text:
December 18, 2006 Issue
THE MASTER OF MALGUDI
The fiction of R. K. Narayan.
By Wyatt Mason
When R. K. Narayan died, in the spring of 2001 at the age of ninety-four, his legacy seemed assured. Over seven decades of literary activity, he had produced fourteen novels, countless essays, and dozens of stories, the majority of his fiction set in a South Indian town that he called Malgudi. No more a feature of atlases than Trollope's Barchester, Narayan's Malgudi put modern Indian writing on the map. For although a handful of Indian novels had been written in English during the nineteenth century, and both Raja Rao and Mulk Raj Anand had found readers for their novels in English by the nineteen-thirties, it was Narayan—two generations before Salman Rushdie—who began to produce the first world-renowned body of work not rendered in any of India's many vernacular languages. As such, there seemed little risk of hyperbole when Narayan's obituary in the Guardian said that he was held to be "India's greatest writer in English of the twentieth century."
And yet if Narayan's standing was consistently described in the most vigorous terms, assessments of his writing were less robust. His work was called "charming," "simple," "gentle," "harmless," "lightly funny," and "benign"—applause so placid that it was unlikely to wake anyone dozing in the audience. V. S. Naipaul, in a tribute to Narayan in Time, recalled having been "immediately enchanted" by Narayan's early work, but he seemed perplexed that Narayan, a writer of realist fiction, "was not interested in Indian politics or Indian problems"—that he did not see the India that Naipaul had dubbed "a wounded civilization." Though Naipaul claimed, charitably, "I do not hold this against him," there was a lingering suggestion that it could be held against Narayan's art. "A more clear-sighted man would not have been able to filter out or make harmless the distress of India, as Narayan does in Malgudi." He went on:
**{: .break one} ** I have grown to feel that he is in some ways like Gandhi. Gandhi's first book . . . is full of religious idiocies. No one would have prophesied a future for him. But he had in a heightened way Narayan's mystical idea of an eternal India; and look what happened to him. Narayan, with his glories and limitations, is the Gandhi of modern Indian literature. **
Sainthood is a kind of legacy, but fiction writers tend to prefer devoted readers to ardent worshippers. To mark the occasion of Narayan's centenary year, a range of reissues has recently appeared, introduced by a new generation of authors who see him not as a dated writer of historical consequence but as a timeless writer of aesthetic excellence. They focus less on his uncontested greatness than on his disputed goodness. Monica Ali, introducing Narayan's late novel "The Painter of Signs" (Penguin; $13), warns us not to mistake a smaller world—Narayan's novels rarely run to more than two hundred pages—for a lesser one. Pankaj Mishra prefaces "The Ramayana" (Penguin; $13), a prose retelling of the epic poem, with the observation that Narayan, far from lacking political clear-sightedness, responded with a "pragmatic realism, a gentle refusal to regard good and evil as unmixed." Jhumpa Lahiri, in her foreword to "Malgudi Days" (Penguin; $14), a selection of short stories, is anxious for us not to overlook, in Narayan's unself-regarding and economical style, its fineness: "While other writers rely on paragraphs and pages to get their points across, Narayan extracts the full capacity of each sentence, so much so that his stories seem bound by an invisible yet essential mechanism, similar to the metrical and quantitative constraints of poetry."
Nonetheless, it should be conceded that a modern reader may initially find barriers to a thorough appreciation of Narayan's work. Consider a few lines from his first novel, "Swami and Friends" (1935), where a fight has erupted in a classroom full of young children: "The teacher came in and stood aghast. He could do little more than look on and ejaculate." A few pages later, one boy begins to lecture a group of quarrelling playmates: "He said impressive things about friendship, quoting from his book the story of the dying old man and the faggots, which proved that union was strength." Though we're unlikely to mistake a bundle of sticks or a headmaster's shouts for anything coarser, such old-fashioned formulations can be distracting. But this apparent quaintness is instructive, given that Narayan wrote not in the language of his birth, Tamil, but in an English adopted and adapted from that of India's colonial overlords. Frequently, there are phrases that would seem pure cliché in a British or American writer, but which here take on the air of borrowings, as if they were between quotation marks. (A useful analogy might be found in the films of Satyajit Ray, whose characters pepper their Bengali speech with idioms like "Just wait and see.") It is better to read Narayan as he wrote, essentially as a writer in translation, or, at the very least, as one using a language in transition.
Early in "Swami and Friends," say, we join a trio of witnesses to a schoolyard dustup featuring two of the biggest boys in the class:
**{: .break one} ** The three youngsters could hardly believe their eyes. Somu and Mani fighting! They lost their heads. They thought that Somu and Mani were killing each other. They looked accusingly at one another, and then ran towards the school. They burst in upon the headmaster, who gathered from them with difficulty that in the adjacent field two murders were being committed at that very moment. He was disposed to laugh at first. But the excitement and seriousness on the boys' faces made him check his laughter and scratch his chin. He called a peon and with him set off to the field. The fighters, rolling and rolling, were everywhere in the field. The headmaster and the peon easily picked them apart, much to the astonishment of Swaminathan, who had thought till then that the strength that Somu or Mani possessed was not possessed by anyone else in the world. **
Again, there are stock phrases ("hardly believe their eyes," "lost their heads"), but Narayan effects a series of startlingly rapid shifts in perspective, a characteristic feature of his writing. The fight is first seen through the eyes of "three youngsters," whose astonishment ("Somu and Mani fighting!") impels them to tell the headmaster, who takes over the narrative point of view. The headmaster gathers "with difficulty" (because the three youngsters, we can be sure, are shouting in breathless unison) that grievous bodily harm is taking place ("two murders," he muses—this overstatement being Narayan's understated way of expressing adult condescension). The headmaster, though, pantomimes sombreness for his charges' benefit ("the boys' faces made him check his laughter and scratch his chin"—that international gesture of seriousness) before heading to the field. And there the two divergent perspectives are married in the mind of ten-year-old Swaminathan, whose consciousness is the novel's axis. As he sees the boys "easily picked apart," the child finds his idea of the universe ("that the strength that Somu or Mani possessed was not possessed by anyone else in the world") overturned.
From such innocent events as schoolyard tussles, Narayan manages to extract telling moments when characters confront the limits of their perspectives, when the world of the self is shown to be at odds with one's self in the world. Though the subject matter of these conflicts is not overtly political, to suggest, in Naipaul's phrase, that Narayan was "able to filter out or make harmless the distress of India" is itself to subject his writing to a distressing kind of filter. Narayan's sly political sensibility is always just beneath the surface, as in this description of Swaminathan studying for school:
**{: .break one} ** He sat at his table and took out his atlas. He opened the political map of Europe and sat gazing at it. It puzzled him how people managed to live in such a crooked country as Europe. He wondered what the shape of the people might be who lived in places where the outline narrowed as in a cape, and how they managed to escape being strangled by the contour of their land. And then another favourite problem began to tease him: how did those map-makers find out what the shape of a country was? How did they find out that Europe was like a camel's head? Probably they stood on high towers and copied what they saw below. He wondered if he would be able to see India as it looked in the map, if he stood on the top of the town hall. He had never been there nor ever did he wish to go there. Though he was incredulous, tailor Ranga persistently informed him that there was a torture chamber in the top storey of the town hall to which Pathans decoyed young people. **
On one level, the scene shows the charming literalness of a child's mind, as it ponders what "the shape of the people might be who lived in places where the outline narrowed as in a cape." But Narayan's language tells another story as well, one that charts an area of darkness. Staring at the "political map," Swaminathan, for whom Europe is both a distant abstraction and an imperial reality, homogenizes it into "a crooked country." An inhabitant of a world where a border has become a kind of barrier, the boy wonders how people "escape being strangled by the contour of their land." Tempted to see India as it looks to mapmakers, from that unfiltered perspective, he is nonetheless afraid that it might lead to his "torture." Crookedness, strangulation, torture: these words draw their own map, one that describes how it might feel to live in a country ruled by another. Edmund Wilson's assessment of Walt Whitman applies equally to Narayan: "He does not write editorials on current events but describes his actual feelings."
One of eight children, Rasipuram Krishnaswami Iyer Narayanswami was born on October 10, 1906, in Madras. Narayan's family was Brahmin, the highest of the Hindu castes, whose members traditionally are priests or scholars. Shortly after Narayan's birth, his father, a headmaster, took a position in a government school in Mysore, several hours from Madras. Because his mother was pregnant and unwell, little Narayan was left in Madras, in the care of his grandmother, an arrangement that lasted more than a decade.
Narayan's earliest years in Madras seem largely to have been an idyll, if a quite solitary one. In his memoir, "My Days" (1974), Narayan recalls, "All day long, I sat half buried in sand piled in a corner of our garden, raising castles and mountain-ranges, unaware of the fierce Madras sun overhead. I had a peacock and a monkey for company." Formal education, however, proved a torment. Narayan recalls a stroll with his uncle that took him past the school where he would soon enroll, "a gaunt-looking building with a crucifix on its roof, and I hated it at first sight." Attendance did not amend the impression:
**{: .break one} ** Ours was a Lutheran Mission School—mostly for boarders who were Christian converts. The teachers were all converts, and, towards the few non-Christian students like me, they displayed a lot of hatred. Most of the Christian students also detested us. The scripture classes were mostly devoted to attacking and lampooning the Hindu gods, and violent abuses were heaped on idol-worshippers as a prelude to glorifying Jesus. Among the non-Christians in our class I was the only Brahmin boy, and received special attention; the whole class would turn in my direction when the teacher said that Brahmins claiming to be vegetarians ate fish and meat in secret, in a sneaky way, and were responsible for the soaring price of those commodities. **
The boy's academic apathy only deepened when he finally went to Mysore to live with his parents. Though he attended Maharaja's Collegiate High School, where his father was headmaster, Narayan recalled working "without conviction, enthusiasm, or any sort of distinction." His claim is not an instance of memoiristic self-mockery. Narayan failed his university entrance exam, unable to pass the English portion. Retaking the test a year later, he buckled down and passed the English portion, managing, instead, to flunk Tamil, his native tongue, and fail the exam a second time.
And it is here, with Narayan finishing high school, that the diverting particulars of childhood—the monkeys and peacocks, the colonial cruelties, the academic misadventures—run dry. What comes next is interesting mostly for how interchangeable it is with the same period—hand to mouth—in the evolution of most any writer. Familiar as they have become, the scenes are best enjoyed in montage: the intense period of serious reading; the ensuing time of perfervid first composition, here taking the form of execrable, largely imitative, experimentation; an overlapping period of outsized pride over such compositions; an inevitable period of postal humblings, as submissions are dutifully returned with dismaying little slips; an era of humiliating jobs, to support an ambition that garners no other support. If the writer is Arthur Rimbaud, though, vindication arrives when Paul Verlaine reads the unknown young Frenchman's poems and invites him to Paris. If the writer is James Joyce, support arrives in the form of a handshake from William Butler Yeats, who goes to meet the unknown young Irishman's train in London. If the story is that of so many great writers' early lives, somewhere along the way an elder countryman of standing appears in a cameo role that makes a difference.
But, in Narayan's story, there is, for the first eleven years, no such support: no invitation, no train, no hand. He was pursuing a vocation that did not exist in his country, that of a realistic fiction writer in English. Whom could he ask?
And so, in the early nineteen-thirties, when Narayan's short stories were finding no favor in the world—when "Swaminathan, The Tate," his first completed novel, had travelled back and forth a dozen times between India and En-gland; when the last available publisher's name and address was about to be exhausted—Narayan included a preëmptive note in a final submission letter, to the publisher Dent. He asked if, when they rejected the book, as he was sure they would, they could, instead of returning it, forward it to a friend of his studying at Exeter College, Oxford. To that friend, Kittu Purna, a contemporary from Mysore who had listened approvingly to the recitation of the perfervid early work, Narayan sent a note of advance warning that an ugly orphan would soon be arriving on his doorstep. Narayan, in his memoir, recalled asking Purna if he would be so kind as to "weight the manuscript with a stone and drown it in the Thames."
Dent did as Narayan asked; Purna did not. Instead, of his own accord he went to London to knock on the door of a writer he had met in Oxford: Graham Greene. Greene agreed to read the manuscript. When he had done so, he sent a note to India:
**{: .break one} ** Dear Mr. Narayan Swami, My friend Kit Purna sent me your novel the other day to read, and I should like to tell you as a fellow novelist how much I admired it. I took the liberty of sending it with a covering letter to a publisher, Hamish Hamilton, and I have heard from him today that he wishes to publish it. You couldn't I think have a better publisher. His is a young firm with a very good literary reputation and his connexion with the American publishers, Harper's, may make it possible to find a publisher for it too in the U.S.A. . . . It is a real joy to be of use to a new writer of your quality. **
Narayan's quality—which prompted Greene to describe the novel, retitled "Swami and Friends," as "a book in ten thousand" and to help its author through the decades it took to see him fully established—requires subtler and deeper adjustments on the part of contemporary readers than merely to prose (plain but concentrated) or size (slim but teeming). Just as we do not read Jane Austen the way we read Virginia Woolf (for each has such radically different storytelling methods that to expect from either the pleasures of the other is to be disappointed with both), we do Narayan injury by demanding that he read like anyone but Narayan. His methods are different, and his conception of the novelistic form is very much his own.
Narayan's third novel, "The Dark Room" (1938)—now reissued in one of two omnibus collections from Everyman's Library ($25 each)—provides an early example of his singu-larity. The story concerns a young woman named Savitri. Married to an insurance officer, Ramani, with whom she has three children, Savitri is what we would now call a homemaker, whereas in the Indian culture and caste of her era she is simply what one would have called a woman: she serves her husband, cares for her children, and that is meant to be enough:
**{: .break one} ** At eight-thirty Savitri's ears, as ever, were the first to pick up the hoarse hooting of the Chevrolet horn. She shouted to the servant, "Ranga, open the motor shed!" Ramani as a rule sounded his horn at about a furlong from his gate, two long hoots which were meant to tell the household, "Ranga, keep the shed door open when I reach there, if you value your life," while to Savitri it said, "It is your business to see that Ranga does his work properly. So take warning." Some days the hooting would be less emphatic, and Savitri's ears were sufficiently attuned to the nuances and she could tell a few minutes in advance what temper her husband was in. Today the hooting was of the milder kind. It might mean that he was bringing home a guest for dinner or that he was in a happy mood, possibly through a victorious evening at the card table in his club. In either case they could await his arrival without apprehension. **
Savitri, in this tense life of divining spousal moods from the "hoarse hooting" of a horn, is unhappy, not merely because her husband expects her to follow him "like the shadow following the substance," or because he is having an affair and is never home. Rather, fundamentally, Savitri is unfulfilled by her place in the world. Her friendships with other women are profitless; her relationship to her children is thankless; her sense of self so dim that she can do little more, most days, when her husband isn't home, than lie down, alone, on the floor, in the titular dark room.
In outline, "The Dark Room" has similarities to Richard Yates's first novel, "Revolutionary Road" (1961). Both tell the sadly familiar story of a philandering businessman husband and a miserable homemaker wife. Yates documents the psychological steps—difficult childhood, disappointing adolescence, missteps in adulthood and marriage—that lead the wife, April Wheeler, to end her life. Narayan, by contrast, tells us little of Savitri's childhood, nor, for that matter, of conditions beyond those of the objective, present moment surrounding the central event of the novel—the night when Savitri abandons her husband and seeks, down by the river, a better place for herself in the universe:
**{: .break one} ** She rose and stepped down. There was still one step, the very last submerged under water, very slippery with moss; and then one felt the sand under one's feet; water reached up to one's hips, and as one went further down, to one's breasts; and now the running water tripped up one's legs from behind. She stood in the water and prayed to her God on the Hill to protect the children. . . . The last sensation that she felt was a sharp sting as the water shot up her nostrils, and something took hold of her feet and toppled her over. **
Unlike April Wheeler's act in "Revolutionary Road," Savitri's is averted. A man sees her being swept away and leaps in to save her. By novel's end, Savitri has returned home to her husband, to serve him as before. There, she is no less miserable, no more fulfilled. Nothing changes. For the Western reader accustomed to the psychological novel of action and outcome, such a story can seem oddly unsatisfying. Western novels about women whose lives are denied free exercise of will—Anna Karenina; Emma Bovary; Lily Bart in "The House of Mirth"; Florence Dowell in "The Good Soldier"; Edna Pontellier in "The Awakening"—have often charted a progression of cause and effect that makes comprehensible, even inevitable, a woman's final, metaphorical flight to the river. But in Narayan's world, while there is the same impulse to slough off one's bonds, it is always without outlet. Indeed, in Narayan's early novels his protagonists—Swaminathan in "Swami and Friends," Chandran in "The Bachelor of Arts"—are all trapped by, and strain against, existential bonds that prove unbreakable. All try to flee their frustratingly narrow lives by running away from home, but, like pigeons to their coops, they cannot help returning. In their very form, these novels, in which conflict finds neither psychological justification nor narrative resolution, register "Indian problems" with a cartographer's watchtower remove: Narayan is showing us the shape of a people being strangled by the contour of their land.
With his fourth novel, "The English Teacher" (1945), Narayan's point of view began to change, and this change is almost certainly related to a tragic event in his life. In the novel, Krishna, the protagonist, is, like earlier Narayan heroes, unhappy with his place in the world, "constantly nagged by the feeling that [he] was doing the wrong work." One day, Krishna and his wife, Susila—their happy marriage nothing like the miserable one of "The Dark Room"—go house-hunting. Strolling through the grounds of one property, Susila takes leave of Krishna to use an outhouse in a distant corner of the garden. Once she closes the door, though, it jams, trapping her in the fetid, fly-filled dark. When Krishna, who grows concerned at her absence, hears Susila's cries and locates the outhouse, kicking in its door, his wife is frantic: a fly, then a carrier of incurable diseases, has landed on her lip. Weeks later, she dies of typhoid.
Here, Krishna watches as Susila is borne to the funeral pyre:
**{: .break one} ** I see her face in daylight, in the open, and note the devastation of the weeks of fever—this shriveling heat has baked her face into a peculiar tinge of pale yellow. The purple cotton sari which I bought her on another day is wound round her and going to burn with her. The priest and the carriers are ceaselessly shouting for someone or other. Basket after basket of dry cowdung fuel is brought and dumped. . . . Lively discussion over prices and quality goes on. The trappings of trade do not leave us even here. Some hairy man sits under a tree and asks for alms. I am unable to do anything, but quietly watch in numbness. . . . I'm an imbecile, incapable of doing anything or answering any questions. . . . They build up a pyre, place her on it, cover her up with layers of fuel. . . . Leaving only the face and a part of her chest out, four layers deep down. I pour ghee on and drop the fire. **
Narayan, once an English teacher like Krishna, lost his own young wife, Rajam, to typhoid, in 1939, after just such an encounter with a fly. Her death affected Narayan deeply. "The world appears very vacant and vague now," he told Greene in a letter, "and I too feel dead." For years, Narayan was unable to write, but, when he resumed, his books had changed—a change that was both a function of what he had lost and what, through the nature of that loss, he discovered. Narayan had first seen his wife on a street corner and had courted her against the conventions of the time, which favored arranged marriages. Having already ignored convention, the couple then learned that their horoscopes—the consideration of which was essential to marriage—deemed them incompatible: Narayan and Rajam were told that they must not marry. Were they to defy the stars, their charts made clear, Narayan would be a young widower. Deciding that superstitions and conventions did not apply to him, Narayan married the woman he loved. When the tragedy came, it seems to have instilled in him a deep sense of the inexorability of fate, a conviction that, naturally, influenced his view of character. "We are what we are," Narayan later told a biographer. "Whether you grow older, more decrepit, inside, the sense of awareness, of being, is the same throughout. I don't see any difference between myself when I was seven years old in Madras and now here in Mysore. The chap inside is the same, unchanged."
If the novels that Narayan wrote before the death of his wife were all documents of frustrated flight, those that came after chart the comedy of trying to resist fate at all. Now resistance isn't so much futile as fundamental to our humanness: we are always resisting only ourselves, a fact that—once you get over the abject horror of it—is really very funny. As the titles suggest—"The Printer of Malgudi" (1949); "The Financial Expert" (1952); "The Guide" (1958); "The Vendor of Sweets" (1967); "The Painter of Signs" (1976)—the protagonists of Narayan's mature novels are all defined by their lot in life. All the books are comic, animated by the degree to which the inner self, however much it might question its place in the world, is constantly shown to be stubbornly consistent. These are not documents of frustration but, rather, delicately tuned farces of being.
The richest of these is "The Guide" (Penguin Classics; $14). Upon his release from prison, a man must once again find a place for himself in the world. Raju, when we meet him, is sitting on steps that lead into a river, the very river where Savitri failed to end her life. Raju has no suicidal thoughts, only worries and sorrows. At the opening of the novel, a stranger approaches:
**{: .break one} ** Raju welcomed the intrusion—something to relieve the loneliness of the place. The man stood gazing reverentially on his face. Raju felt amused and embarrassed. "Sit down if you like," Raju said, to break the spell. The other accepted the suggestion with a grateful nod and went down the river steps to wash his feet and face, came up wiping himself dry with the end of a checkered yellow towel on his shoulder, and took his seat two steps below the granite slab on which Raju was sitting cross-legged as if it were a throne, beside an ancient shrine. The branches of the trees canopying the river rustled and trembled with the agitation of birds and monkeys settling down for the night. Upstream beyond the hills the sun was setting. Raju waited for the other to say something. But he was too polite to open a conversation. **
It transpires that the man, a villager named Velan, is not being polite but reverential: Raju's seated pose by the shrine has led Velan to mistake him for a holy man. This initial error furnishes the book's premise; Raju, content to be misconstrued, begins dispensing advice to Velan, and then to his neighbors. It is, after all, to Raju's profit: his worshippers bring him offerings of food, leaving him no reason to go anywhere else. Sweetly comic sections in which Raju shares his wisdom—inscrutable non-answers that exhort the villagers to seek answers within themselves—are all narrated in the third person. They alternate with Raju's first-person account of the life that has brought him to this pass: his childhood in his father's shop; his work as a successful tour guide, ignorant of history but adept at spinning colorful lies about attractions; his seduction of a tourist's wife; and his attempt to defraud the woman by forging her name. This is the act that lands him in prison, and there is a comic counterpoint between the legal punishments for not being oneself and the worldly rewards that such behavior attracts. As Raju concludes his life story, and as his fame as a spiritual guide ironically reaches its apex, we realize that he has been confessing his misdeeds to Velan. Raju asks if Velan has heard his confession:
**{: .break one} ** "Yes, Swami." Raju was taken aback at still being addressed as "Swami." "What do you think of it?" Velan looked quite pained at having to answer such a question. "I don't know why you tell me all this, Swami. It's very kind of you to address at such length your humble servant." **
In a Western comedy of mistaken identity, the revelation of the hero's falsity would be a likely dénouement. But, in Narayan's comedy, the joke is that Raju's sense of who he is is trumped by the world's view of him. After all, if one acts as a guide—dispensing wisdom, fasting when appropriate, attracting followers—one is a guide.
It is through this idea—that a self is not a private entity but a fixed, public one—that Narayan's novels break most meaningfully with those of the West and establish their own tradition. Their significance derives less from the mere fact of being some of the first important Indian fiction in English than from being the first English writing to infuse the novel with an Eastern existential perspective. Though crammed with incident, Narayan's novels do not—indeed, cannot—chart a progression toward the formation of character. His characters, "strangled by the contour of their land," are doubly circumscribed: by their nation's political fate and by the inexorable fate of Hindu cosmology. In Narayan's world, no less than in his lived life, we do not become; rather, we become aware of that which, for good or ill, we cannot help being. Through the novel, a form long used to show how things change, Narayan mapped the movements of unchanging things. ♦
This article appears in the print edition of the December 18, 2006, issue.
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text:
Q: Memory overwrite when using strong and weak symbols in two linked files Assume we have a 64-bit x86 machine, which is little-endian and therefore stores the least-significant byte of a word in the byte with the lowest address.
Assuming standard alignment rules for a 64-bit x86 Linux C compiler.
Consider
File 1:
#include <stdio.h>

struct cs {
    int count;
    unsigned short flags;
};
struct cs gcount;
extern void add_counter( int n );

int main(int c, char *argv[]);

int main(int c, char *argv[]) {
    gcount.flags = 0xe700;
    gcount.count = 1;
    add_counter(42);
    printf("count =%d\n", gcount.count);
    return 0;
}

File 2:
struct cs {
    unsigned short flags;
    int count;
};

struct cs gcount = {0,0};

void add_counter (int n) {
    gcount.count +=n;
}

If compiled the output is 1.
Explanation:

count is defined as a strong global int the second file is thus
  initialized to {0,0}, here the order doesn't matter yet since it's
  just all zeroes.
A struct / type is defined per compilation unit so the first file uses
  the first definition to write to the struct meaning
gcount.flags = 0xe700; gcount.count=1;
cause the memory to look like
[e7 00 | 00 00 00 01] where (in little endian) the left is the top and
  the right is the bottom of memory.
(there's no padding between the two fields since short is at the end,
  sizeof will report 8B though)
when calling add_counter(42), the second file will use the second
  definition of cs and look at the memory as
[e7 00 00 00 | 00 01]
Now there's a 2B padding in between the two fields and the write
  access to the count will thus affect the range
[e7 00 00 00 | 00 01]
42 is 0x2a in hexadecimal (2*16 + 10) and will thus result in
[e7 2a 00 00 | 00 01]
converting this back to the view the first file has we get
[e7 2a | 00 00 00 01]
and thus the result is 1 instead of the expected 43.

Now I do get the general gist but I'm a bit confused about why we get [*e7 2a* 00 00 | 00 01] when adding 42=0x2a and not [*e7 00 00 2a | 00 01].
I'm expecting [*e7 00 00 2a | 00 01] because we are using little-endian, meaning, the most right bit is the LSB. So e7 would actualy represent the most significant 8 bits here.

A: My disparaging comments about the exercise itself notwithstanding, it is possible to interpret the question as a simpler one about byte ordering.  In that sense, the issue is with this assertion:

little-endian, meaning, the most right bit is the LSB.

Little-endian means that the bytes are ordered from least significant to most significant.  The term having been coined in English and English being written left-to-right, that means the most left byte is the LSB in little-endian ordering.

redpajama_set_name: RedPajamaStackExchange


Palms Cycle Featured In Modern Family!
Motor Avenue has a rich history of filming in Los Angeles. Motor stops and starts at Fox and Sony Studios. We have been featured in some of the best of television and film. From the Little Rascals, Laurel and Hardy to Modern Family, Motor Avenue has had many days of filming grace our street, brighten up our community, support our association and enrich our businesses and residents. We love the filming that happens on Motor and look forward to more.
We have had great working relationships with shoots and shows such as Modern Family. We many times will contact a shoot who we find has intent to film on our street and assist them. Since we know the street we can help with parking, staging and many other production issues. We are lucky enough to have two very large parking lots and other hidden vacant land on our street that we can help make available to location managers. This provides a win win opportunity to both the shoot and the community. Parking especially can be a contentious issue between a location manager and many of our small businesses who rely on a very small amount of parking to survive. Many times we can help with locations for catering and porta potty's that does not infringe with the residents and businesses. For the most part this has been a wonderful relationship with our community's location managers who keep coming back time and time again.
We have developed a close relationship with FIlmLA to allude any issues that may arise with Film Crews in terms of parking, waste management, and traffic. Below are a couple contacts if you come across any issues with a Film crew on Motor Avenue. The community outreach department of FilmLA works closely with LAPD's Film Unit to solve any problems and will document every incident that occurs with Film Crews.


Owning a dog is a truly wonderful thing, it doesn't just bring you lots of love, laughter and a loyal companion, but owning a dog also has a great number of health benefits too.
Dogs can successfully control your mood and cheer you up when you are down, you only have to look at those 'puppy eyes' and before you know it you are up off the sofa and heading towards the front door to take your dog out for a walk, even though you didn't quite feel like going out.
Dog owners have been found to have lower cholesterol, lower blood pressure and lower heart rates than those without dogs. It has been said that owning, interacting with and stroking a dog actually decreases blood pressure and heart rate more successfully than drugs do. If you suffer with stress or tension, just stroking a dog can make you feel so much better and give you an instant lift. Dog owners also suffer with far less heart problems or cardiovascular issues such as heart disease, than non dog owners and in general, are much healthier.
Owning a dog gives you a good reason to get out of the house and go for a walk. Fido is always up for a walk rain or shine, and it's not so lonely having a furry companion to walk with.
If you own a dog you may do different things that you wouldn't normally do such as; running with your dog, throwing a ball for your dog, or taking your dog to the beach. These kinds of activities are excellent for keeping you fit and helping lower your stress levels. It is well known that spending time with your dog helps to relax you and makes you feel better.
Another benefit of owning a dog is the chance to meet other people and socialise. If you are walking with a dog this can provide an attraction to other people, especially dog lovers who may stop you to ask what breed you have, or even to compliment your dog. Walking with a dog increases the chance of meeting people and obtaining new friends, which engages your brain, teaches us new things and also helps to lower stress levels due to the positive feeling of gaining new friends.
People that own dogs often find that they are never lonely, as their canine friends are always there waiting for them when they return home. If you are feeling sad or down your dog is always there to sit next to you and make you feel better. Giving your dog a big cuddle can make you feel so much better if you are feeling down. As dogs never judge you or speak badly about you, they make for such neutral faithful friends who are always there to listen.
Dogs give you an unconditional love which makes you feel happy, and you can have lots of fun and laughter. They are always there to make you smile with their unique charms and traits. It doesn't matter what has happened in your life, with your dog's constant love and affection, things will feel a whole lot better. You will also have a better outlook on life as well as support when you need it, which helps greatly if you suffer from conditions such as depression or anxiety.
So as you can see there are many great health benefits of owing a dog, but do remember that dogs do come with responsibility too.
However I do feel strongly that the benefits of owning a dog largely outweigh the drawbacks and the fact that dog owners live longer than non dog owners is great proof.


Somehow today I felt like trying some different heels and to take a break from the obvious boots and platform wedges… but maybe its to early to go for the non-platform pointy pumps again?
So nice blog and like your outfit!!
I am in LOVE with that sweater. During the winter months over-sized comfy sweaters are all I wear. I also like how the little bit of color in the sweater pulls all the gray together.
Love these layers, looks very cozy.
A HELLO from BRASIL, Cocorosa!!
I really appreciate the way you do not need a make-up to look so Female and Gorgeous!!
If your soul is like the way you choose to dress yourself, so we are talking about a Beautiful Soul, full of Pink, Grace and a kind of hippie-galaxy-magic!
Your and All Your Lovely Readers!
Love that Skirt!! hope your well!!
amazing cardigan!! love your socks too!
I just love your tights!
I love that chunky knit spider!
Me encantala falda y las calzas maravillosas!!.
That knit cardigan is just perfect!!!
I'm loving your cardigan, and those stockings are wonderful too. I want a pair! Lol!
love your outfit and you look really gorgeous too!
Gorgeous outfit!! I love the sweater.
That sweater is divine! I love love it so much!
LOVE this outfit. great dress and knit!
you look beautiful! great cardigan!
verry berry cute blog. keep up the awesome writting in the new blog!
The colours of your cardi are amazing; the slight pop of blue/coral looks great against the neutrals.
I really love Your hair color.Btw which foundation You are using?
Hi, We realy enjoy your blog!
So chic! I love layers!
I love that long cardigan!!
your skin is as light as mine!And i wear a lot of clothes in lights colours. kisses.
There is nothing more strongly desire to possess beautiful things!!!
Definantly something I would wear!
The colors are my favorite.
Oh, my, such a lovely sweater! I love your new header, too…Super lush and dreamy. Its been a while since I checked your blog, and its been so fun catching up, seeing what trouble you've been getting into!
lol, i just posted an outfit on my blog, and i named it the same thing! we are twinsies!
love it & chunky knits.
Love this outfit! All the layering looks so nice and cozy, and your skirt is really pretty!
love the knit cardigan soo cute!!
You look great, love the layering and the colours just look amazing! And I really like the soft effect the photo has, it really reminds me of winter..Love your blog..
drop by when you get the chance.
im all about the chunky knit, looks chic!
Love the layers here. The draped skirt is quite fantastic too.
great look! love your skirt, it's perfect!
and i love that cardigan!!!
I adore that sweater and your handbag!!!
Hi all! I'm originally from London but am living in Berlin at the moment.


AltarNet3 (or AN3 for short) is a library that facilitate the creation of TCP servers/clients, along with UDP. TCP connections can be secured via SSL, with only a few easy steps. It comes with a powerful FTP manager, taking advantage of .NET 4.5's new asynchronous pattern (Async/Await), featuring cancellable requests and download/upload progress monitoring. Also comes with a 'single instance' and a 'thread safety' helper.
Here are the packages that version 3.2.4.0 of AltarNet3 depends on.
No packages were found that depend on version 3.2.4.0.


text:
Ending violence is aim of 'Fade Out' event
Cleveland Tinker
Helping people understand that violence is not the answer to their problems or a legitimate resolution to conflicts in life is why barber Willie Wims Jr. will participate in the inaugural Fading Out Violence Expo.
As part of the "Green Dot End Violence Here," the expo will be held from 9 a.m.-1 p.m. Friday at the Bo Diddley Downtown Community Plaza, 111 E. University Ave.
"It's important for me to participate in this event so that we can reach people and let them know that there's a better way of going through life other than resorting to violence," said Wims, 58, who co-owns Wims' Hair Studio in southeast Gainesville. "We want to help people keep from going in the wrong direction in life."
Wims said 80 percent of his clientele are age 30 or under and that he spends a lot of time talking to them about how the decisions they make can have repercussions that can last a lifetime.
The expo will be a chance for the public to join in the Green Dot Fading Out Violence Movement, which includes the involvement of barbers and hairstylists, by committing to help promote safety and sending a clear message that violence of any sort will not be tolerated, said Pamela Koons, coordinator of Green Dot GNV for Gainesville.
The initiative is run by the Alachua County Health Department through the state Department of Health.
It is important to include barbers and hairstylists in the Green Dot Fading Out Violence Movement because they are often de facto counselors and therapists by virtue of the conversations that take place in their chairs and shops, Koons said.
The entertainment highlight of the expo will be performances by "Little Jake and The Soul Searchers," a well-known soul band led by singer Arnold Jake "Little Jake" Mitchell, who will open and close the event.
Mitchell, 75, said his music is all about unity, love and togetherness, which made it easy for him to agree to be a part of the expo.
"I wanted to be a part of this because the violence we have seen this year and in recent years is ridiculous," he said. "This is something we should have done before now, especially with the violence we've seen against women, children and churches."
The expo will feature speeches by survivors of violent attacks, music, community choirs and poetry readings. Agencies and community groups dedicated to ending child abuse, domestic violence, sexual assault and stalking will be present to offer help to the community, Koons said.
Those in attendance who share their "green dots" to help end violence will receive free haircuts, Koons said.
Green Dot GNV offers Green Dot Bystander Training to civic groups, churches and community centers. The free training promotes community engagement by providing strategies for people to become actively involved in violence intervention, Koons said, and is funded by the Centers for Disease Control.
"I hope people from all segments of the community come out to show their support to end violence in our society," she said. "It's important that perpetrators of violent acts know that there are a lot of people who are committed to ending violence in our communities."

redpajama_set_name: RedPajamaCommonCrawl


Here's a fab thing to do with all that Quince Jelly you have made! Or you might find it as Pate de Coing (French) or Membrillo (Spanish). It goes really well with apples, but if you have some left over, try having it with some strong hard sheep cheese, like Manchego. This recipe uses filo pastry, so it is light on calories but great on texture.
Peel and core the apples and cut into slices.
Working quickly to avoid the filo drying out (see *Tip), lay the two sheets of filo on top of each other.
Cut in half and double up the layers, then cut into four rectangles.
Lay them on a non-stick baking sheet or one covered with a liner.
Brush with a little melted butter.
Divide the quince paste between the pastries, dotting it all over.
Lay the sliced apple over the top and brush with the remaining melted butter.
Bake in the oven for 12 to 15 minutes until the apples are lightly coloured and tender.
Serve drizzled with a little honey.
Excellent with Frozen Honey and Walnut Fromage Blanc, or with toasted chopped hazelnuts and whipped cream.
*Tip: Working with Filo. Because it is made without fat, filo pastry can dry out quickly. Keep what you aren't using covered with a sheet of cling film or a damp cloth while working on a single sheet at a time. When you've finished with what you need, wrap any remaining pastry in cling film and store in the fridge.
This entry was posted in Desserts, Recipe by Belinda Berry. Bookmark the permalink.


256 How to handle a senior developer diva who seems unaware that his skills are obsolete?
163 Is it a bad idea to mention in my resume/cover letter that I occasionally pulled all-nighters in order to meet project deadlines?
134 Turned down a client after accepting dinner, how could I have handled this better?
131 I think I smelled whiskey in a colleague's cup at work. What's the right way to approach this?


The Kilimanjaro Gear Magnus is a great multi-tool to leave in a toolbox, tacklebox, or in your glovebox. Because of its size and heft, you wouldn't want to carry it around. It performs as designed, but be mindful of the size of the plier handles as they are much larger than what you're used to – so you may want to keep the Magnus around for emergencies and jams.
On par with their other tools, Kilimanjaro Gear built the Magnus on a solid frame with beefy hardware and no room for the tools to loosen up and wiggle around.
There are indexed touch-points all over the Magnus for improved grip and performance—this design trait is carried on to the liner-lock for the saw/file and knife blades. There is also a generous thumb tab that even allows you to get in there with a gloved hand. Neither lock shows any sign of slipping or failing any time soon.
All of the tools on the Magnus are made of stainless steel—which I'll assume is 8Cr13MoV, based on hardness and corrosion resistance. The pliers are made from another, unidentified steel and though they've held up for performance—they are not as corrosion resistant; showing spots of discoloration and rust.
Besides a couple of pressed pins in the frame, the Magnus can be taken apart, cleaned, and put together with ease. If you do somehow find a way to break anything on it, there is a Lifetime Warranty.
Besides the corrosion on the pliers, the Magnus cleans up nicely after a good beating.
Due to the slight size of the handle and their position in relation to the other on-board tools, the pliers on the Magnus are difficult to use at best. Even folks with bigger hands will find it a challenge to use the pliers, wire cutters, and wire crimpers without relying on a second hand. Additionally, the wire cutters are blunt, and though they cut common 14 gauge wire, anything smaller—or stranded—would be a challenge at best.
All of the components on the Magnus are full-sized, which makes it an effective "traveling toolbox". The idea to integrate the file onto the side of the saw blade is innovative and I'd like to see it on more medium to full-sized tools, as it cuts down on the bulk and the file side actually aids in cutting and cleaning the saw blade.
On the side of the Magnus (where all of the components live), there is a set of tools that excel in both form and function. Their size (coupled with the overall size of the tool in hand), allows for serious leverage when working on stubborn bolts, screws, etc. Sadly, the pliers are almost useless due to a severely undersized handle—especially considering the size of the Magnus.
Both the combo edge knife blade and saw blade have held up exceedingly well on the Magnus. The knife edge features a pretty radical serration design, which I believe helps it last longer as well as cut through fibrous material with ease.
Because of its size and look, the Magnus would seem like a multitool you'd find in a bin near the register at an auto store, but because of the quality it's actually pretty impressive. At $39.99 it is a good value, however if Kilimanjaro Gear managed to knock $10 off, it could be something really special.


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Merchant's Terms and Conditions apply - please check with participating outlet for more details.


text:
The week began with news that Cilla Black had passed away at 72 years young. She'd had an awesome career, considering she was a singer delivering a series of charting hits throughout the 60s, hosted a chat show in the '70s and fronted a dating game show for almost two decades from the mid-'80s. I wasn't a massive fan, but knew a number of her songs that still stand as classics, as enduring and recognisable as her ranga bob and prominent choppers.
The first time I was aware of Cilla was when she appeared on The Don Lane Show, the long-running Australian tonight show hosted by the 'lanky yank' of the title. During her appearance, she happened to refer back to her previous visit downunder.
"I'd just given birth, and was all poofy," she said, in her Liverpudlian accent.
"You mean 'puffy'," Don corrected her, in his American accent.
"Yeah, 'poofy'," she repeated. "What's the difference?"
"Oh, believe me," Don explained, "there's a difference."
It was still the '70s, and Australia, so if making fun of people who speak differently or are in same-sex relationships was neither funny nor inoffensive, who could tell? (Or, more to the point, who would tell?)
In time I'd learn more about Cilla Black in passing: contemporary - and friend! - of the Beatles, who helped get her noticed by their manager Brian Epstein; real name Priscilla White, gaining the stage name she kept as a result of a gig booker muddling her name.
Some of her enduring hits include fine Burt Bacharach songs like Alfie and Anyone Who Had A Heart (or, as Peter Sellers delivers it in the sketch A Right Bird, Anyone 'Oo 'Ad An 'Art); Lennon/McCartney songs like Love of the Loved, It's For You, and Step Inside Love (the latter, the theme to her chat show, Cilla), and You're My World.
At its height, her dating show Blind Date rated around 17 million (if you were ever a fan of Ben Elton's stand-up, you'll recall the phrase 'strictly for the birds, Cilla; strictly for the birds…'; I can't remember the context).
And she maintained the respect of the next generation(s) of viewers doing a sterling job of hosting episodes of Never Mind the Buzzcocks: "Hullo and welcome to the Boozcocks…" (Thanks for the reminder, Cat!)
If I were a cartoonist, my tribute to Cilla would be a single panel with St Peter at the pearly gates, welcoming her with the words "step inside, love". Failing that, I figured I'd photoshop the same with some judiciously pilfered images.
However, in the process of locating suitable imagery, I cam a cross this lovely photo of Cilla hamming on the sofa as a guest of Jonathan Ross:
So I figured there might be a different 'tribute' to Cilla, a different song title:
You'll no doubt recognise the grim reaper from Monty Python's The Meaning of Life. I think it's fitting, since my first glimpse of Cilla Black's Cilla was as a visual 'quote' in a season 4 episode of Monty Python's Flying Circus. It's an episode of Cilla featuring Ringo Starr as a guest, so fittingly, the graphic brings Cilla, Python and Beatles back together (It's For You being one of the Lennon/McCartney songs she recorded).
However, my search revealed this gem: Cilla, when she was smoking hot!
Finding a suitable St Peter was more difficult than finding a God, and there's an awesome God in Monty Python and the Holy Grail - so again Cilla, Python and the Beatles come together:
Admittedly, the Old Man n the Sky comes across as a Dirty Old Man in the Sky, but… well, can you blame him?!
I apologise for my efforts failing to do justice to Cilla Black. The best tribute to her, of course, is the miniseries Cilla. Made in 2014, it's utterly brilliant, not only for the presence of Sheridan Smith in the title role - she's a knock-out and, apparently, supplied the vocals herself. That's the facsimile - imagine how amazing the real thing must have been in her own time.
Posted at 11:30 PM in Beatles, Cilla Black, Monty Python, Music, MusicNews, Never Mind the Buzzcocks, Ringo Starr, Sheridan Smith | Permalink | 0 comments


The Third Hotel is out now from Farrar, Straus and Giroux.
Les Revenants is an unconventional zombie movie—and a favorite of mine. In a French town, the dead come back to life without any explanation. Because the returned don't seem to pose a threat, they are reintroduced into society. The first time I saw Les Revenants I was on the edge of my seat waiting for the returned to start feasting on their beloveds, but the obvious frights never come; instead a more nuanced and far more unsettling transformation occurs. The dead exhibit a mysterious array of medical symptoms and before long it becomes evident that they are responding to forces that exist beyond the grasp of the waking world. The presence of the undead pushes the living into pretty strange terrain as well, as Les Revenants moves deeper into its meditation on the ways grief can warp and disorient the living. A central plotline concerns a woman and her returned husband, and given that the mystery surrounding the circumstances of his return is never fully pierced, Les Revenants became an important model for The Third Hotel.
While working on The Third Hotel, I decided to revisit Halloween and was reminded what a master class the movie is in the art of anticipation. Death has come to your little town, Dr. Loomis (Michael Myers's doctor) says at one point and indeed it has, though it takes a while to get there. The movie is a mere 86 minutes and—save for the opening sequence, which delivers Michael Myers's violent childhood history—no murders occur for approximately 55 minutes (!). Instead we get the gradual descent of night and the narrowing possibilities of space: the way wide leafy suburban boulevards give way to a locked laundry room; the shadowed inside of a car; a closet. We get Michael Myers's methodical stalking, the relentless assurance of his coming violence—by car, on foot, the glimpse of a mask. His panting breath. John Carpenter's infamous, almost unbearably tense score. I aspired for The Third Hotel to feel increasingly claustrophobic as the narrative progressed, and studying Halloween definitely made me think harder about the cinematic possibilities of space (there's even a closet homage halfway through the novel).
An aside—I love how self-referential horror is as genre, and it was fun to think about how to incorporate that quality into The Third Hotel. For example, the name Loomis, as in Dr. Loomis, returns in Wes Craven's Scream (one of the killers is named Billy Loomis), which in turns features, in the house party scene at the end, characters watching Halloween. And while we're at it let's not forget Samuel Loomis, from Psycho.
A Girl Walks Home Alone at Night, which takes place in a fictional Iranian town called Bad City, is quite possibly the most stylish horror movie I've ever seen. Shot in black-and-white, the movie playfully incorporates different genres (vampire movie, Western, revenge narrative, a very unusual love story) and layers of mood (retro, noir, goth). I found the film's hybridity striking and inspiring—I love work that intermingles genres that might seem, on the surface, to be unlikely companions. A Girl Walks Home Alone at Night nods to past classics and is also absolutely singular, especially as a beautifully, blazingly feminist horror text. The hypnotically rich atmosphere—from the soundtrack to the industrial landscape to the use of shadow and light—is also high on the list of things I admire about Amirpour's film. Atmosphere is so important to me on the page, as both a writer and a reader. Atmosphere is an invitation, an invisible presence felt viscerally in each line, a force that makes the fictive world vibrate with a particular kind of energy, that shapes the rules of that world even. Amirpour has such exceptional command over her material, and the atmosphere it generates, that when I watch A Girl Walks Home Alone at Night, I get the sense that, with each frame, she is saying exactly what she wants to.
With The Third Hotel, I was interested in exploring the idea of manifestation, a popular trope in horror films (i.e. a character's psychological duress becomes fuel for a terrifying supernatural happening), which leads me to Jennifer Kent's wholly chilling The Babadook. The protagonist, Amelia, is a widow raising her troubled son on her own (her husband was killed in a car accident, driving Amelia to the hospital while she was in labor). After reading her son, Sam, a storybook about the Babadook, Sam, who is already preoccupied with battling imaginary monsters, begins insisting that the Babadook is real. As grisly visions, menacing calls, infestations, nighttime sounds that would drive me screaming into the street, and evidence of the Babadook accumulate in the house (plus ill-timed visits from child services), Amelia looses her mooring and the threat of violence escalates. If Sam was a challenging character to weather in the opening scenes—I confess to being fairly exhausted by him within about three minutes—the tables are turned in short order, as a bewildered and terrified Sam works to console, and then survive, his freshly terrifying mother (all that monster-slaying practice turns out to be pretty handy).
The film is incredibly tense well before the Babadook kicks its menacing into full gear. Amelia is exhausted and grieving, and Sam's issues, and subsequent social exclusion, has left them both isolated. They are two characters under tremendous pressure with no outlets for release. The Babadook is a monster movie, yes, but the real power comes from its exploration of Amelia's guilt and rage and fear, her anxieties about her capacities as a mother. And because the Babadook is never quite fully revealed to viewers the ambiguity around the true source of the terror remains intact. The Babadook is also something of a cautionary tale about the danger of denying one's own emotional reality—of saying it's fine, it's fine when things are anything but okay. If the monster's presence can't be willed away sometimes the only answer is to let the creature in.
Any list of horror movies of importance to The Third Hotel would be very incomplete without Alejandro Brugués's Juan de los Muertos, which was regarded by many critics as the first Cuban zombie movie and provided the initial inspiration for the film-within-my-novel. After a zombie apocalypse overtakes Havana (an early sign of trouble occurs when the titular Juan and his sidekick reel in an undead corpse while fishing), Juan spots an opportunity to embrace a little capitalism at the end of the world. He begins a service where he and a small crew of survivors can be hired out by the living to dispatch undead family members, a venture that proves to be very successful and also very dangerous. As the title might suggest Juan de los Muertos is as funny as it is bloody, and it's also a movie that contains a great many layers, including a powerful look at the pains and costs of being among those who have survived. You'll be so busy covering your eyes as the blood starts flying and laughing at the irreverent jokes that it can easy to miss the potent social commentary threaded throughout Juan's quest through a ravaged city—but, like any good horror movie, Juan de los Muertos has a multitude of stories to tell; zombies is only one of them.
Laura van den Berg is the author of the novel Find Me, a TimeOut New York and NPR "Best Book of 2015," and two story collections, What the World Will Look Like When All the Water Leaves Us and The Isle of Youth, both finalists for the Frank O'Connor International Short Story Award. Her next novel, The Third Hotel, is forthcoming in 2018. Her honors include the Bard Fiction Prize, the Rosenthal Family Foundation Award from the American Academy of Arts and Letters, a Pushcart Prize, an O. Henry Award, and fellowships from the MacDowell Colony and the Civitella Ranieri Foundation. Born and raised in Florida, Laura currently lives in Cambridge, MA, where she is a Briggs-Copeland Lecturer in Fiction at Harvard University. She also teaches in the MFA Program for Writers at Warren Wilson College.


text:
Cucumis hirsutus est une espèce de plantes herbacées vivace de la tribu des Benincaseae et de la famille de la courge (Cucurbitaceae). Ses feuilles sont consommés cuites.

Notes et références

Cucurbitaceae
Légume-feuille

redpajama_set_name: RedPajamaWikipedia


text:
Малколм Маккенна (, 1930—2008) — американский палеонтолог позвоночных животных.

Биография
Маккенна учился в Помонском колледже, затем в Калифорнийском технологическом институте и в Калифорнийском университете в Беркли, где в 1954 году получил степень бакалавра, а в 1958 году получил учёную степень кандидата наук по палеонтологии. С 1960 года он был сначала ассистентом-куратором, а с 1968 года куратором отдела палеонтологии позвоночных животных в Американском музее естественной истории. Кроме того, с 1972 года он был профессором в Колумбийском университете. В 2000 году он вышел на пенсию.

Маккенна был ведущим специалистом по систематике млекопитающих, по которой он вместе со Сьюзан Белл написал фундаментальный труд. Одной из его наиболее значительных заслуг за время работы в Американском музее естественной истории стало то, что с 1991 года вновь начали проводиться экспедиции в пустыню Гоби. Маккенна  принимал в них участие в поисках ископаемых млекопитающих из мезозоя. До этого подобные экспедиции не проводились со времён Роя Чепмена Эндрюса в 1920-е годы. В течение последних лет жизни Маккенна занимался вопросом, как млекопитающие пережили массовое вымирание из-за падения астероидов на границе мелового и третичного периодов.

В 2001 году он получил медаль имени  от .

С 1953 года Маккенна состоял в браке с Присциллой Маккенна. В этом браке у них родилось трое сыновей и одна дочь. Жена Малколма сопровождала его в различных экспедициях и была мэром города Энглвуд в Нью-Джерси, в котором они жили. Отец Малколма был одним из учредителей колледжа Claremont McKenna в Калифорнии, а семью связывали родственные связи со сталепромышленным магнатом Эндрю Карнеги. Сын Малколма и Присциллы — , писатель-сценарист.

Труды
 Classification of Mammals above the species level, Columbia University Press 1997 (вместе с Susan K. Bell)

Примечания

Палеонтологи США
Выпускники Помона-колледжа
Награждённые медалью Ромера — Симпсона
Награждённые медалью Палеонтологического общества


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Q: empty list without empty word in Scheme I am writing a recursion function returning an empty list in the base case. However the output of functions shows "empty" word in the my list, which I don't want.Like this;

(list (list 'abc) (list 'def) empty (list 'ghi))

How can I prevent this? Thanks.

A: The problem is probably because Racket has several printing styles for values. Try changing it (in the language selection dialog) to "write" or whatever it's called, which should make it output ((abc) (def) () (ghi)) instead.

A: The empty that you see in the result is not a "word" -- note that it's not quoted.  If you do expect an empty list in the result, then it looks like you got one.  You can even check for that:
> (empty? (third (list (list 'abc) (list 'def) empty (list 'ghi))))
#t

A: Without knowing details, my best guess would be something like
(let ((result (recursive-call ...)))
(if (null? result) (resursive-call (cdr whatever-list))
(cons result (cdr whatever-list)))

Essentially, just check if the result is the empty list, and if so, don't put it into the list that you're returning.


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Home » Tag Archives: Mary Considine
Tag Archives: Mary Considine
Ryanair's return to Shannon Airport will boost tourism – Mary Considine
December 28, 2020	Comments Off on Ryanair's return to Shannon Airport will boost tourism – Mary Considine
THE reopening of Ryanair's base in Shannon Airport on April 21 has been lauded as a major boost for tourism-related businesses throughout Clare, which have been very badly hit by Covid-19. Speaking to the Clare Champion in Shannon Airport, Shannon Group chief executive officer, Mary Considine said the recommencement of 14 routes from Shannon next April is a "big boost for business in the region". "Talking to businesses, they need to get their people back out travelling in the market place once it is safe to do so. "We have seen first hand the devastation caused not only by the pandemic but the lack of international visitors into the country and the impact it has had on all these businesses. "There will be a lot of hoteliers, tourism and hospitality providers who will be relieved to see this Ryanair base is back and that we have some services next year. "As we rebuild from the devastation of the pandemic this …
Early "Christmas present" for Shannon Airport as Ryanair re-opens base
December 24, 2020	Comments Off on Early "Christmas present" for Shannon Airport as Ryanair re-opens base
RYANAIR has delivered an early "Christmas present" to Shannon Airport following its decision to re-open its base with one aircraft and the recommencement of 14 routes from April 1. According to Ryanair, a new five-year deal on airport charges, which was finalised between the Shannon Group and the airline in recent days, will create more than 330 direct and indirect jobs. Ryanair will reopen its Shannon base and operate 14 routes from Shannon for summer 2021 from Shannon Airport to the following destinations in 2021: Alicante, Barcelona-Reus, Faro, Krakow, Kaunas, Lanzarote, London Gatwick, London Stansted, Malaga, Manchester, Palma, Tenerife, Warsaw and Wroclaw. Last October, Shannon Airport was dealt a hammer blow when Ryanair announced it was closing its Shannon base for the winter months. With transatlantic closed down already and the Shannon-Heathrow route also suspended, Shannon Airport only has a very small number of scheduled passenger flights per week. In an interview with the Clare Champion, chief executive officer, Mary …
Shannon crisis: No scheduled passenger flights for 4 weeks
October 30, 2020	Comments Off on Shannon crisis: No scheduled passenger flights for 4 weeks
ALREADY struggling, Shannon's woes were compounded on Wednesday, as it emerged that Ryanair will now have no flights to or from the airport between November 14 and December 12. With Aer Lingus having pulled its Heathrow service, and transatlantic services not running either, it means Shannon will be without any scheduled passenger services at all for a number of weeks, although it will still be open to service cargo, general aviation, transit business and hangar movements. It puts Shannon at one of the lowest ebbs in its history and on Wednesday it also emerged that the strategically crucial Heathrow service won't be returned until April at the earliest. Reacting to the decision, Shannon Group CEO Mary Considine said, "We are extremely disappointed with the news; it is a further illustration of the devastating impact of the pandemic on the aviation sector. This latest development effectively means we will have no scheduled services at Shannon for a month." She said the …
"This is very disappointing news"
October 15, 2020	Comments Off on "This is very disappointing news"
RYANAIR'S announcement of the closure of its Shannon base is a big setback, Shannon Group's Chief Executive Mary Considine has acknowledged today. "This is very disappointing news not only for Shannon based Ryanair employees and all our airport team, but for the whole region who rely on the services that Ryanair provide. We have done everything in our power to retain the base. "In July, Ryanair resumed services to 16 destinations from Shannon, and as a result of today's announcement this will see their operation at Shannon reduced to 8 flights serving Stansted, Manchester and Wroclaw for the winter period. "The aviation industry is on its knees with further flight restrictions being imposed in EU countries as the virus rates increase. What we need now is a clear pathway to recovery for aviation. We had hoped that it would start with a harmonised EU traffic light system. While this was endorsed by Ireland, the measures proposed fall short of what …
Considine expects Shannon numbers to be down 80%
October 11, 2020	Comments Off on Considine expects Shannon numbers to be down 80%
SHANNON Airport has never seen such a crisis and its passenger numbers will be down by around 80% this year, CEO Mary Considine told the Oireachtas Joint Committee on Transport on Wednesday. "We have been through many crises in the past, but never on such a global scale; this is unprecedented. Like airports globally, Shannon has witnessed an almost total collapse in airport traffic, connectivity and revenues," she said. Shannon Group's revenue and passenger numbers are in freefall, she added, "The figures are stark. Our passenger numbers have been declining since scheduled services recommenced on July 1. In August they were down 86% and last month they were down 91%. If this trend continues, we expect to see a decline of 80% in passenger numbers for this year compared to the previous year. As a result of these and other losses in the Group, we expect overall Group revenue to be down almost 60% by the end of this year. …
Time to ease travel restrictions-Shannon CEO
September 11, 2020	Comments Off on Time to ease travel restrictions-Shannon CEO
SHANNON Airport is facing massive problems this week, with Aer Lingus considering moving its US services away from the Clare airport and Ryanair warning staff it may close its Shannon base for the winter. At the moment Shannon's only real passenger business is with Ryanair, while the loss of the Aer Lingus transatlantic business going forward would be a crippling blow for Clare tourism, as well as being very detrimental to the prospects of retaining and developing US investment in the west of Ireland. Speaking to The Clare Champion on Wednesday, Shannon Group CEO Mary Considine said it is very important that the Government finally adjusts the restrictions on travel. "We are looking at the worst year in history for aviation, not just here in Shannon and nationally, but globally. Ryanair and Aer Lingus are really important customers to Shannon and I think they have stated very clearly the difficulty in restoring services or really kick starting aviation with the …
Shannon Group CEO appears before Covid-19 committee
July 28, 2020	Comments Off on Shannon Group CEO appears before Covid-19 committee
Among the people appearing before the Special Committee on Covid-19 Response today is Shannon Group CEO Mary Considine. Representatives of Ryanair, Aer Lingus and the DAA are also appearing before the committee in Leinster House. Passenger numbers at Shannon have fallen very significantly since the onset of the Covid-19 pandemic, while some Shannon Heritage sites have remained closed and others, including Bunratty Castle, are due to close for the season at the end of August. Shannon Group is also responsible for the operation of Shannon Heritage. Speaking before the meeting, Committee chairman, Michael McNamara TD said: "The catastrophic impact the pandemic response has had on the aviation industry was outlined to Committee members, last week by unions. TDs were warned of a "tsunami" of redundancies and the potential liquidation of Aer Lingus. "We will continue our investigation into this sector, when we hear from officials from the management of Dublin, Cork and Shannon Airports and officials from airlines; Aer Lingus …
Outlook 'stark' for Shannon as staff cuts announced
July 10, 2020	Comments Off on Outlook 'stark' for Shannon as staff cuts announced
REDUNDANCIES and severe pay cuts are being demanded of Shannon Airport staff, while its managing director is about to depart. A letter sent to airport employees on Monday informed them of a wide range of cuts, which Shannon Group CEO Mary Considine claims are necessary to deal with the fallout from Covid-19. On Friday, it was announced that the airport's managing director Andrew Murphy is leaving. This follows the recent departure of Niall O'Callaghan, the managing director of Shannon Heritage, the tourism arm of Shannon Group. The aviation sector globally is being hammered by Covid-19, with cuts being introduced at many airlines and airports, and in her letter to staff on Monday, Ms Considine stated that things look very bleak for Shannon. "The outlook for this year, and beyond, is stark and the scale of the challenge we are facing is unprecedented. "Currently, expected year-end airport passenger numbers are forecast to be down by approximately 70% on last year. "However, …


Belmont Abbey College is accredited by the Southern Association of Colleges and Schools Commission on Colleges to award baccalaureate degrees. Contact the Southern Association of Colleges and Schools Commission on Colleges at 1866 Southern Lane, Decatur, Georgia 30033-4097 or call 404-679-4500 for questions about the accreditation of Belmont Abbey College.
The College's degrees are accepted by graduate and professional schools, and the school is designated by the state-approving agency as an institution qualified to offer training to veterans.
In the event that an individual believes that an unresolved issue exists with regard to Belmont Abbey College's accreditation compliance, that individual may submit a formal written complaint to the Southern Association of Colleges and Schools Commission on Colleges (SACSCOC).
Procedures for doing so may be found by clicking here.
In keeping with Belmont Abbey College's vision to embrace and instill the habit of excellence and virtue in all that we do and in support of the Benedictine Hallmarks, Belmont Abbey publishes student achievement goals and outcomes that we set for ourselves and for our students.


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redpajama_set_name: RedPajamaGithub


Allister Coetzee has been named as head coach of the Springboks for the next four years, ushering in an exciting new era for rugby in South Africa, said Mr Oregan Hoskins, president of SA Rugby.
The 52-year-old former Springbok assistant coach succeeds Heyneke Meyer at a time when a number of veterans of the 2007 Rugby World Cup triumph have gone into retirement, including three of last year's four captains.
Coetzee is arguably the most experienced man to be given the Springbok head coach's job. He will draw on his personal involvement in 66 matches in the Springbok backroom in 2000 and between 2004 and 2007. He also has an exemplary record at Currie Cup and Vodacom Super Rugby record.
He said that Coetzee emerged as the best candidate for the role following a robust and thorough process. "Allister was the most outstanding candidate based on his excellent track record as a coach at provincial and Vodacom Super Rugby level, which makes his appointment a great one for SA Rugby," said Roux.
"He proved himself on the domestic front by winning the Currie Cup twice with DHL Western Province and leading the DHL Stormers to three SA Conference titles in the extremely tough Vodacom Super Rugby competition. And we all know of his contributions as assistant coach to the Springboks, culminating in success at the 2007 Rugby World Cup.
Coetzee had already been involved in a number of planning sessions with SA Rugby staff said Roux. His first official engagement as a coach will be the opening Test of the year against Ireland in Cape Town on Saturday, 11 June.
Allister Coetzee has been involved with rugby since 1974, first as a player and then later as a team manager, assistant coach and head coach.
Coetzee was born on 23 May 1963 in Grahamstown. He was an outstanding scrumhalf in the period before rugby unification in South Africa, and captained the SARU national team, as they were called back in the days, between 1988 and 1991 following his debut in 1985.
He was selected for the Junior Springboks in 1992 and played in the Currie Cup for Eastern Province between 1992 and 1996, as well as in the 1994 Super 10 competition for the Eastern Cape team.
The former teacher retired from the game in 1996. Coetzee then ventured into coaching and was immediately appointed as an assistant coach for EP in 1996. Two years later he was appointed as team manager for the Cell C Sharks' Vodacom Super Rugby side, where he also became an assistant coach in 2000.
Coetzee coached the Emerging Springboks in 1998, a Vodacom All-Stars team in 1999 and the South African Under-23 and South Africa 'A' sides in 2000, when he was also one of the Springbok assistant coaches to Harry Viljoen.
He then became head coach of Eastern Province in 2001, the first black head coach of a provincial rugby side in South Africa. He remained head coach for the EP side until he resigned in July 2003.
Coetzee was appointed as assistant coach to the Springboks in early 2004, where he formed a successful coaching trio with Jake White and Gert Smal until the end of 2007, capping off four memorable years with the winning of the 2007 Rugby World Cup in France.
In 2005, he was also appointed assistant coach for the Cats for the 2006 Super 14 season, a position he held for only one season.
Coetzee joined Western Province in 2008 after he accepted an offer to become backline coach of the DHL Stormers. He also took over as head coach of Western Province in the Currie Cup later in 2008 and was elevated to head coach of the DHL Stormers prior to the start of the 2010 Vodacom Super Rugby season.
Coetzee led the DHL Stormers to three South African Conference titles during his tenure as DHL Stormers head coach, and he was also successful in his role as coach of DHL Western Province, where he won the Currie Cup twice, in 2012 and 2014.
He remained with the DHL Stormers until the end of the 2015 Vodacom Super Rugby season, when he moved to Japan to take over as head coach of the Kobe Steelers.
Click Here to Read the Original Article on the Official SA Rugby Website.
You just liked 'Former Stormers Coach Allister Coetzee is New Springbok Coach'.


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Breaking news! Pret a Manger adds 14 new plant-based options
Praise be to Pret!
Meat reduction has the potential to put an end to many cruel industrial farming practices, such as extreme confinement, the overuse of antibiotics, and brutal mutilations.
We're thrilled to announce that Pret a Manger, the popular UK-based restaurant chain with more than 80 stores throughout the US, has rolled out 14 new plant-based options, as well as non-dairy alternatives at no extra charge to customers.
This exciting announcement follows several meetings with World Animal Protection and a positive influence campaign where our supporters urged Pret to expand its great-tasting plant-based options. We applaud Pret's commitment to giving customers an option to eat less meat and believe this is a critical step in improving the lives of factory-farmed animals across the country.
World Animal Protection's positive influence campaign for Pret
Factory farming evolved as a means to satisfy an ever-increasing demand for meat. However, with companies like Pret investing in plant-based foods, consumers in the United States—which has one of the highest rates of meat consumption of any country in the world—have the opportunity to reduce their meat consumption and lower the overall demand for low welfare meat. World Animal Protection expects that factory farms can start being phased out, creating a shift towards farming practices that are more sustainable and kinder to animals. Meat reduction has the potential to put an end to many cruel industrial farming practices, such as extreme confinement, the overuse of antibiotics, and brutal mutilations.
Driving this global demand away from factory-farmed meat and towards plant-based eating is companies meeting their customers' concerns about the planet, their health, and animal welfare. According to a Mintel report on dining out, more than one in five diners want restaurants to offer more plant-based entrees. A report just released by Renub Research predicts the global plant-based meat market to be worth more than $7 billion by the end of 2025.
We'd like to thank Pret a Manger for listening to its customers, engaging with World Animal Protection and investing in a kinder future. By offering delicious plant-based options, companies like Pret can lead consumers to reduce their consumption of meat that comes from animals suffering at factory farms.
What can you do to help save animals from factory farms? By eating fewer animal products and only consuming meat from small family farms, you can help protect the planet, your health, and countless animals. Join the global movement of people who are committed to creating a kinder future by pledging to #EatLessMeat today!
With your help, we protected over 20 million animals in 2019
From saving animals from the fires of the Amazon to undercover work in Indonesia, your support has allowed us to do incredible work to move the world this year
Helping Australia's animals recover
Australia is currently experiencing an unprecedented catastrophe. Bushfires have raged for months causing mass devastation to animal populations and habitats.


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A HISTORY OF BROADWAY GUITARS
Broadway BW1 & BW2 (1959)
Broadway Plectric 1st 1921 & 1922
Broadway Plectric 1923 & 1927 (1962)
Broadway1845 & 1846 Semi-acoustic (1961)
Broadway 1857 Bass & 1925 Bass (1961)
Broadway Budget (1962)
Broadway Plectric 1921 & 1922 (1962-3)
Broadway Plectic 2nd Generation 1923 & 1927
Broadway Wiring and Pickups
Bell Musical Instruments
Broadway Amplifier
Readers Gallery 1
Broadway Plectric 1923 & 1927 (1962-63)
2nd Generation models with vibrato
Predictably, the Broadway Plectric 2nd generation models also became available with an added vibrato unit. The Broadway Plectric 1923 was the single pickup model and the Broadway Plectric 1927 the two pickup variety. The body shape remained the same as the rest of the Broadway Plectric range, the only difference to its style from earlier models being the smaller, slimmer pick up size and lack of a pickup surround, just like it's vibrato-less 'sister' guitar. Again, the smaller pickups denote a second generation model from around 1962/3.
The Broadway Plectric 1927 guitar, (shown above right) displays an uncharacteristic headstock logo. Rather than the usual embossed plastic Broadway logo, this guitar (belonging to Mark Harvey) has a waterslide decal usually associated with the cheaper budget Broadway guitars, (shown in the photo immediately above) although there is a difference in the design (the 'Foreign' wording has been removed). Towards the end of 1963, many Broadways showed some considerable variation in the parts used. Volume and tone knobs, pickup covers and other parts were often different from one guitar to the next, presumably as whatever factory stock was available was used before production finally ceased.
The Broadway Plectric 1927 guitar, shown on the left, is in particularly good shape and shows the complete tremolo unit, so often missing from these old guitars.
My own Broadway Plectric renovation had a tremolo arm but alas, no tip. The Broadway tips came in red (shown opposite) or occasionally in white. Luckily my enquiries found Alan Exley at Project Guitars who kindly made a white one up for me.
Go to the Links page on this site for further details of Alan's website and services offered.
Despite lacking the volume and control knobs (and as usual, the headstock logo!) the above Plectric 1927 guitar is in very good shape and according to it's owner, played very well.
The above four photographs and the cased guitar at the top of this page were taken by Jack Hoff and were used by permission of the guitars' former owner.
Photograph above: Jack Hoff
Press to play the sound of the bridge and neck pickups together, as demonstrated and submitted by Henning Nør, from Denmark.