. Whatever my agent brings to the table, if it's reasonable, then I'll go back. My goal is to go back as soon as possible.
JH: Which country do you want to play in?
DG: I'm willing to go anywhere as long as the situation is good.
JH: Is there anything else that you would like to talk about?
DG: I want to talk about Brian. He's a really good guy for bringing this organization here and getting young people showcased and showing their skill. There's not too many places that you can go and actually play at a professional pro level. This is really a great opportunity for people to come out and have fun and do what they want love to do. I want to thank Brian and the staff for bringing this team to Ohio.
Photo: Used with permission from the Akron Aviators
AviatorsDesmond GattisSemi-pro Basketball
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Struggles July 29, 2015
Pommes Frites Owners' Desire to Sell Beer Could Be New Location's Undoing
Don't you want a beer with your fries? Photo: Jazz Guy/Flickr
Devotees rejoiced when Pommes Frites found a new location after its longtime home tragically burned down because of the East Village gas explosion, but now its path forward isn't looking quite so smooth. The community board for the area housing the shop's new location at 128 Macdougal Street in Greenwich Village, set to open later this year, has unanimously advised the State Liquor Authority to deny granting co-owners Omer Shorshi and Suzanne Levinson's beer and wine license.
The opposition stems from the fact that the board wants Shorshi and Levinson to stop serving beer at midnight or 1 a.m., because of a perceived saturation of bars and late-night revelers, but the owners have refused to budge on their desire to serve until 4 a.m. The problem is that Shorshi says that late-night income will be crucial to keeping the new store afloat, which has "like, triple" the rent of the original (beer-free) location, and that agreeing to these conditions, which the board says they demand of all fast-casual spots on the street, will essentially doom the new store.
That didn't seem to bother the community board, with one member, Elaine Young, reportedly responding, "that's not our problem." Nothing is certain yet regarding Pommes Frites's license, and, as always, the final decision is in the hands of the SLA, which may very well grant the license anyway. But if it does get denied and Shorshi is right about the need for booze, it could be a swift, sad fate for the late-night institution.
[DNAinfo]
Pommes Frites Owners' Desire to Sell Beer Could Be New Location's


It's incredibly likely that we aren't alone in the universe, but the chances of us making contact with extra-terrestrials aren't nearly as high. Astrobiologist Amri Wandel seeks to expand on the Drake equation (a formula used to encapsulate the variables scientists looking for E.T.s should consider) by factoring in some of the recent Kepler data. According to Wandel's research (PDF), there are possibly billions of life-sustaining planets in the galaxy, but planets where organisms could exist and planets where life does exist are two different things. These findings come from an advance-release of the International Journal of Astrobiology that should see publication next year.
Using high and low estimates for the aforementioned billion, Wandel figures there might be life on a planet 10 to 100 light-years away. If you factor in advanced life capable of broadcasting its existence out into space, then Wandel optimistically estimates the nearest civilization could be thousands of light-years away. As Motherboard notes, however, the research assumes that aliens would have similar physical requirements to humans in terms of what's needed for survival. If life isn't limited to existing within the habitable zone -- i.e., ideal conditions and neither too close nor too far from the star a planet orbits -- that'd push the amount of life-sustaining planets up by quite a bit, however. The paper is a bit dense, to be sure, but if Interstellar left you wanting something a bit more high-level, it could be what you're after.


In a series of appearances beginning in December of 1531 to Juan Diego, an Indian neophyte, the Virgin expressed her desire to have a church built upon the site of her appearance, the Tepeyca hill, just outside the Mexican capital. The Virgin's wishes were granted once Diego presented a cloak full of roses to the unbelieving bishop. The cloak, or tilma, miraculously presented her image. This tilma is still found today in the basilica of Guadalupe, and has been there since 1709.
Our Lady of Guadalupe, surrounded by a mandorla of golden rays, is standing on a crescent moon, supported by a cherub. This depiction of the Madonna, standing on the moon and encircled by a large halo, was built upon medieval illustrations of the Apocalyptic Woman, which can be traced back as early as the tenth and eleventh centuries.
Her appearance to Juan Diego was an important element of the conversion of the Indians. Previous to the miraculous appearance, there stood on Tepeyac hill a temple to the goddess, Tonantzin, "Mother of the People, Our Mother", also known as Teotonantzin, "Mother of the Gods". With hopes the Indians would stop worshipping the pagan goddess, a statue of the Virgin Mary was placed in the Indian shrine. Attendance to the altered site was slight. Then came the miraculous appearance of the Virgin, with her dark complexion and compassion for the poor and humble. Her blue mantle with golden stars reflected the garb of the Mexican heaven, not unlike Tonantzin.


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The Poetry Department . . . aka The Boynton Blog
community creativity from Whatcom County, Washington…and beyond
Sue C. Boynton
Poetry Walk
Not forgotten
With the generous participation of outstanding poet/instructors, the Sue Boynton Poetry Contest offers a number of workshops each fall and winter. No previous poetry experience is required.
Workshops are held at Mindport, 210 W Holly Street, Bellingham, Washington. Registration is required and all fees benefit the Sue C. Boynton Poetry Contest: $30 for one workshop or $50 for both workshops offered the same day, paid by check or cash at the workshop.
Register by sending an email to boyntonpoetrycontest@hotmail.com indicating the workshop(s) you wish to take and including your name and a phone number. Please bring writing materials.
NOTE: workshops are listed in reverse chronological order
10:00am-Noon
Claudia Castro Luna
When in doubt make a list
Lists are ubiquitous in our lives. We use them as we gear up to travel, for grocery shopping, as everyday to-do reminders. It turns out poets use lists widely as armature for their poems. Sometimes the lists are so well disguised it takes some sleuthing to see them, at others it is the obvious structural element. We will take a close look at poems that contain lists and write our own.
Claudia Castro Luna is Washington State Poet Laureate. She served as Seattle's Civic Poet from 2015-2017 and is the author of Killing Marías (Two Sylvias Press), also shortlisted for WA State 2018 Book Award in poetry, and This City (Floating Bridge Press). She is the creator of the acclaimed Seattle Poetic Grid. Castro Luna is the recipient of an Academy of American Poets Laureate Fellowship, the recipient of individual artist grants from King County 4Culture and Seattle's Office of Arts and Culture, a Hedgebrook and VONA alumna, and a 2014 Jack Straw fellow. Born in El Salvador she came to the United States in 1981. She has an MA in Urban Planning, a teaching certificate and an MFA in poetry. Her poems have been featured in PBS Newshour, KQED San Francisco, KUOW Seattle and have appeared in Poetry Northwest, La Bloga, Dialogo and Psychological Perspectives, among others. Her non-fiction work can be read in several anthologies, among them This Is The Place: Women Writing About Home (Seal Press). Claudia is currently working on a memoir, Like Water to Drink, about her experience escaping the civil war in El Salvador. Living in English and Spanish, she writes and teaches in Seattle where she gardens and keeps chickens with her husband and their three children. Photo by Timothy Aguero.
WORKSHOP POSTPONED due to family emergency
Lena Khalaf Tuffaha
Self-Portrait, Selfie, and Snap Poems
We read and write poems in an era where the self is at the center of our considerations and artistic representation. Self-Portraits are abundant in poetry as they are in visual art, and offer a rich landscape to explore, question, subvert, and re/define the self. "Selfie" was officially added to the Merriam Webster dictionary in 2013 and the Selfie is now considered an art form in itself, with its own museum! And from my teenage daughters, I have tried to learn and been fascinated by the culture of Snaps — quick and often partial self-portraits, disappearing as soon as they are consumed. What can all these visual art forms offer us as poets? What does it mean to write a self-portrait, selfie, or snap poem? We'll explore the blurry boundaries between these forms and use them to generate thrilling and revelatory poem drafts.
Lena Khalaf Tuffaha is a poet, essayist, and translator. Her first book, Water & Salt (Red Hen Press), won the 2018 Washington State Book Award for Poetry. Her first chapbook, Arab in Newsland, won the 2016 Two Sylvias Press Prize. Her forthcoming chapbook, Letters from the Interior, will be published this fall. In 2017-18, she served as inaugural Poet-In-Residence at Open Books: A Poem Emporium in Seattle.
Stefania Heim
Ekphrastic Practice: Writing with Art
For centuries, poets have been making works that speak to, about, or out from pieces of visual art. John Keats asks direct questions of the Grecian Urn ("What men or gods are these?"). Carol Ann Duffy gives voice to the painting's silent subject, the "Standing Female Nude." Mary Jo Bang leaps from photographs to philosophical musings ("Art is what looking takes you to"). And Robin Coste Lewis collages descriptions of Western art objects in which a black female figure is represented in order to animate a history of art's complicity in violence. Each of these writers uses art as a jumping off point for vibrant, original poems. We will join these experimenters, writing poems that describe, animate, and talk back to works of art in all genres. This workshop will be generative, giving participants a chance to expand their usual subject matter and deepen their practices of looking. Together, we will develop strategies and prompts for writing new poems, playing with imagery, sensory detail, perspective, voice, narrative, and history.
Stefania Heim is author of the poetry collections HOUR BOOK, chosen by Jennifer Moxley as winner of the Sawtooth Prize and published in 2019 by Ahsahta Books, and A Table That Goes On for Miles (Switchback Books, 2014). Geometry of Shadows, her book of translations of metaphysical painter Giorgio de Chirico's Italian poems, is forthcoming with A Public Space Books. She received 2019 translation fellowship from the National Endowment for the Arts. Stefania has taught at a range of institutions including Deep Springs College, Duke University, Hunter College, and University of Montana; she is currently an assistant professor at Western Washington University.
Keetje Kuipers
Bringing Back the Magic
If ancient poems were originally incantations and spells, why do contemporary poets often feel compelled to stick to story or straight lyric, only allowing the fantastic to feature in their work through imagistic leaps or fanciful metaphors? Particularly as a way of exploring such very real-world strictures as gender, sexuality, race, or class, magic can create opportunities for a new kind of engagement with our identities. We'll dig into how magic-making works on the page, and what we can do to bring more of it into our poems. By examining the use of magical realism in contemporary poetry — including work by Alberto Ríos, Minnie Bruce Pratt, Brigit Pegeen Kelly, Marilyn Nelson, Sharon Olds, and Cornelius Eady — we'll explore the effect that the surreal has when placed within a poem that might otherwise feel narrative or naturalistically lyric. Finally, we'll cast our own spells through writing exercises that ask us to both invent magic and also acknowledge the ethereal all around us.
Keetje Kuipers is the author of three books of poems, including Beautiful in the Mouth (BOA, 2010), winner of the A. Poulin, Jr. Poetry Prize and a Poetry Foundation bestseller. Her second collection, The Keys to the Jail (2014), was a book club pick for The Rumpus, and her third book, All Its Charms (2019), includes poems honored by publication in both The Pushcart Prize and Best American Poetry anthologies. Her poetry and prose have appeared in Narrative, Tin House, Virginia Quarterly Review, The New York Times Magazine, American Poetry Review, Orion, The Believer, and over a hundred other magazines. Her poems have also been featured as part of the Academy of American Poets' Poem-a-Day series and read on NPR's Writer's Almanac. Kuipers has been a Wallace Stegner Fellow at Stanford University, a Bread Loaf fellow, and the Margery Davis Boyden Wilderness Writing Resident, among other honors. She now teaches at Seattle's Hugo House and serves as Senior Editor at Poetry Northwest.
10:00am – Noon
Revisiting the Ode
This course is completely celebratory! We will revisit the ode form, which comes from the Greek "aeidein" (to sing or chant). In J. A. Cuddon's words, an ode is "a full-dress poem." Full of fervor, we will consider the ode as an address to a person, event, object, or something even more ineffable. Along with writing our own odes, we will read traditional and contemporary odes from John Keats, Pablo Neruda, Lucille Clifton, Eduardo C. Corral, Hannah Sanghee Park, and C. D. Wright.
Jane Wong's poems can be found in Best American Poetry 2015, American Poetry Review, AGNI, Third Coast, jubilat, and others. A Kundiman fellow and recipient of a Pushcart Prize, she is the author of Overpour (Action Books, 2016). She is an Assistant Professor at Western Washington University.
Bruce Beasley
Dreams and the Work of Poetry
"The dream thinks like a poet" – Bert O. States
If our dreams think like our poems, then every night gives us each two hours of rough drafts for poems, in a state of mind where metaphor, wild and brilliant leaps of association, puns, extraordinary images, and so much more are offered us. If poems, as a parallel, also think like dreams, what do those forms of thinking sound like — what are the forms in how their sayings move, and why? How do poems and dreams proceed—with what interior logic — from one assertion or image to another, and how does that procession differ from less "bizarre" ways of speaking? In this workshop we'll dig into poems and into dreams to learn from dreams about how poems move and learn from poems about the imagistic, linguistic and narrative assemblages of dreams. This is a generative workshop using exercises, dream-images and fragments, borrowed images and dialogue from workshop colleagues' dreams to lead to new forms of poems not by imitating or recording our dreams but by building poems that learn from dreams' intricate structures of metaphor, juxtaposition, metonymy, wordplay, and radical compression.
Bruce Beasley is a professor of English at Western Washington University and the author of eight collections of poems, including All Soul Parts Returned (2017) and Theophobia (2012), both from BOA Editions. He has won fellowships from the National Endowment for the Arts and three Pushcart prizes. His recent work appears in Kenyon Review, Gettysburg Review, Southern Review, Agni, and other journals.
Spectacular, Wild, Precarious!
Yellowstone National Park has been a source of inspiration for more than a century. At times called "Wonderland," "Colter's Hell," and Mi tse a-da-zi by the Hidatsa people, more than four million nature lovers make a pilgrimage to this place each year. In this same spirit of discovery and wonder, we will use Yellowstone as a lens to examine our own writing.
During our time together, we will use the park as metaphor and structure to reinvigorate and let a little wildness in to our writing. We will experiment with the terrain and landscape of our work. There will also be a discussion about what the ecology of our personal vision and voice may look like. Be prepared to compose some new work based on provided prompts.
Please bring one or two short poetic pieces/fragments that don't want to come together for you and a photograph (on your phone/tablet/laptop is great) of an outdoor place you love. Plan on having fun and maybe even learning a thing or two about the "Serengeti of North America."
Jory Mickelson is a queer writer who grew up in the wilds of Montana. He has traveled extensively in the National Parks in the Western U.S. His work has appeared in The Rumpus, Ninth Letter, Vinyl Poetry, The Florida Review, Superstition Review, The Collagist, and other journals in the United States, Canada, and the UK. He is the recipient of an Academy of American Poets Prize and a Lambda Literary Fellow in Poetry. He is the author of three chapbooks, most recently Self-Portrait with Men in Cars. You can follow him at jorymickelson.com
Maya Jewell Zeller and Laura Read
The American Character & The Personal Pronoun
In 2017, poets Natalie Diaz and Ada Limón conducted a project they called Envelopes of Air, writing first person narratives to one another. These intimate collaborations helped them address, through the daily details of their individual lives, what it's like to be alive in this time, "when immigration officers of ICE are as present figures as the poets' partners and lovers." The poems that come out of this project "ultimately expose and explore the American character," writes The New Yorker. Drawing from Diaz and Limón, as well as a similar correspondence between workshop leaders Laura Read and Maya Jewell Zeller, this session will help you generate writing that explores your own individual lives as artifacts of our current national landscape.
Maya Jewell Zeller is the author of the interdisciplinary collaboration (with visual artist Carrie DeBacker) Alchemy for Cells & Other Beasts (Entre Rios Books, 2017), the chapbook Yesterday, the Bees (Floating Bridge Press, 2015), and the poetry collection Rust Fish (Lost Horse Press, 2011). Her essays and fiction appear in recent issues of Passages North and Booth Journal, as well as the anthology This is the Place: Women Writing About Home (Seal Press, 2017). Recipient of a Promise Award from the Sustainable Arts Foundation as well as a Residency in the H.J. Andrews Forest, Maya teaches for Central Washington University and lives in the Inland Northwest.
Laura Read's first collection of poems, Instructions for My Mother's Funeral, was published in 2012 by the University of Pittsburgh Press. Her second collection, Dresses from the Old Country, will be published by BOA in October of 2018. She teaches English at Spokane Falls Community College.
Megan Spiegel
Text + Image: A Hybrid Poetry Studio
What is a hybrid? In this studio-based workshop, we will explore hybrid forms, especially those that incorporate visual elements, to find out how writers might draw from poetry, memoir, visual art, cartography, and more in their creative practices. We will experiment with working visually to draft new poems and discuss ideas for shaping our drafts in inventive ways. Borrowing images and other items to incorporate into our own work, including sources of re-mixable text and visuals, will be discussed. No visual art experience is needed, but please come prepared to work without a laptop as we sketch, diagram, and write by hand. You will leave with at least one work in progress and generative prompts to keep you going.
Megan Spiegel is a graduate of the multi-genre MFA program at Western Washington University, and served as the first Hybrid Genre editor for Bellingham Review. Her poetry, prose, and collaborative works have appeared in journals such as Ghost Proposal, Sweet, Fugue, and Vinyl.
Ely Shipley
Presence Through Poetry
In Samuel Taylor Coleridge's poem "This Lime-Tree Bower My Prison," Coleridge sits injured in his garden, inhibited from hiking with friends. He starts off in a state of sadness and frustration, but ends up somewhere else entirely through the course of the poem, as if he too were hiking in real time with his friends, all through waking to his imagination. He thinks of where along the hike they are, what exactly they might be seeing, and ultimately finds them "Struck with deep joy…as [he has] stood" (L.38). Indeed, he is able to "perceive" them and know their experience through becoming increasingly aware of his own present experience in his garden. He writes that "A delight/ Comes sudden on my heart, and I am glad/ As I myself were there…" (L.43-45). Ezra Pound's famous description of "an 'Image'" in poems as "that which presents an intellectual and emotional complex in an instant of time" also invokes this quality of presence. In this workshop, through close reading and writing prompts, we will consider both conventional and innovative techniques to generate an experience of time in our writing that opens a sense of simultaneity and presence.
Ely Shipley is the author of Some Animal, forthcoming from Nightboat Books; Boy with Flowers, winner of the Barrow Street Press book prize judged by Carl Phillips, the Thom Gunn Award, and finalist for a Lambda Literary Award; and On Beards: A Memoir of Passing, a letterpress chapbook from speCt! Books. His poems and cross-genre work also appear in the Western Humanities Review, Prairie Schooner, Crazyhorse, Interim, Greensboro Review, Painted Bride Quarterly, Hayden's Ferry Review, Witness, Diagram, Gulf Coast, Fugue, Third Coast, and elsewhere. He holds an MFA from Purdue University and a PhD from the University of Utah. He taught for many years at Baruch College, CUNY in NYC and is currently an assistant professor at Western Washington University in Bellingham, Washington.
Nancy Pagh
Corresponding Intimacy: The Letter Form in Creative Writing
This lecture and workshop invites you to explore the expressive power of the literary epistle or "letter-shaped" text. Journalist and memoirist Vivian Gornick tells us that "To write a letter is to be alone with my thoughts in the conjured presence of another person. I keep myself imaginative company." In this workshop you'll discover a wide range of occasions for and approaches to the letter and will investigate the potential to morph these rhetorical containers into imagined epistles: fresh and contemporary poems, stories, and memoir posing in varied shapes — brief as a postcard or expansive as an exchange spanning months. Our objective is not to wax nostalgic about how "great" letters were compared to social media, but to understand some of the modes and effects of personal address. We will attempt new drafts, harnessing these intimate modes to craft meaningful literary works.
Nancy Pagh is the author of three poetry collections and a book of nonfiction about women traveling the Pacific Northwest aboard ships. Her multi-genre writer's guide, Write Moves, was published by Broadview Press in 2016. She lives in Bellingham and teaches at Western Washington University. More at nancypagh.com.
Writing at the Threshold of Loss and Desire
The death of a loved one, the failure of a relationship, the excitement of new love, or the anticipation of a new stage in life. We write out of our sorrow or joy, trying to make sense of these and other significant transitions in our life. As important as these moments are to us, we often find ourselves at a loss as to how to capture what we are feeling and connect what is intensely personal with the larger world of human experience. In this generative workshop, we will use a variety of exercises that draw on images, technology, and memory to unlock the deep images and language within us we need to write these powerful poems.
Neil Aitken is the author of Babbage's Dream (Sundress Publications, 2017) and The Lost Country of Sight (Anhinga Press, 2008), which received the Philip Levine Prize. Of Chinese, Scottish, and English descent, he was born in Vancouver, BC, Canada, but grew up in Saudi Arabia, Taiwan, and various parts of western Canada. A former computer programmer and a proud Kundiman fellow, he holds an MFA in Creative Writing from UC Riverside and a PhD in Literature and Creative Writing from USC. He is the founding editor of Boxcar Poetry Review, curator of Have Book Will Travel, and co-director of De-Canon: A Visibility Project. More at neil-aitken.com.
J.I. (Judy) Kleinberg
Finding Poems: a hands-on workshop
In this fun and fast-paced workshop, Judy Kleinberg will offer an overview of found poetry techniques and an opportunity for you to experiment and identify the ones that resonate for you. You'll discover ways to add found elements to more conventional-form poems and to use found prompts to kick-start new work. Some materials will be provided, but your writing notebook, pens, paper, scissors, junk mail, magazines (or books you're willing to cut up), and glue sticks will be welcome.
Co-editor of Noisy Water: Poetry from Whatcom County, Washington (Other Mind Press 2015) and winner of the 2016 Ken Warfel Fellowship, Pushcart-nominated writer, artist and poet J.I. (Judy) Kleinberg works and plays with words. Her found-word collages, from a growing series of more than 1,200, have appeared in Diagram, Hedgerow, Otoliths, Yew Journal, Shadowgraph, Atlas & Alice, Truck, Journal of Compressed Creative Arts and elsewhere. She blogs most days at chocolate is a verb and the poetry department and doesn't own a television.
Kami Westhoff and Elizabeth Vignali
Why Write Collaboratively?
Most people think of writing as a solitary act, yet ultimately the goal of the writer is to connect with the reader. Through collaboration, the writer can connect in a more immediate, tangible way. Writing with others can rejuvenate a sometimes lonely process, allowing the writer to be both contributor and reader, enhancing their perception and bringing into focus the goal of that ultimate connection with the reader.
One of the wonderful things about collaboration is that there are nearly as many ways to collaborate as there are types of people, so anyone can find a collaborative process that works for them. In this workshop, we'll engage in various collaborative exercises that highlight our strengths, as well as encourage us to venture outside our comfort zones and ultimately enable us to grow as writers.
Knowing another writer's name will be attached to your piece of writing can push us to work a bit harder to find that image that sears into the reader's consciousness, to offer that perspective that incites action or a quiet moment's reprieve, to render that scene in a way that promises the reader that even in a lonely world there are profound connections to be made, not the least of which come through the written word.
Kami Westhoff's work has appeared in various journals including Meridian, Carve, Third Coast, The Pinch, Passages North, Redivider, and West Branch. Her poetry chapbook, Sleepwalker, won Minerva Rising's 2016 Dare to Be contest and will be published this fall. She teaches creative writing at Western Washington University.
Elizabeth Vignali is an optician and writer. Her poems have appeared in various publications, including Willow Springs, Crab Creek Review, Nimrod, Floating Bridge Review, and Menacing Hedge. Her chapbook, Object Permanence, is available from Finishing Line Press. She lives in Bellingham, Washington, with her daughters, a geriatric cat, and a variety of spiders in the dark corners of the laundry room.
Susan J. Erickson
Self-Portrait Poem Workshop
The image you see in the mirror is one "you" that could inspire a self-portrait poem. In this workshop we will also look at and discuss a variety of alternative poetic "yous." Contemporary poets have written self-portrait poems as places (a river, a city, a state), as objects (as slinky, as rain gauge), as personas such as Frida Kahlo, and other surprising riffs (Wikipedia entry). So bring your imagination and your favorite writing materials.
Susan J. Erickson's debut full-length collection of poems in women's voices, Lauren Bacall Shares a Limousine, recently won the Brick Road Poetry Prize. After writing persona poems for a long, long time she is looking for a new obsession. Her poems appear in Crab Creek Review, The James Franco Review, The Fourth River and The Tishman Review.
Anastacia Renee'
Cry Out Loud
In this workshop, we will examine overarching themes, hybridity, historical nuances, technique, and writing with courage from Jamaica Kincaid, Naomi Jackson, Zora Neale Hurston, Chinelo Okparanta, and Ya Gyasi. Discussion will include intersection(s) and entry points of race, culture, and sexuality and what it means when, as Audre Lorde said, "There's always someone asking you to underline one piece of yourself — whether it's Black, woman, mother, dyke, teacher, etc. — because that's the piece that they need to key in to." We'll write pieces that demonstrate courageous hybrid writing and end with a group share out.
Anastacia Renee' is a queer super-shero of color moonlighting as a writer, performance artist and creative writing workshop facilitator. She has received awards and fellowships from Cave Canem, Hedgebrook, VONA, Jack Straw, Ragdale and Artist Trust. She was recently selected as the 2015-16 Writer-in-Residence at Hugo House, a place for writers in Seattle. Her Chapbook 26, published by Dancing Girl Press, is an abbreviated alphabet expression of the lower and uppercase lives of women and girls. Her poetry & fiction have been published in Literary Orphans, Bitterzoet, Radius Poetry, Seattle Review, Duende, Bone Bouquet, Dressing Room Poetry and many more. Recently Anastacia Renee' has been expanding her creative repertoire into the field of visual art, and has exhibited installations surrounding the body as a polarized place of both the private and political. Lately she's been obsessed with the body's memory and infatuated by myths, fables & imaginary truths.
Ann Spiers
The Poem's Line, or Lessons in Break Dancing
"Yet there is at our disposal no tool of the poetic craft more important, none that yields more subtle and precise effects, than the linebreak if it is properly used." Denise Levertov
Linebreaks help you construct a poem, especially as you draft the poem's final form. In this workshop, we will respond to writing prompts to create stanzas, and then practice the art of line breaks.
We will consider how other poets used this integral craft by studying poems to discern poets' diverse decisions about linebreaks. Linebreaks can define the poem, create cadence, establish emphasis, aid the reader in decoding meaning, uncover rhyme and half-rhyme, fudge clunky moments, provide humor, enhance sound, alter pace, and clarify phrasing. Some poets use linebreaks, spacing, and tabbing to display the process of the poet writing at the moment of creating a poem — its intellectual or emotional structure.
Ann Spiers is the inaugural Poet Laureate of Vashon Island. She stewards the Poetry Post in Vashon's Village Green, co-produced the 2009 Vashon Poetry Fest, and curated Broadsides: Poems on Paper at a Vashon art gallery.
Bellingham's poets have been good to Ann. Egress Studio Press published her chapbook, What Rain Does. She has read at the Whatcom Poetry Series and Village Books. She fondly remembers reading T. S. Eliot's The Hollow Men at Fast Eddie's Tavern when the audience raucously joined in the poem's refrain. This year, Peasandcues Press designed and printed the broadside, "Rain Violent," a poem from her Weather Station manuscript. Visit her webpage http://annspiers.com.
Michael Daley
This workshop will suggest the practice of "organic form" described by Denise Levertov in her essay by that name. Attentiveness, or "attentivity" (not a word), may be the prime mover of poetry, or at least its muse's primary tool, so basic it operates at the instinct level, and like spontaneous dance, leads to refinement. Our efforts will be toward an organic practice of composition through six different exercises. As they are exercises, rough drafts are our hope, but the practice includes recognizing three distinct tiers, or phases, in crafting observational responses. During our time together we will grope toward the form of what we need to say.
Michael Daley was born and raised in Dorchester, Massachusetts. He later took vows and prepared to become a Catholic priest. Upon leaving religious life, he was wild in the streets, protesting wars and seeking a life of experience. He holds a B.A. from the University of Massachusetts and an M.F.A. from the University of Washington. He is the founding editor of Empty Bowl Press, former Poet-in-Residence for the Washington State Arts Commission, the Skagit River Poetry Foundation and the Massachusetts Cultural Council, and a retired English Instructor for Mount Vernon High School. In addition to seven chapbooks, he has published three full-length collections of his poetry and a book of essays. He has been awarded by the Washington State Arts Commission, Seattle Arts Commission, Artist Trust, Fulbright, and the National Endowment of the Humanities.
Submission: A Practical Guide to Literary Publishing
In this workshop we'll explore how to create a more enjoyable and manageable submission practice that increases publication credits and improves writing habits. We'll discuss ways to write better cover letters and successfully navigate various online resources and tools such as Duotrope and Submittable. We'll also discuss the pleasures and pitfalls of entering into literary conversations with editors and journals, always with the goal of pushing oneself, as Samuel Beckett opined, to "fail better."
Jeffrey Morgan lives in Bellingham, where he especially enjoys hiking and beer. He is the author of Crying Shame. His poems have recently appeared, or will soon, in Copper Nickel, The Kenyon Review Online, Pleiades, Poetry Northwest, Rattle, Verse Daily, and West Branch, among others.
Kelli Russell Agodon
Fire On the Page: Generating New Work With Writing Prompts
Taking inspiration from Fire On Her Tongue, an anthology of some of the best women poets writing today, we will discover how inventive imitation can lead to poetic discovery and innovation. Through a series of writing exercises and prompts based on poems we read and listen to as a group, we will generate new work and explore individual themes, topics, and subjects that motivate us. We will consider how to set aside our own self-consciousness and self-doubt by turning off our "internal editors" to write our strongest work. We will also discuss how our own unique stories and life experiences — including struggle, conflict, vulnerability, and passion — can open the doors to new poems. This class operates with the belief that nurturing environments and creative group energy can assist poets and spark new work. Each poet will leave with 3-5 new ideas for poems and/or poems in progress. All levels of poets and writers from beginning to published author are welcome. Bring a pen and paper, or laptop for two hours of generative writing.
Kelli Russell Agodon is an award-winning poet, writer, and editor from the Northwest. Her recent books are Hourglass Museum, (finalist for the Julie Suk Poetry Prize) and The Daily Poet: Day-By-Day Prompts for Your Writing Practice, which she coauthored with Martha Silano. Her other books include Letters from the Emily Dickinson Room (winner of ForeWord Magazine's Book of the Year in Poetry and Ffinalist for the Washington State Book Prize), Small Knots, Geography, and Fire On Her Tongue: An Anthology of Contemporary Women's Poetry.
Kelli is the cofounder of Two Sylvias Press and is the Co-Director of Poets on the Coast: A Weekend Retreat for Women Writers. She is an avid paddleboarder, mountain biker, and hiker. She has a fondness for typewriters, desserts, and fedoras. Find out more about Kelli at www.agodon.com.
Ellie Rogers
In Other Words: Diction and Wordplay in Poetry
In a poem, every word matters. Poets choose words not only for their meaning(s), but also for their associations, the way they look on the page, the way they feel in the mouth and sound to the ear. In this workshop, we'll focus on a poem's basic unit. We'll read poems that revel in the specificity and physicality of words, we'll revise one in-process poem through guided wordplay, and we'll develop individual lexicons from which we'll launch new work. Please bring 1-2 in-process poems as well as paper and a writing utensil.
Ellie Rogers received her BA from Macalester College. She currently studies with the MFA Creative Writing program at Western Washington University in Bellingham, Washington, where she also teaches writing and critical inquiry. She is the Assistant Managing Editor of the Bellingham Review and formerly served on the Whatcom Poetry Series' Board of Directors. Her poems have appeared in journals such as Crab Creek Review, Floating Bridge Review, Midwestern Gothic, and Winter Tangerine Review. She draws material from her experiences as a botanical herbarium curator, circus tag-along, and Midwestern transplant to the stunning Pacific Northwest.
Rachel Mehl
The Contemporary Sonnet
Do you think the sonnet has gone the way of wig powder and wooden teeth? Have you always wanted to write a sonnet? Do you write classic sonnets and want to try something new? Either way this workshop is for you. Using examples of contemporary sonnets by living writers, such as Kim Addinizio and Tod Marshall, we will discover how this classic form has evolved and is used in the present day. Prompts and inspiration will be provided. Expect to leave the workshop with two brand new sonnets written by you, as well as inspiration and ideas to keep writing them.
Rachel Mehl has an MFA from the University of Oregon, where she taught poetry for two years. Her poems have been published in Alaska Quarterly Review, Portland Review, Poet Lore, and Willow Springs. Both her full-length poetry manuscript and chapbook manuscript have been finalists in national competitions. Her poem "Bellingham" was a 2011 Boynton Walk Award winner. She lives in Bellingham and is a member of the Sue Boynton Poetry Contest Committee and secretary of the Whatcom Poetry Series. She wrote her first crown of sonnets while her daughter was sleeping on her lap.
Eavesdropping in the 21st Century
In his famous and somewhat tongue-in-cheek essay "Personism," Frank O'Hara points out that the telephone is a much better tool for communication than the poem. And yet, O'Hara knows well that how one addresses "the reader," how one utilizes voice in poetry, is crucial.
In this workshop, we will explore many ways voice functions in poetry. We'll read and discuss several poems that utilize voice in interesting and effective ways. Most importantly, we'll write original poems and practice using some of the tricks and tactics we've discussed to make our own writing more persuasive. I hope you can attend.
Jeffrey Morgan grew up in Fairbanks, Alaska. He received a BA in English from Macalester College and an MFA in English from Penn State University. He has taught writing and literature at Penn State University, The City University of New York, and Stevens Institute of Technology. He is the author of Crying Shame (BlazeVOX [Books], 2011), and his poems have appeared in the literary journals Bellevue Literary Review, Pleiades, Rattle, Third Coast, Verse Daily, and West Branch, among others.
In 2012, Jeffrey moved from Brooklyn, NY, to Bellingham, WA, to be closer to family. He loves living in the Pacific Northwest and now only misses Brooklyn pizza occasionally. Currently, he's writing a book of personae poems and hopes to have the manuscript completed by the end of the year.
Elizabeth Austen
What Else Is Also True?
Good writers know to beware of clichés of thought and feeling as well as language. We'll use poems by Lucille Clifton and Marie Howe as inspiration to embrace emotional courage and complexity in our work. We'll experiment with ways to shake up our habitual thought and feeling patterns as we generate and revise. Bring two poems-in-progress, and be prepared to ask yourself discomfiting questions.
Elizabeth Austen is the 2014-16 Washington State Poet Laureate. She's the author of Every Dress a Decision (Blue Begonia, 2011), a finalist for the Washington State Book Award, and the chapbooks The Girl Who Goes Alone (Floating Bridge, 2010) and Where Currents Meet (Toadlily, 2010). Elizabeth produces poetry programming for NPR-affiliate KUOW 94.9, and earned an MFA at Antioch University LA. She works at Seattle Children's Hospital, where she also offers poetry and journaling workshops for the staff.
Jessica Lohafer
The Poetry of Place.
As we get older, we learn that we can't always go home. While we might not be able to physically return to the spaces of our past, poetry allows us to reinhabit these locations in new ways. In this workshop, we will be exploring the poetry of place, working to recreate the settings of our lives. We will look to the poetry of Robert Lashley, Jack Gilbert and Kim Addonizio (among others) to help create a fuller picture of where we are coming from. Please come to this workshop with three different life locations in mind.
Jessica Lohafer is a poet, feminist, and bartender out of Bellingham, Washington, whose work has appeared in Whatcom Magazine, The Noisy Water Review, Thriving Thru The Winter: A Pacific Northwest Handguide and Your Hands, Your Mouth. Her collection of poetry, What's Left to Be Done, was published by Radical Lunchbox Press in 2009. She has served as the Program Director for Poetry in Public Education, bringing writing workshops to schools throughout the Pacific Northwest. Jessica recently received her MFA in poetry from Western Washington University. She has an ongoing collection of stories and poetry at lohafer.wordpress.com.
Caitlin Elizabeth Thomson
A Fine Balance: Narrative Poetry
A poem that tells a story and remains a poem is a wonderful thing. So often narrative poems tilt in one direction or another, either being too much a poem or too much a story. This workshop is focused on reading, writing, and editing poems that contain this balance.
The workshop will be focusing on craft, narrative ideas, and poem generation. We will read a number of poems from poets such as W.H. Auden and Sharon Olds to help inspire us, and to instill a sense of balance in our work. Participants should bring a narrative poem they themselves have written, as well as paper and a pen.
Caitlin Thomsonreceived an MFA in Poetry from Sarah Lawrence College. She has taught creative writing at Berkley College in Manhattan and at Seattle Pacific University. Her work has appeared in numerous places, including: The Literary Review of Canada, Going Down Swinging, The Liner, Green Briar Review, The Alarmist, and the anthology Killer Verse. Her second chapbook, Incident Reports, was published by Hyacinth Girl Press in 2014. You can learn more about her writing at www.CaitlinThomson.com.
Caleb Barber
Writing the Insignificant
What happened on your way home from work today? Where was it you found the missing shoe? In this workshop we will explore the poetry of the day-to-day, discovering subtle profundity in the casual conversations, odd encounters, and mild annoyances of routine life. With guidance from examples across a broad spectrum, we will write the poetry that fills the space between the milestones.
Caleb Barber holds a BA in English from Western Washington University, as well as an MFA in poetry from the Northwest Institute of Literary Arts. He lives in Bellingham, Washington, where he works at an aerospace machine shop. He has been widely published in literary journals, notably in Fulcrum, New Orleans Review, Los Angeles Review, and he was featured in Poet Lore. His first book, Beasts and Violins, is available from Red Hen Press. The title poem appeared in Best American Poetry 2009.
Richard Widerkehr
Poetic Diction: Words You Can Fit in a Wheelbarrow, Words You Can't.
Diction means word choice. Looking at our images and language—high, low, or mixed; slang or formal, plain or fancy—can be a way into talking about voice, the kinds of poem we're writing, what we may want to try doing. Using some examples of contemporary and past poems, we'll discuss mixing high and low diction, living at one end of the spectrum or the other, and making leaps. There will be prompts for in-class writing and chances for those who want to read their work aloud to do so.
Award-winning poet Richard Widerkehr has had two recent collections of poems published: The Way Home (Plain View Press) and Her Story of Fire (Egress Studio Press), along with two chapbooks. Tarragon Books published his novel about a geologist, Sedimental Journey. He's taught at the University of Hawaii and worked as a counselor on a mental health unit of a hospital.
The Poetics of Humor.
Humor is increasingly acceptable in serious poetry, and it may be impossible to write a serious poem without it. In this workshop, we'll look at the elements of poetic comedy including irony, hyperbole and wackiness. We'll talk about poems by James Tate, Russell Edson, Mary Ruefle, Charles Simic and others, and we'll experiment with a way or two of wooing the muse through humor.
Kevin Murphy has been performing poetry for over 30 years. He is the author of A Beautiful Chaos Demands Energy and has released a poetry CD, Between Onions and Oxygen. He regularly performs poetry on the Chuckanut Radio Hour and has toured the Pacific Northwest and beyond as a member of the New Old Time Chautauqua. His poetry tends toward the comic and the surreal, and he frequently accompanies himself on guitar and percussion. Kevin Murphy was born on a U.S. Army base in Stuttgart, Germany, grew up in the suburbs of Albany, New York, and is the survivor of 13 years of Catholic School. He lives in Bellingham with his wife, Jeannie.
Jeanne Yeasting teaches The Prose Poem.
"Which one of us, in his moments of ambition, has not dreamed of the miracle of a poetic prose, musical, without rhythm and without rhyme, supple enough and rugged enough to adapt itself to the lyrical impulses of the soul, the undulations of reverie, the jibes of conscience?" Charles Baudelaire (1821-1867), from a letter to Arsene Houssaye, sent with Paris Spleen, his book of prose poems.
What is a prose poem? What makes prose poetry tick? This two-hour, hands-on, interactive workshop will introduce the prose poem form; consider the line between "regular" poetry, prose poetry, and prose; and try our hands at writing our own prose poems. We'll do some serious play with poetics and images. A background in poetry is not necessary, but a willingness to experiment, to luxuriate in reading writing aloud, and to move beyond your habitual writing patterns and style is desirable.
Jeanne Yeasting is a writer and visual artist living in Bellingham. She teaches creative writing and literature at Western Washington University. One of her recent prose poems, Discriminating Distinction, can be seen on the Washington Poet Laureate's website, "The Far Field."
Submissions to the Sue C. Boynton Poetry Contest don't open until March 1, but if you're thinking about sending in a poem, or even if you're not thinking about it yet, the contest committee is offering a little encouragement: a FREE workshop on Saturday, February 9, 2013, 1-3pm, in the Fireplace Room at the Fairhaven Public Library.
The workshop, Writing Boynton Contest Poems, taught by poet Rachel Mehl, will use examples from past contests and other poems to inspire and encourage submissions to this year's contest, and to help people understand the contest guidelines. The workshop is open to all ages and all abilities of poets and will focus on writing short, free-verse poems. Participants will come away with a working draft of a poem.
Rachel Mehl earned an MFA from the University of Oregon, where she taught poetry for two years. Her poems have been published in Alaska Quarterly Review, Portland Review, Poet Lore and Willow Springs. Her poem "Bellingham" was a 2011 Boynton Walk Award winner and you can watch her read it here. Rachel lives in Bellingham and is a member of the Sue C. Boynton Poetry Contest committee. She is not a contest judge and has no influence over the judges' decisions or their choice of winning poems.
Brenda Miller teaches The Pen and The Bell: Mindful Writing in a Busy World using selected readings, meditations and writing prompts from her book of the same name.
Poet Laureate Kathleen Flenniken
The Importance of Surprise
Participants will read poems together and discuss the role of surprise in poetry — how it engages the reader, pushes the poem forward and provides the poet an essential ingredient: discovery. Kathleen Flenniken will share writing tricks that court surprise and participants will employ them to write a new poem draft or two.
Rachel Ballard
The Master Copy
Like a painter who meticulously labors to copy the work of a beloved master, we will delve deep inside some of our favorite poems. Rather than copy the form, we will explore what we as writers gain when we allow ourselves to inhabit a much-loved work. Attendees will work with exercises that aim to recreate and repurpose those captivating words and images for each participant's own writing. This workshop will be an exercise in intimate imitation. Please bring writing materials and a favorite poem or two.
Casey Fuller
Honing the Process
This workshop will be fun, informal and serious — no judgment or criticism. Attendees will generate new work along a series of related exercises, following the traditional approach of prompts, writing and sharing (sharing is not required). The exercises will increase in complexity and be arranged to reveal the theme of the workshop: the process of writing poems. The exercises, taken from the instructor's personal approach, will be arranged around some of the following topics: poems as (almost) posing questions; poems as (almost) answering questions; the future as an imaginative context; the uses of enjambment; the art of distance. Participants will learn how each approach can sustain daily writing. Please bring something to write with and something to write on. Everybody will leave with a small packet of poems and suggestions to sustain their writing.
Boynton poems & poets
2009 awards ceremony podcast
2010 – 2015 poets on YouTube
2012 awards ceremony podcast, part 1
Andrew Shattuck McBride
Betty Scott
Boynton winners on YouTube
Christine Kendall
Cindi Williamson
Dayna Patterson
Dee Dee Chapman
Donald Antenen
Elizabeth Vignali
Eric Lochridge
Esme Dutcher
George Drake
J.I. Kleinberg
Jack McCarthy
James Bertolino
Jeanne Yeasting
Jeffrey Klausman
Jeremy Voigt
Jim Schmotzer
Jo Ann Heydron
John Burgess
Kami Westhoff
Kathleen Flenniken
KJ Vande Bossche
Konrád Kocsis
Lana Hechtman Ayers
Laura Laffrado
Leslie Wharton
Lucas Nydam
Luci Shaw
Luther Allen
Maria McLeod
Marie Eaton
Mary Gillilan
Nancy Canyon
Oliver de la Paz
Paul S. Piper
Phyllis Boernke
Roger William Gilman
Seren Fargo
Sheila Nickerson
Sheila Sondik
Susan Chase-Foster
Timothy Pilgrim
Tyree Callahan
Virginia Ferm Herrick
Whatcom Poetry Series
Bellingham Herald
Bellingham Public Library
Bellingham TV Channel 10
Bethany Reid
Cascadia Weekly
Ciao Thyme
Egress Studio
Jan Pierson
Judy Vorfeld
Laura Read
Martha Silano
Maya Jewell Zeller
Michael Dylan Welch
Michael Schein
Mindport
Nance Van Winckel
Paul Fisher
Scot Casey ruminates on Poetry Walk poems
Susan Rich
Threshold Documents
Tod Marshall
Village Books
WECU
Whatcom Community Foundation
Whatcom Transportation Authority
NW lit scene
49 Writers
A Forest of Words
African-American Writers' Alliance (AAWA)
Airlie Press
Artist Trust
Bellingham Haiku Group
Bellingham Review
Bison Bookbinding & Letterpress
Black Heron Press
Blue Cactus Press
Book Arts Guild
Bruna Press + Archive
Burnside Review
Calyx Journal
Cascadia Poetry Festival
Cascadia Rising Review
Cascadia Subduction Zone
Cave Moon Press
Chin Music Press
Chuckanut Sandstone Writers Theater
Chuckanut Writers Conference
Cirque Journal
Clackamas Literary Review
Clarion West Writers Workshop
Clover, A Literary Rag
Concrete Wolf
Copper Canyon Press
Crab Creek Review
Creative Colloquy
CutBank
De-Canon
Duck Lake Books
East Point West Press
Easy Speak Seattle
Egress Studio Press
Elliott Bay Book Company
Empty Bowl
Empty Mirror
Entre Ríos Books
Ex Ophidia Press
Far Field
Fishplate Poetry
Floating Bridge Press
Flying Trout Press
Ghost Town Poetry Open Mic
Haiku Northwest
Haiku Society of America – Washington
Hedgebrook
High Desert Journal
Homology Lit
Image Journal
Independent Writers Studio
Inland Northwest Center for Writers
Inland Poetry
It's About Time Writers Reading Series
Jack Straw Productions
Jeopardy Magazine
Kahini
KYSO Flash
Lilla Lit
Lit Fix
LiTFUSE
Los Norteños
Minor Arcana Press
Monarch Review
MoonPath Press
National Haiku Writing Month
North Cascades Institute
Northwest Renaissance Poets
Northwest Writers' Weekend
Northwind Reading Series
Olympia Poetry Network
Pacific Northwest Poetry Series
Pacifica Literary Review
PageBoy Magazine
PDX Writers
Pif Magazine
Poem Booth Bellingham
Poet Laureate of Washington State
Poetry CHaT
Poetry is Dead
Poetry Northwest
Poetry Shorts
PoetryIsEverything
poetrynight
PoetsWest
Port Townsend Writers' Conference
Portland Review
Possession Sound Writers
Power 2 the Poetry
PRISM international
Psaltery & Lyre
Puget Sound Poetry Connection
Rain City Poetry Slam
Rainier Writing Workshop
Raven Chronicles
Ravenna Press
Red Wheelbarrow Writers
Richard Hugo House
Robert Sund Poet's House Trust
Rose Alley Press
Seattle Arts & Lectures
Seattle Poetry Slam
Seattle Review
Seattle Wrote
Seattle7Writers
Shark Reef
Skagit River Poetry Festival
Small Po[r]tions
SoulFood Poetry Night
SPLAB
Spokane Poetry Slam
subTerrain
Sweet Tree Review
Switched-on Gutenberg
The Ella Higginson Blog
The Gravity of the Thing
The Other Journal
The Poeming Pigeon
The Poetry Box
The Requatorist
The Switch Reading Series
The Timberline Review
Two Sylvias Press
Typehouse Literary Magazine
Underground Writing
Vancouver Poetry House
VoiceCatcher
Welcome to Literary Ashland
Whatcom READS!
Windfall Journal
Word Vancouver
WordsWest Literary Series
World Enough Writers
Write on the Sound Writers' Conference
Writers' Workshoppe
Writing It Real with Sheila Bender
Yakima Coffeehouse Poets
Poetry walks
Ayr, Scotland
Belper, Derbyshire, England
Blenheim, New Zealand
Devon county, England
Katikati
Kirkby Stephen, England
Leiden, Netherlands
North Lake District, England
Saxapahaw, North Carolina
The Cotswolds, England
Utrecht, the Netherlands
The Poetry Department
The Poetry Department is a project of freelance writer, poet, and past Boynton committee member J.I. Kleinberg. Feedback and suggestions welcome in any Comment field.
been here a while…


For sale is my Cscope cs4pi.
It is a great machine for detecting in sand. Mineralised wet or black sand does not influence the performance.
Have a look on youtube to see some of the reviews.
Detector +Box + carry bag + rain cover + Headphones.
It has a couple scratches on the coil cover, otherwise it looks unused.
This guy is a gent and a pleasure to deal with, thanks for the Makro!!!


text:
Q: How to evenly distribute data in apache pig output files? I've got a pig-latin script that takes in some xml, uses the XPath UDF to pull out some fields and then stores the resulting fields:
REGISTER udf-lib-1.0-SNAPSHOT.jar;
DEFINE XPath com.blah.udfs.XPath();

docs = LOAD '$input' USING com.blah.storage.XMLLoader('root') as (content:chararray);

results = FOREACH docs GENERATE XPath(content, 'root/id'), XPath(content, 'root/otherField'), content;

store results into '$output';

Note that we're using pig-0.12.0 on our cluster, so I ripped the XPath/XMLLoader classes out of pig-0.14.0 and put them in my own jar so that I could use them in 0.12.
This above script works fine and produces the data that I'm looking for. However, it generates over 1,900 partfiles with only a few mbs in each file. I learned about the default_parallel option, so I set that to 128 to try and get 128 partfiles. I ended up having to add a piece to force a reduce phase to achieve this. My script now looks like:
set default_parallel 128;
REGISTER udf-lib-1.0-SNAPSHOT.jar;
DEFINE XPath com.blah.udfs.XPath();

docs = LOAD '$input' USING com.blah.storage.XMLLoader('root') as (content:chararray);

results = FOREACH docs GENERATE XPath(content, 'root/id'), XPath(content, 'root/otherField'), content;

forced_reduce = FOREACH (GROUP results BY RANDOM()) GENERATE FLATTEN(results);
store forced_reduce into '$output';

Again, this produces the expected data. Also, I now get 128 part-files. My problem now is that the data is not evenly distributed among the part-files. Some have 8 gigs, others have 100 mb. I should have expected this when grouping them by RANDOM() :).
My question is what would be the preferred way to limit the number of part-files yet still have them evenly-sized? I'm new to pig/pig latin and assume I'm going about this in the completely wrong way.
p.s. the reason I care about the number of part-files is because I'd like to process the output with spark and our spark cluster seems to do a lot better with a smaller number of files.

A: I'm still looking for a way to do this directly from the pig script but for now my "solution" is to repartition the data within the spark process that works on the output of the pig script. I use the RDD.coalesce function to rebalance the data.

A: From the first code snippet, I am assuming it is map only job since you are not using any aggregates.
Instead of using reducers, set the property pig.maxCombinedSplitSize
    REGISTER udf-lib-1.0-SNAPSHOT.jar;
    DEFINE XPath com.blah.udfs.XPath();

    docs = LOAD '$input' USING com.blah.storage.XMLLoader('root') as (content:chararray);

    results = FOREACH docs GENERATE XPath(content, 'root/id'), XPath(content, 'root/otherField'), content;

    store results into '$output';
exec;
        set pig.maxCombinedSplitSize 1000000000; -- 1 GB(given size in bytes)
        x = load '$output' using PigStorage();
        store x into '$output2' using PigStorage();

pig.maxCombinedSplitSize - setting this property will make sure each mapper reads around 1 GB data and above code works as identity mapper job, which helps you write data in 1GB part file chunks.


text:
Rails.application.routes.draw do
  # Root route
  root :controller => 'main', :action => :index
end

redpajama_set_name: RedPajamaGithub


Team Leader and marketing guru of Kable Team Realty, Tracy Kable approaches her business model with one motto: professionalism with a personal touch. She puts this model into practice by positioning her clients' happiness as the number one priority in each transaction.
Her ability to recognize the unique wants, needs and lifestyles of each client has exceeded the expectations of home buyers and sellers in West Virginia's Eastern Panhandle for years. Her natural flair for leadership and forming relationships has led her to success.
Born and raised in Charles Town, Tracy is a true West Virginia native and has lived in the area for most of her life. After a successful career in direct sales, Tracy's exceptional skills and abilities were recognized, and she took her talent a step further in real estate. Tracy became a licensed Realtor® in 2000, though her experience in customer service began in 1987, and has developed an unbreakable passion for guiding her clients to real estate success. She tackles every transaction with a clear goal, providing her clients with nothing short of five-star service.
Tracy takes pride in her strong negotiation abilities, a trait that she has become known for throughout the Eastern Panhandle. She spends time studying the current market, coming up with comparable home sales to achieve the best price possible for buyers and sellers alike. Whether it's finding a first home, relocating to a new part of town or discovering the perfect place to retire, Tracy finds fulfillment in knowing she played a role in the satisfaction of her clients.
Developing lasting relationships is of utmost importance to Tracy and her team. Even after the deal has closed, clients can expect to hear from Tracy throughout the year whether it is via phone, email, a personal note or even an in-person rendezvous.
While Tracy and Kable Team Realty work hard in their quest to assist the West Virginia real estate consumer, they still find time to stay active throughout the community. They are a Partner in Education with local schools, supporters of the local Rotary and rotarian events, and sponsors of the Jefferson County Community Ministries.
Kable Team Realty is also a member of the Eastern Panhandle Board of Realtors and the Jefferson and Berkeley County Chamber of Commerce, and they support a variety of charity events and organizations, including the youth 4-H program.
Ranked top 3 in sales volume with RE/MAX in West Virginia, The Kable Team continues to build its name throughout Jefferson and Berkeley Counties. While representing all home price levels and experience of clientele, Tracy and her team find fulfillment in guiding their clients through the important process of buying a home or selling a home.
The Kable Team continues to achieve outstanding results that are demanded by today's real estate consumers and goes above and beyond the everyday real estate transaction to ensure a stress-free and successful experience. Through experience and learning, Tracy consistently strives to take her customer service practices up yet another notch higher.
Tracy and The Kable Team's wealth of knowledge, experience and proven marketing methods have designated them as stars through Star Power®. Additionally, Tracy follows the principals of Dave Ramsey, America's trusted voice on money and business, who has designated her as his preferred provider. Tracy places a strong value on education and continues to build on her strengths through classes, courses, seminars and conferences. This, combined with her experience, has earned her a variety of designations, including being an accredited home stager, which distinguishes her as a favorable and trusted resource in Eastern Panhandle real estate.
When Tracy is not busy in the world of real estate, reading, cooking and traveling are also high on her list, along with golfing and spending time with friends and family.
Why Work with Tracy Kable?


text:
Examples of insanity. Insanity 2019-02-11
Examples of insanity Rating: 9,7/10 108 reviews
Insanity Defense
Origin 1580-1590 Latin insānitās What is Temporary Insanity Temporary insanity is a defense that may be used by a defendant who has been charged with a serious crime. Such simulation, however, would be of no avail if Marcellus and Horatio were free to speak of the manner in which he had met their inquiries, and therefore he anticipates all risk by a confession that he may perchance hereafter think meet to put on a disposition similar to that already assumed towards them; while by a second oath of equal solemnity to the former one he binds them not so much as to give the faintest hint that if they chose they could explain his strangeness, and to this pledge as before the Ghost from beneath adjures them. Nonetheless, the insanity defense as a strategy is fascinating and its validity widely debated since its inception in the twentieth century, mainly due to the difficulty in proving beyond the reasonable doubt that the criminal was insane during the commitment of their crimes and the ethical implications of allowing deranged criminals to avoid incarceration. Hadfield was acquitted and later committed to an insane asylum. This allows the mentally ill defendant to be found liable of his or her crime, but requires them to seek psychiatric treatment or be placed in a mental hospital.
11 Bible verses about Insanity
During the trial, Lorena revealed the details of their marriage and the domestic abuse. As a registered sex offender, he would then proceed to commit 15 more murders, storing the corpses in vats. The testimony of a mental health professional must, therefore, answer the questions of law, and allow the judge and jury to decide whether the testimony and other evidence in the case allow for a finding of criminal insanity, or of temporary insanity. Even if evidence of insanity does not win a verdict of not guilty, the sentencing court may consider it as a mitigating factor. For this reason, most celebrated serial killers such as John Wayne Gacy and Ted Bundy, as well as persons whose mental stability seems to be of a questionable nature, such as Ted Kaczynski, have seen their insanity pleas fail or have never used the defense.
Insanity Defense Essay Example for Free
He subsequently suffered a heart attack and died a month after testifying at the trial. If an otherwise conscientious and law-abiding mother shoots the perpetrator, the mother may argue that she was so enraged that she became mentally ill and incapable of exerting self-control. In the Sniper case, there was evidence that Routh smoked marijuana the morning of the shootings. If during that interval he also comes to the decision that it will not be advisable to communicate to Horatio and Marcellus what had passed since he left them, there is nothing to be wondered at. According to the high court, Nevada had violated Riggins's due process rights under the Sixth and Fourteenth Amendments. McNaughton was ultimately acquitted on the grounds of insanity and forcibly institutionalized. Daniel Sickles was known for being a New York politician and Civil War Union General as much as his public scandals and controversies.
Cases Where The Insanity Defense Worked
This is based on the assumption that an individual who cannot choose between right and wrong, or who is unable to understand the implications of his actions, cannot be held criminally liable. Sufficient evidence invariably includes by psychologists and psychiatrists. While it may seem that such a sentence is better than a prison sentence, commitment to a mental institution may entail confinement for twice as long as the corresponding prison sentence. In the eye of the law, an individual is guilty of a crime if two conditions are met: the defendant engaged in a forbidden conduct actus reus ; the defendant committed the act with criminal intent mens rea. The court was unconvinced and proceeded to charge them for their offenses. Hamlet knows well enough that a father's vanity will lie tickled by the belief that his daughter is loved to such distraction by one so much above her in station, and that the garrulous old courtier will not only at once carry the news to the king, but will do his best to instill into him the same faith.
Top 10 Most Notorious Insanity Defense Cases
These states include Montana, Utah, Kansas, and Idaho. This was also the same man who chose not to present his pregnant wife at home to Queen Victoria, but instead hire the services of a common prostitute Fanny White for the dignified task. Under this standard, a defendant is considered insane when a mental disease or defect diminishes his or her capacity to appreciate the criminal nature of his or her conduct or the ability to conform one's conduct to the strictures of the law. While under the grips of mental illness, Lear is analyzing his kingdom and the way it is being run, and he makes very wise comments on how it should be improved. She spent 45 days being evaluated at a state hospital, after which she was released. Gacy was found guilty of each murder and was sentenced to death by lethal injection. The prosecutor said it was more likely that Dominic angered the teen in some way, leading to the attack.
Types of Insanity
In actuality, blood spatter evidence in the trial showed the teen attacked Dominic, smashing the boy's jaw, knocking out teeth and causing multiple bruises, Kilnoski noted in her ruling. Senator Arlen Specter proposed shifting the burden of proof of insanity over to the defense, a measure supported by Reagan and a majority of states, Linder wrote. The defense is used in just roughly 1 percent of U. The jury stated that Lorena had an irresistible impulse to hurt John in a sexual manner due to his abuse. Although with the right lawyer, the person who committed this tragic crime may someday be able to be free. Murderous Minds on Trial: Terrible Tales from a Forensic Psychiatrist's Case Book. Lorena then left the apartment with the body part and threw it out of her car widow.
Insanity Defense Essay ⋆ Criminal Justice Essay Examples ⋆ EssayEmpire
With astronomical operating costs of a psychiatric facility that increase the tax burden on every tax payer in the nation, especially the maximum security facilities that this caliber of criminal is housed at, the temporary insanity precedent set forth over a century ago should be phased out. Dressing and eating foods outside the normal lifestyle choices John the Baptist 21. She also claimed her husband raped her on the night she cut off his penis. He no doubt suspects that Ophelia, like Rosencrantz and Guildenstern, has been sent to probe his malady. Weekly, in an amphitheater in front of tout Paris, he hypnotized a parade of scantily clad young women, many of them repeat performers. Various people argued that Hinckley was guilty because the premeditation of the crime committed proved him to be sane, therefore the insanity defense should not have proved him not guilty.
Teen found not guilty by reason of insanity
Most defendants, about 70%, who have initially entered an insanity plea withdraw their plea after a court-ordered evaluation finds them legally sane. Why Use the Insanity Workout Sheets? The insanity defense should not be confused with. Disease was rife in the ancient, medieval, and early modern world. Gein pled not guilty under reason of insanity and was deemed legally insane. A psychiatrist at the jail prescribed 100 milligrams per day of Mellaril, an antipsychotic drug. This mistake coincides with the fact that he banished his one truthful and loving daughter, Cordelia.


text:
Betrayal In Blood
Michael Benson
Her Cheating Heart
"Mommy...won't be with us anymore." That's what attorney Kevin C. Bryant, 45, told his two young sons in the spring of 2003. At the time, blonde, pretty, 26-year-old Tabatha Bryant was alive and well in an upscale suburb of Rochester, New York. But that was about to change--because Bryant knew his wife was cheating--and he intended to end the affair by ending her life. On June 14, 2003, he called 911 to report Tabatha slain by an unknown intruder who'd shot her in the eye with a .22 and repeatedly stabbed her in the neck and upper body.
His Evil Plan
A drug bust led to Cassidy Green's confession that she'd driven the getaway car. She fingered boyfriend Cyril Winebrenner as the killer. He and Kevin Bryant were buddies who'd regularly gone on cocaine-fueled sex binges with hookers. Astoundingly, Winebrenner was also Tabatha's half-brother--but Bryant's $5,000 had convinced him that money is thicker than blood. In a trial that shook "Country Club Row," prosecutors would present evidence and testimonies that revealed ever more sordid details, leading to final justice for the lawyer who tried to get away with murder...
Pinnacle Books
Kensington Publishing Corp.
More Books by Michael Benson
Space Odyssey
Michael Benson's True Crime Bundle: Watch Mommy Die, A Killer's Touch & A Knife In The Heart
Mommy Deadliest
A Knife in the Heart
The Burn Farm
Winning Words


text:
Q: How to get available active directory domain in the network using WIX? I am developing a WIX installer. Set up requires active domain name as input while installation on a click of a button say "Browse". I googled a lot but found no way to implement. Please help to implement the same or suggest some other way to achieve this.
Thanks.

A: Here is a high level outline of how to do what you want.
Create your dialog that will have the browse button. (Dialog Parent)
Create your dialog that will display the list of domains (Dialog Child)
Configure your Publish elements (ControlEvents) on the Dialog Parent Browse Button to spawn the Child dialog.
Create a custom action in C++ or C#  that queries Windows API's to get a list of domain the forest.  Use Windows Installer API's to populate temporary rows into the ListBox table.   This table will be used the ListBox control on the Child dialog.  You may need to use an EnsureTable element to make sure the ListBox table gets created.
In C# you can read how to get a list of domains here:  How to get a list of all domains?
To learn about temporary records look at my blog here: Dynamic Windows Installer UI
Schedule the custom action to run in the UI sequence after AppSearch.  Build and test.
Here's how it works.  The installer starts and runs the CA.  The CA gets a list of domains and inserts temporary rows into the ListBox table as if they were authored at build time.   The user gets to dialog parent and clicks the browse button.   The child dialog is spawned (modal on top) and displays the list of domains.  They select a record and the value associated with the record is set to the property associated with the ListBox.  They click OK then Next and go about their merry way.   Later you use the property somewhere like a Registry entry by saying [SELECTEDDOMAIN]  or whatever else you called the property.
Since we are talking about properties with user configuration data, now is a good time to mention:
The WiX toolset's "Remember Property" pattern
This is the most detailed answer I can provide without doing the work for you.  Additional assistance is available at an hourly rate.


On May 3, 2011, Governor Nathan Deal signed into law House Bill 24 (HB 24) bringing a new set of evidence rules to the State of Georgia.
The new rules went into effect on January 1, 2013. The author of this article was the Reporter for the State Bar Evidence Study Committee when new rules were first proposed back in the mid-1980s, and again throughout the recent, successful effort to reform the rules.
Part I of this article will give a brief history of the twenty-six-year effort to bring new evidence rules to Georgia. Part II will provide a structural overview of the new rules. Part III will then describe thirty-eight significant changes that judges and trial lawyers will find in the new rules. Finally, Part IV will mention a few evidentiary issues that still need attention.
Paul S. Milich, Georgia's New Evidence Code - An Overview, 28 Ga. St. U. L. Rev. 379 (2012).


IT professional with two decades of experience applying technology, management, leadership and problem solving skills to deliver business results for organizations primarily in the high tech, health, tourism, entertainment and real estate sectors.
Passionate about turning web site ideas into successful online businesses with decades of experience in web application development and online marketing with strong focus on social media marketing, organic search strategies, user experience and conversion optimization.
I currently work as an IT Consultant at 360 IT Pro on the Sunshine Coast of British Columbia, Canada. My service area covers the entire lower Sunshine Coast, including Langdale, Gibsons, Roberts Creek, Wilson Creek, Sechelt, Halfmoon Bay, Pender Harbour, Egmont, surrounding areas as well as the Metro Vancouver area.


The news that one of the best orchestra's in the world, the famous European Youth Community Orchestra, will have to end its activities from September onwards due to the fact that the European Union will stop their financial support, came to me as 'lightning-bolt out of the blue', as a terrible surprise and, not to say, a traumatic shock. So, my first reaction was one of complete disbelief. Why? Because this decision is in the highest extend contrary to the essence of European thought. That is to say: to bridge the gap between the nations and to bring people of different cultures together. Classical music is the embodiment in sound of an intense dialogue. And this dialogue is badly and more needed than ever before in this turbulent – and often violent – time, in which populistic trends and many conflicts threaten the survival of our hard-won democratic culture. The masterpieces of the symphonic literature of the past and today speak the vocabulary and language of democracy and freedom. And, furthermore, they express in a unique way beyond words the fundamental questions of our existence on this planet.
The late German composer, Hans Werner Henze (1926-2012) once stated the importance of classical music. He considers this art in particular as a means to enhance the flexibility of our consciousness in terms of an increasing social awareness in the widest sense of this notion. In other words, classical music is not a luxury but an absolute and pure necessity. She offers us the tools by which we are enabled to mobilize our imagination and creativity. And, in order to find appropriate solutions for the vital problems of our existence, this creativity is now of utmost importance.
Within this context the substantial role and contribution of the European Youth Community Orchestra comes into view, an orchestra in which the best and most gifted musicians of 28 different countries take part. Not only by performing the great heritage of symphonic culture on the highest possible level under the baton of world's top conductors and in cooperation with the best instrumental and vocal soloists, but also by meeting each other and exchanging their different political, religious and social opinions, which in its turn will lead to better understanding of the already mentioned problems our society has to face. It is this understanding of a new generation who, hopefully, will sooner or later bring those solutions, within reach – solutions being so essential in order to be able to improve our world and make this place a better and more human one.
Apart from these considerations, the European Youth Community Orchestra is in another sense a real community as well. Because, first en foremost it is the source par excellence of top-musicians from which international orchestras, like for instance the Berlin Philharmonic Orchestra, the Royal Concertgebouw Orchestra, The New York Philharmonic the Chicago Symphony Orchestra and the Vienna Philharmonic do recruit their musicians. The damage of the disappearance of the European Youth Community Orchestra will by far not be restricted to the musicians of this famous ensemble itself, but will do fundamental and irreparable damage to the infrastructure of the orchestral landscape in Europe and the rest of the world.
I do trust in your wisdom and am fully convinced that the arguments I have tried to express in my letter, in order to maintain the financial support of the European Youth Community Orchestra, will lead to a thorough review of your decision.