text:
BEN HOLMES SAID:
[Quoting from Page 39 of Mark Lane's 1966 book, "Rush To Judgment"....]
"Except for Lee Bowers, who surveyed the scene from a tower behind the wooden fence, the witnesses with the best view of the fenced-in area were those standing above Elm Street on the railroad overpass. As the motorcade approached, 13 railroad employees and two Dallas policemen were on the railroad bridge; the knoll was just to their left. Not one of the railroad men was called before the Warren Commission. However, four were questioned by counsel for the Commission and nine by agents of the FBI. Five of them said that shots came from the knoll and six others said that when the shots were fired their attention was immediately attracted to the knoll. It is worth noting that not one of the 13 men, who were among the witnesses closest to the grassy knoll, said that he thought that the shots came from the Book Depository, while 11 of them indicated either explicitly or implicitly that the fenced-in area above the knoll was where they thought the sniper was."
[End Mark Lane Quote]
The kooks will again refuse to refute these facts brought up by Mark Lane. They keep claiming that he's a liar, yet they can't produce any evidence.
This evidence is devastating for the WCR's theory - yet the kooks can't refute it.
BUD SAID:
Lane is outright lying here, lurkers. Let someone produce five of these witnesses who stated the shots came from the knoll.
Jean Davison blew this out of the water 6 years ago [in this May 31, 2012, Internet post]....
[Jean Davison Quote On:]
"Not so fast. Lane claimed that six of these men "said that when the shots were fired their attention was immediately attracted to the knoll," and that they implicitly indicated "that the fenced-in area above the knoll was where they thought the sniper was." His footnote indicates he's talking about these six:
Potter and Bishop:
http://history-matters.com/archive/WH_Vol22_0432b.htm
Johnson and Cowsert:
Austin Miller:
http://history-matters.com/archive/WH_Vol24_0118a.htm
and Walter Winborn:
I challenge you to show that all six implicitly indicated they thought the shots came from the knoll. Johnson "stated that he felt" the white smoke he saw "came from a motorcycle abandoned near the spot by a Dallas policeman." Cowsert "said he has no idea where the shots came from ... He stated he does recall seeing several people and a motorcycle policeman run up the grassy area..." Bishop also recalled seeing a motorcycle cop "drive up the grassy slope."
Is THAT what Lane meant when he said "their attention was immediately attracted to the knoll"? How does any of that indicate that they thought there was a sniper behind the fence? Everybody in that area would've seen the motorcycle and people running up the slope--does that somehow make all of them knoll witnesses??
I'd like to see you defend Lane's numbers here. If I'm wrong, show me."
[Jean Davison Off]
Ben has been running from Jean's challenge for six years and counting, lurkers.
Everything Ben posts from Lane's book illustrates Lane's dishonesty, lurkers. His sole intent is to deceive the readers, and Ben is stupid enough to fall for it.
The reasoning behind concluding that the shots came from the TSBD is both solid and sound, retards like Lane and Ben just focus on the wrong things.
A CONSPIRACY THEORIST CALLING
HIMSELF "BORIS" SAID:
Supporters and regulars of Von Pissant's [DVP's] website will likely notice nothing suspicious about the way LNers just happen to get the last word in EVERY debate.
Why would you expect anything else at an LNer's website, "Boris"? You think I should let a CTer have the final word at my own site? Get real.
And you think it's any different at a CTer's site--like James DiEugenio's "Kennedys & King" website, for example? You think an LNer ever gets the "last word" in one of Jim's articles published at his site? Get real (again).
BORIS SAID:
Von Trapped [again, the ever-so-clever "Boris" is talking about DVP here] demonstrates he's less concerned with evidence, and more concerned with staging a bias which supports his flawed position.
Good job at putting words (and motives) in my mouth (and mind) that don't exist at all. CTers are experts at doing this. For example: Just think about what CTers do to people like Captain Fritz and Dr. Humes and Robert Frazier and scads of other innocent people connected with the JFK case.
Well for one thing, DiEugenio is too busy dealing with EVIDENCE to post senseless ad-hominem squabbling posing as a refutation.
DiEugenio is actually too busy IGNORING all the evidence of Oswald's guilt to do anything else. Totally ignoring and/or skewing every last piece of evidence is, after all, Jimbo's full-time job. There's not much time left for anything else in the Anybody But Oswald world he inhabits.
Second, your tactic creates the illusion that LNers resolve every issue.
Untrue. Just because I always give myself the "last word" on my own webpages (which is only to be expected in a discussion in which I hold an opinion that I have chosen to archive at my very own website; Duh!), that doesn't mean I consider "every issue" to be fully "resolved" by LNers. Two examples being:
1. Lee Harvey Oswald's forever unknowable motive.
2. Why did many of the Parkland and Bethesda witnesses say they saw something (a huge hole in the BACK of President Kennedy's head) that definitely did not exist? (I'm still scratching my head about that "BOH" puzzler.)
Is DiEugenio making claims he's unwilling to back up in forums?
Post it here: __________
Here are 22 items (just for starters) that DiEugenio can't "back up" to save his life....
The Stupid Things James DiEugenio Believes
Oh, Jim will always claim that he's "backed up" all twenty-two of those silly beliefs with solid evidence---but we all know what "solid evidence" really means when it comes from the mouth of a conspiracy theorist, don't we? It means: speculation, hearsay, bullets that don't exist, multi-gunmen theories about Oswald being a "patsy" that make no logical sense at all, and unsupported allegations of "evidence tampering" and "witness coercion", etc.
In other words, a CTer's "solid evidence" amounts to nothing but a pile of mush.
Lone Assassin believers like myself, however, actually do have "solid evidence" to back up their claims, despite the loud protests and the foot stomping of the conspiracists....
No, that's not the way we play this game.
Your website is off limits.
You'll QUOTE DiEugenio, and then cite where anyone else can find his quote, and then I'll be happy to either defend what he said, or state that he's wrong... or even state he's a liar should the evidence be there.
One statement at a time... pick your best example... I'm waiting...
Gosh, Ben, you just pushed me through the front door of my favorite candy store with a $100 bill in my hands. The selection is almost too overwhelming to pick just one thing!
Let's start with the second item of hanging fruit in the "DiEugenio Stupid 22" collection....
2.) Oswald didn't fire a single shot at J.D. Tippit.
Direct quote from DiEugenio:
"I don't believe Oswald shot Tippit." -- James DiEugenio;
January 14, 2010 [Black Op Radio Internet broadcast; audio below (skip to 31:17)]
The real Tippit evidence is linked below (for any interested lurkers):
http://jfk-archives/The Murder Of J.D. Tippit
I think it's impossible for ANYONE to do as much research on the case as DiEugenio has and not get anything about it right. Truly, that's an absurd statement. I don't even say that about LNers.
Yeah, you would tend to think that, huh? It is rather amazing that a smart guy like that could get so much stuff 100% backward (and wrong). But Jimmy has managed to accomplish just such a feat (incredible though it may be). Just peruse "The DiEugenio 22" again for just a few (blatant) examples.
In my opinion, Jim DiEugenio is a victim of "The Snowball Effect" when it comes to the evidence he has studied regarding the JFK assassination case.
What I mean is....
DiEugenio has been "locked in" to a belief in a "JFK Conspiracy" for so long now (back to at least 1990 or 1991, probably even earlier), that whenever he is confronted with something that is relatively "new", he automatically examines that "new" evidence (regardless of what it might be) within the framework of his older "I Know It Was A Conspiracy" mindset, which (of course) leads him to even MORE wrong conclusions concerning the evidence.
A fairly recent example of this type of "Snowball" behavior is the way Jim now treats Howard Brennan with respect to the police line-up that Brennan attended on November 22, 1963. Well, DiEugenio has now said he actually believes Brennan never attended any line-up at all on Nov. 22nd! Which means Jim has now added several more LIARS to his Liars List when it comes to JUST that Brennan subject.
"I don't think Brennan was at any lineup. I think that was all manufactured after the fact. I think Brennan is a completely created witness." -- James DiEugenio
Jim has probably read some crackpot conspiracy theorist's article (or book) concerning Brennan and the line-up, and has now decided to ADD that item to his list of "suspicious" activity engaged in by the DPD....instead of stepping back and looking at all the witness statements (including Brennan's!) that indicate DiEugenio is dead wrong about this subject.
But in Jim's "Everything's Part Of The Plot" mindset that has been festering in him for almost 30 years (or more), he won't properly or fairly evaluate the evidence (such as Brennan's direct testimony), and thusly this "new" Brennan theory gets rolled up into Jim's "Snowball" and gets added to his already absurdly lengthy list of things that he thinks are conspiratorial.
But to think, as Jim D. does, that SO MANY THINGS could lead straight to the guilt of one man (Lee Oswald) and yet still not have that one man be guilty of firing ANY shots at ANYBODY on 11/22/63, is a fantasy that only an outer-fringe conspiracy theorist could possibly believe. Ergo, Jim gets everything wrong about this case (as do so many other CTers just like him).
JFK ASSASSINATION ARGUMENTS (PART 1292)
DEBUNKING THE ACOUSTICS EVIDENCE (PART 2)


A Southwest Washington woman, Caran Johnson, unknowingly live-tweeted her husband's fatal car accident Wednesday afternoon. Johnson received dozens of condolences through social media Wednesday night, and an online fundraiser had raised $941 of a $10,000 goal as of 10:50 p.m.
A Southwest Washington woman unknowingly live-tweeted her husband's fatal car accident Wednesday afternoon.
The collision happened about 1:40 p.m. Wednesday on southbound Interstate 205. Caran Johnson, who tweets using the handle @scancouver, is known for tweeting news in the city of Vancouver, Wash., while listening to police scanners.
She re-tweeted information about the accident from the local newspaper, then details from the State Patrol outlining closures around the collision scene.
She then tweeted that her husband left work after feeling faint, and asked other Twitter users to send her more information about the collision. Johnson also questioned how long she should wait before calling police – and later called 911 for help.
During her search for more information, Johnson also re-tweeted the State Department of Transportation giving estimates for how long delays would be around the fatal collision scene.
Craig Johnson's northbound Hyundai crossed the grassy median just north of Padden Parkway and collided head-on with a southbound Toyota pickup truck, The Columbian of Vancouver reported. The 54-year-old woman driving the Toyota was taken by ambulance to PeaceHealth Southwest Medical Center's intensive care unit and her condition was not immediately available, the newspaper reported.
Johnson received dozens of condolences through social media Wednesday night, and an online fundraiser had raised $941 of a $10,000 goal as of 10:50 p.m.
In an interview last year with The Columbian, Johnson said she had been listening to scanners since college.


text:
Author: Claire 'Word by Word'
December 10, 2020 by Claire 'Word by Word'
I came across this book in a newsletter I read by the founders of Tramp Press, who published two nonfiction books I recently read and loved, Doireann Ni Ghriofa's A Ghost In The Throat and Sara Baume's Handiwork.
Laura Waddell mentioned hibernation season approaching and the desire to curl up and zone out, which she'd been doing with A Spell in the Wild, describing it as "a witch's year broken down month by month, full of foraging, feminism, magic, and making meaning" expounding further in this column she wrote for The Scotsman.
At the time I was reading two novels about a woman accused of being a witch, Ann Petry's Tituba of Salem Village and Maryse Condé's I, Tituba, Black Witch of Salem and I thought it would be interesting to follow those up with a contemporary view of witchcraft, so the timing of this book, from a Scottish/British perspective, with rich historical references was perfect.
Dr Alice Tarbuck is a woman at the intersection of many interests and influences, a poet, an academic, a keen forager with a practical and intellectual interest in witchcraft. Being such a loaded word, her book is a wonderful celebration of ritual and magic as well as a demystification of things witch-related, from someone who appreciates the natural world, pulling various practices together into her version of 'witchcraft', a blend of the practical, spiritual, academic, magical and intuitive.
Magic happens in all those moments when the world and you aren't separated any longer by any sort of barrier; be it the brain or the body. It is a stepping into awareness of connection, a tuning into that feeling. Witchcraft is, among other things, a good container for trying to communicate these difficult-to-talk about experiences. We aren't sure how else to articulate them, so we use metaphor, metaphysics, magic.
She records a year living in accordance with this way of being in the world, sharing it from both a practical perspective and through the vast canon of literature that has gone before.
A Spell For Every Season
Dr Alice Tarbuck, Author
The book is structured into twelve chapters, months of the year, mapping seasonal occurrences, discovering magic in the ordinary, sharing rituals, spells, making suggestions and backing up her pondering with a wealth of literature, indexed at the end. I read the book straight through, but it can be dipped into month by month.
Reigning in the academic somewhat, makes it an extremely accessible and compelling read, blending in personal experience, musing on and striking back at the snobbery, judgement and the often patronising attitudes of those who diminish the occult as some dark, fanciful indulgence, while applying critical academic rigour and vigour to her subject.
An urban dweller, she seeks to demonstrate and share the possibilities inherent in a city, the sacred spaces, the possibility of urban foraging, making use of what is around, rather than dwelling on what it is not.
Debunking the myths, she makes a case for creating one's own practices, and takes us along as she enters what might be a more traditional sacred space, a forest near Moniack Mhor, and sits and waits. And gauges everything with a sense of humour and realism.
The ground is soft with the decaying remnants of falling trees, velveted with moss. It's damp. Unmistakeably, so am I. There is nothing less transcendent than a damp arse. It's time to go back I think.
Reading this in December, the month entitled Midwinter and Magic in the Dark holds particular resonance. Solstice means 'sun-stop,' in Neolithic times, sacrifices were made to entreat the sun to return. We in turn become sorcerers of light, following traditions that illuminate, with candles, hanging lights to create a warm ambiance indoors.
It isn't surprising that humans quickly turn to introspection as the light fails. We light candles against the darkness, and talk long into the night, turning thoughts inward, using the little light left to illuminate our darkest places. Winter can be seen as a time of healing, regrouping, of doing work on ourselves rather than work in the world.
Witches Confessions and Popular Medieval Literature
Tarbuck gives a fascinating short talk, an extension of her April chapter Witches Becoming Animals referring to the trials and subsequent writings that exist around a cotter's wife Isobel Gowdie's confession in 1662. She has a wonderful storytelling voice and gives an informative, riveting account, questioning many of the assumptions various writer's have made about her.
History and reference to the North Berwick witch trials, King James Daeomonologie text, Isobel Gowdie's confession and Latin treaties on witchcraft make for mesmerising reading.
Referring to a popular Latin text that likely influenced King James text, Malleus Maleficarum (The Hammer of Witches) produced in 1487 in Germany, was so popular that by 1669, thirty editions had been published.
It contained among other things why women were particularly prone to satanic seduction, the answer – their weak character and voracious sexual appetite – a misogynistic, church-sanctioned sentiment which echoed throughout medieval witch panics.
Listening to her speak so knowledgeably on her subject in the two talks below, especially the historical context, makes me realise how much Tarbuck has held back, each chapter could easily have been a book. Her ability to narrow it down into something digestible to the everyday reader is exceptional.
Totally down to earth, yet open to the magic of being the silent observer, Alice Tarbuck introduces an enchanting perspective on connecting with nature, creating one's own simple remedies from urban foraging, keeping and displaying little things one collects on nature walks, inventing spell-poems, (which could as easily be affirmations or prayers) and a little bit of ritual and divination to see one through various difficulties.
Witchcraft is, I believe, the practice of entering into relation with the world, of exerting your will in it and among it, and learning how to work with it in ways that are fruitful for yourself and the world.
The casual, engaging style is a pleasure to read and I couldn't help but think what a privilege of the 21st century it is, to nonchalantly be able to refer to one's passion and pastime as witchcraft, without threat of dire consequence. As Tarbuck reminds us, now that witchcraft and research into it is legal, those with an interest are able to reclaim the nuances that were lost during that terrible period of history that condemned women for their ways, opening ourselves up to the more than human environment that surrounds us.
"magic is the superpowerfulness of everything, just as it is" Sabrina Scott
Further Reading/Listening
Human Animal Transformation in Early Witchcraft – a video/talk by Dr Alice Tarbuck, Nov 2020
What the Witch Trials & Herecy was All About – Alice Tarbuck talks to Hannah Trevarthen at the Wigtown Book Festival
Witchcraft Workshops – for those with an interest in the history, ethics and practice of witchcraft, whether from a personal or a research-based point of view.
Purchase a Copy via UK Independent Bookshop
Posted in Nature Writing, Non-Fiction, Witchcraft	| Tagged A Spell in the Wild, Alice Tarbuck, Magic, nature writing, nonfiction, social history, Witchcraft | 4 Comments
December 8, 2020 by Claire 'Word by Word'
A Maryse Condé FanGirl Moment
When I opened I, Tituba to begin reading, on the first page there was a quote from the author Maryse Condé that read:
Tituba and I lived for a year on the closest of terms.
During our endless conversations she told me things she had confided to nobody else.
It gave me such a good feeling to read that, knowing that Condé was doing here, what she did in Victoire: My Mother's Mother, when the grandmother she'd never met, awakened her from her dreams, to chastise her from the corner of the room.
Sometimes I would wake up at night and see her sitting in a corner of the room, like a reproach, so different to what I had become.
'What are you doing running around from Segu to Japan to South Africa? What's the point of all these travels? Can't you realise that the only journey that counts is discovering your inner self? That's the only thing that matters. What are you waiting for to take an interest in me?' she seemed to be telling me.
But that book wasn't published until 20 years after Condé was listening to Tituba tell her story.
A Caribbean Writer Returns
I, Tituba is the first novel written after Segu and The Children of Segu, historical masterpieces that inform, disrupt and provoke, however the initial reaction was such that Maryse Condé declared she would never write about Africa again.
Tituba came to me or I came to her at a period of my life when really I wanted to turn toward the Caribbean and start writing about the Caribbean.
Who was Tituba?
Tituba existed, she was accused and ultimately set free, however, despite the shelves of history books about the Salem witch trials, there is little factual information about her, who she was, who freed her, or her life after release from prison.
I felt this eclipse of Tituba's life was completely unjust. I felt a strong solidarity with her, and I wanted to offer her her revenge by inventing a life such as she might perhaps have wished it to be told.
If we look for her story in the history of Salem, it isn't there. Condé too, looked for her history in the colonization of the continent and found silences, omissions, distortions, fabrications and fleeting, enigmatic insinuations. And so she wrote this novel.
On a ship sailing for Barbados, young Abena was raped by an English sailor, then sold to a planter along with two male slaves. She was employed in the household until the pregnancy discovered whereupon she was banished to the cabin of a male slave Yao. Tituba was born.
In a short reprieve, they find comfort in each other's company and Tituba would adored by a man more father to her than any other. The joy that now lightened Abena's world was seen by the master and desired for himself. She struck back, died for it, and for his concubine's crime, Yao was sold.
Driven off the plantation, Tituba was taken in by Mama Yaya; still grieving for two sons, she had cultivated the ability to communicate with the invisible.
People were afraid of her, but they came from far and wide because of her powers.
Mama Yaya taught her everything, in the ways of her people:
Mama Yaya initiated me into the powers of knowledge. The dead only die if they die in our hearts. They live on if we cherish them and honour their memory, if we place their favourite delicacies in life on their graves, and if we kneel down regularly to commune with them.
And so Tituba is given a past, skills and knowledge and might have remained in that life, had she not grown into a young woman with desires herself and fallen for the man who would become her husband John Indian.
He belonged to Susanna Endicott who I encountered in the memorable opening scene of Ann Petry's Tituba of Salem Village.
After a short period in that household where John had lived most of his life, things deteriorated and in an act of revenge the mistress sold them both to the frightening Reverend Samuel Parris, who sailed for the Bay Colony the very next day.
From Island Life to Boston, Massachusetts
In Boston, with the mistress unwell in a room upstairs, Tituba spends time with the daughter Betsey and orphaned niece Abigail, who makes trouble that spreads like a contagion to other young girls in the community, as they fall prey to strange fits and mass hysteria.
I also recognized Abigail and Betsey's companions in their dangerous games, those young girls whose eyes were shining with excitement. They were dying to roll on the ground too and to attract everybody's attention.
And so the bad behaviours of girls given credence, turn into accusations of witchcraft against Tituba and others, they are jailed and many lose their lives, until the Govener writes to London for advice on legal proceedings concerning witchcraft resulting in a general pardon and Tituba is condemned to live.
Prison costs mean she can only leave if someone pays and a man with nine children who has lost his wife claims her. And it is through this relation that she will gain her freedom.
Freedom At What Price
If the first part is written from compassion, yet seeking revenge, the second part initially seems strange and challenges the reader, in its use of parody. I found it difficult to accept, the reader isn't given the satisfaction of a gratifying ending, yet reading past the novel into the essay and interview at the end of the book, I'm confronted with my own subconscious bias and lack of understanding, in a clever and deliberate intervention by the author.
And so Tituba is granted her revenge. We are all complicit.
Reading the book and thinking about it after reading the interview resulted in a deeper reading experience and consideration. My feeling while reading was heightened by having read Ann Petry's sympathetic version first, Condé takes a different approach, reckoning with the past.
I suggest that though Petry's version was written 30 years before, it might be better to read her more optimistic version last.
What Is it About Witchcraft?
Like Condé, who said she knew nothing of witchcraft, I have decided to read a contemporary book next, published in 2020, to see what's going on in the world of witchcraft today.
Next up A Spell in the Wild: A Year (and Six Centuries) of Magic by Alice Tarbuck.
Paper: Hesitating Between Irony and the Desire to Be Serious in I, Tituba by Sarah Barbour, Wake Forest University
Posted in Caribbean Literature, Fiction, Translation, Women in Translation	| Tagged Ann Petry, book review, fiction, Maryse Condé, Tituba Black Witch of Salem | 11 Comments
November 30, 2020 by Claire 'Word by Word'
Tituba of Salem Village, A Novel Based on the Witch Trials of 1692 by Ann Petry (1956)
I read this for two reasons, one I've been wanting to read Ann Petry for a while, The Street and The Narrows were republished in 2020, so I'm looking forward to reading them, but the main reason I chose this title is because I'm an avid reader of Maryse Condé, who wrote I, Tituba, Black Witch of Salem. One of her inspirations was this book written for young people by Ann Petry, which predates her novel by 30 years, so it made sense for me to read this one first.
For her the story of Tituba was a story of courage in the face of adversity. It was a lesson of hope and dynamism.
Witch Trials of Salem, History
The witch trials of Salem began in March 1692 with the arrests of Sarah Good, Sarah Osborne and the black slave, Tituba, based on forced confessions. The trials were started after people had been accused of witchcraft, primarily by teenage girls, though traced to adult concerns and adult grievances. Quarrels and disputes with neighbors often incited witchcraft allegations.
Women who did not conform to the norms of Puritan society were more likely to be the target of an accusation, especially those who were unmarried or did not have children.
It marked the beginning of a period of paranoia in which nineteen women and one man were hanged, before the governor of the colony sent a report to London about the cases of 50 women and a general pardon was granted, putting an end to a disturbing chapter in the history of the village, subsequently renamed Danvers.
Though Tituba was acquitted, prisoners were required to pay the cost of their stay in prison, including the cost of chains and shackles. She was eventually sold for the price of those fees, though it is not known to whom. Ann Petry shares her theories, which we discover here, and Maryse Condé has another.
It is one of Colonial America's most notorious cases of mass hysteria, a cautionary tale about the dangers of isolationism, religious extremism, false accusations, fake news and lapses in due process.
I had read nothing about the witch trials before, though I'd heard of them, but I'm glad that this was my introduction, to see this little segment of American history, through the eyes of the innocent black slave, Tituba and her husband John.
As the book opens and Tituba and John are in the kitchen of the Barbados home they live in, the scene is so evocative, you can't imagine how their lives are going to change so abruptly, having been so stable for so long – but then the harsh reality of them being commodities, slaves, sold like jewels, to pay a debt, their lives irrevocably changed, within 24 hours they are on a ship heading for the Bay Colony of Boston, their new owner the Reverend Parris.
Her husband instills in her the importance of staying alive and maintaining good health.
"Remember, always remember, the slave must survive. No matter what happens to the master, the slave must survive."
Petry's descriptions of the environment are so evocative, the contrast so great, from the warmth of the island to the damp, unwelcoming cold climate of Massachusetts.
Tituba is caring and empathetic, she has a traditional knowledge of herbs from the island, learned from the women in her family, in Boston she searches in the woods for substitutes and is helped by another woman with knowledge of herbal medicine. She is sensitive to people, animals and the environment.
Photo by Plato Terentev on Pexels.com
Sometimes if she stood still, used all her senses, sight and sound and touch and small would make a place speak to her. She closed her eyes and took a deep breath.
She decided it was not an evil house. It was sad and gloomy. Nothing about it suggested happiness in the future. It had been a long time since anyone had been happy in this house. People leave something of themselves in a house, and the spirit of this house was frighteningly sad.
However, these people live in fearful times and among people whose belief system instills fear and suspicion. They bear children whose imaginations run wild, their behaviour's running even wilder.
She finally accepted the fact that Abigail was her enemy, and though young, a dangerous enemy. On the other hand, Samuel Conkin, the weaver, was her friend, and though a new friend, a very good friend.
Photo by Susanne Jutzeler on Pexels.com
Tituba is a wonderful character, depicted with compassion and understanding, put in a situation where young people are drawn towards her but unable to overcome their own inner hurts, exaggerate and invent scenarios, combining imagination and superstition, creating drama that spirals out of control into very real consequences for those accused of "witching", until the farce that it is, becomes all too clear, though not without lives having been lost.
Elena Ferrante in The Lying Life of Adults shows that sometime erratic behaviour of an adolescent and its consequences. Ann Petry shows how childish games, immaturity, attention seeking and hurt can claim lives, and though her book offers a message of courage in the face of adversity, it also offers a warning to that same youthful audience, that lives can be irrevocably damaged by the actions of a few.
I loved the character Petry created, her many talents and her resilience and the imagined appreciation that did exist, even if that might have been willful fantasy, knowing that in the era in which she lived, it was rare indeed for any person who purchased a slave to treat them as her weaver did.
Petry offers perhaps the most persuasive explanation of all—that cruelty begets cruelty, among children as well as adults. At least half the novel takes place before the trials, building the case for the horrors that follow. Anna Mae Duane, The Journal of the History of Childhood and Youth, Johns Hopkins University Press
Article, Smithsonian Magazine: Unraveling the Many Mysteries of Tituba, the Star Witness of the Salem Witch Trials by Stacy Schiff; Nov 2015
Play: The Crucible (1952), by Arthur Miller
Essay: Ann Petry
Story of the Week: Harlem Ann Petry (1908-1997)
Posted in Fiction, Historical Fiction, Young Adult	| Tagged Ann Petry, historical fiction, mass hysteria, Tituba of Salem Village, Witch Trials of 1692 | 17 Comments
Warwick Prize for Women in Translation 2020, shortlist and the winner
This is a relatively new prize in the UK, established and run by the University of Warwick and now in it's 3rd year. Its aim is to address the gender imbalance in translated literature and to increase the number of international women's voices:
Seven titles were shortlisted for the annual Women in Translation award from 132 eligible entries, 16 titles made the initial longlist:
The 7 shortlisted titles included 3 novels (one an epistolary novel), 2 collections of short stories, 1 collection of letters, and 1 young adult novella.
Six languages were represented: Arabic (Sudan), Chinese (China & Malaysia), German (Georgia/Germany), Hungarian (Hungary), Italian (Italian) & Swedish (Finland).
The shortlist was dominated by independent publishers, including Comma Press and 5 publishers who appeared on the shortlist for the first time: Daunt Books, Granta, HopeRoad, Scribe UK and Sort of Books.
Seven make the Shortlist
The full list of shortlisted titles, in alphabetical order, is as follows:
Abigail by Magda Szabó (Hungary), translated by Len Rix (MacLehose Press, 2020)
– the story of a headstrong teenager growing up during World War II. Gina is the only child of a general, a widower who has long been happy to spoil his bright and willful daughter. Gina is devastated when the general tells her he must leave and she will attend a boarding school in the country and more so when she discovers how grim it is. She fights with her students, rebels against teachers, is ostracized and runs away. Caught and returned, she is entrusted to the legendary Abigail.
Happiness, As Such by Natalia Ginzburg (Italy) translated by Minna Zallmann Proctor (Daunt Books Publishing, 2019)
– The story of the Prodigal Son turned on its head, Happiness, As Such is a short, absurdly funny novel-in-letters about complicated families and missed connections.
Michele is the beloved only son of a large, dysfunctional family in 1970s Italy. Headstrong and independent, he has disappeared to London without explanation. Back in Italy, his father lies dying. Michele's departure sets forth a series of events that will bring together everyone in his life.
Lake Like a Mirror by Ho Sok Fong (Malaysia) translated from Chinese by Natascha Bruce (Granta Publications, 2019)
– A portrait of Malaysian society in nine stories, Lake Like a Mirror explores the lives of women buffeted by powers beyond their control. Squeezing themselves between the gaps of rabid urbanisation, patriarchal structures and a theocratic government, these women find their lives twisted in disturbing ways.
In precise and disquieting prose, Ho Sok Fong draws her readers into a richly atmospheric world of naked sleepwalkers in a Muslim women's home, mysterious wooden boxes, gossip in unlicensed hairdressers, hotels with amnesiac guests, and poetry classes with accidentally charged politics – a world that is both bizarre and utterly true.
Letters from Tove by Tove Jansson (Finland) edited by Boel Westin & Helen Svensson, translated from Swedish by Sarah Death (Sort of Books, 2019)
– Out of the thousands of letters Tove Jansson wrote, a cache remains that she addressed to her family, her dearest confidantes, and her lovers, male and female. Into these she spilled her innermost thoughts, defended her ideals and revealed her heart. To read these letters is both an act of startling intimacy and a rare privilege.
Penned with grace and humour, this collection offers an almost seamless commentary on her life as it unfolds within Helsinki's bohemian circles and her island home. Spanning 50 years between her art studies and the height of Moomin fame, they cover the bleakness of war, hopes for love that were dashed and renewed, and her determined attempts to establish herself as an artist.
Vivid, inspiring and shining with integrity, Letters from Tove shows precisely how an aspiring and courageous young artist can evolve into a very great one.
The Eighth Life by Nino Haratischvili (Georgia/Germany), translated from German by Charlotte Collins and Ruth Martin (Scribe UK, 2019)
– the story of seven women living through one of the greatest drama's of the twentieth century.
1900, Georgia: in the deep south of the Russian Empire, Stasia, the daughter of a famous chocolatier, dreams of ballet in Paris, but marries a soldier, and is caught up in the October Revolution. Escaping with her children, she finds shelter with her unworldly sister Christine, whose beauty, fatally, has caught the eye of Stalin's henchman. Disastrous consequences ensue for the whole family.
2006, Germany: after the fall of the Iron Curtain Georgia is shaken by a civil war. Niza, Stasia's great granddaughter has broken from her family and moved to Berlin. But when her 12-year-old niece Brilka runs away, Niza must track her down and tell her the truth about their family — and about the secret recipe for hot chocolate, which has given both salvation and misfortune over six generations.
Epic and absorbing, The Eighth Life is a novel of seven exceptional lives lived under the heat and light of empire, revolution, war, repression, and liberation.
Thirteen Months of Sunrise by Rania Mamoun (Sudan), translated from Arabic by Elisabeth Jaquette (Comma Press, 2019)
– A young woman sits by her father's deathbed, lamenting her failure to keep a promise to him…
A struggling writer walks every inch of the city in search of inspiration, only to find it is much closer than she imagined…
A girl collapses from hunger at the side of the road and is rescued by the most unlikely of saviours…
In this powerful, debut collection of stories, Rania Mamoun blends the real and imagined to create a rich, complex and moving portrait of contemporary Sudan. From painful encounters with loved ones to unexpected new friendships, Mamoun illuminates the breadth of human experience and explores, with humour and compassion, the alienation, isolation and estrangement that is urban life.
White Horse by Yan Ge (China), translated from Chinese by Nicky Harman (HopeRoad, 2019)
– This compact novella contains a gripping psychological tale, enlivened by wickedly sharp insights into contemporary small-town life in China.
Yun Yun lives in a small West China town with her widowed father and an uncle, aunt, and older cousin who live nearby. One day, her once-secure world begins to fall apart. Through her eyes, we observe her cousin, Zhang Qing, keen to dive into the excitements of adolescence, but clashing with repressive parents. Ensuing tensions reveal that the relationships between the two families are founded on a terrible lie.
Three Commended By the Judges
Although not on the shortlist, 3 titles from the longlist were singled out for commendation by the judges:
Isabella (Smokestack Books, 2019), a collection of fiercely feminist poems by the Italian Renaissance writer Isabella Morra translated by Caroline Maldonado
– Isabella Morra (c1520-1545/6) was born into an impoverished aristocratic family in Southern Italy. Forced to live in strict isolation in the family castle in Valsinni on a steep cliff above the Ionian Sea, she devoted herself to writing a series of extraordinary poems, 'amaro, aspro e dolente' ('bitter, harsh and sorrowful'), about her longing for escape. When she was twenty-six she was brutally murdered by three of her brothers in an honour killing. She was buried in an unmarked grave, and her poetry was forgotten for several hundred years.
the extraordinary memoir about mushrooms and grief, The Way Through the Woods (Scribe UK, 2019) by Malaysian-born Long Litt Woon, translated from Norwegian by Barbara Haveland
– A grieving widow feeling disconnected from life discovers an unexpected passion, hunting for mushrooms, in a story of healing and purpose.
Long Litt Woon moved to Norway from Malaysia as a nineteen-year-old exchange student. Soon after her arrival, she met Eiolf who became the love of her life. After thirty-two years together, Eiolf's sudden death left Woon struggling to imagine a life without the man who had been her soulmate and best friend. Adrift in grief, Woon signed up for a beginner's course on mushrooming. She found, to her surprise, that the hunt for mushrooms and mushroom knowledge rekindled her appetite for life, awakened her dulled senses providing a source of joy and meaning.
and the pacey young adult thriller set in a small French town rife with racism and rage Summer of Reckoning (Bitter Lemon Press, 2020) by Marion Brunet, translated from French by Katherine Gregor.
– in the suffocating atmosphere of a social housing estate in the south of France, sixteen-year-old Céline and her sister Jo, fifteen, dream of escaping to somewhere far from their daily routine, far from their surly, alcoholic father and uncaring mother, both struggling to make ends meet.
A dark and upsetting account of an ailing society, filled with silent and murderous rage
The Eighth Life by Nino Haratischvili
translated from German by Charlotte Collins and Ruth Martin
'Elegant … It is a triumph of both authorship and painstaking translation … The Eighth Life is an unforgettable love letter to Georgia and the Caucasus, to lives led and to come, and to writing itself.'
CATHERINE TAYLOR, THE ECONOMIST
Posted in German Literature, Russian Literature, Women in Translation	| Tagged Germany, Nino Haratischvili, Russian Empire, The Eighth Life, Warwick Prize 2020, Women in Translation | 16 Comments
The Lying Life of Adults by Elena Ferrante translated Ann Goldstein
Another excellent example of Elena Ferrante's ability to zoom in close, with intensity into the subconscious of her protagonist, this time through the lens of a girl entering adolescence.
From the opening pages, as Giovanna overhears a random comment from her father, it expands in her mind and overtakes her physically and mentally like a disease, affecting her mind, causing her to act in certain ways.
To the reader it may seem irrational, but to the hormone affected adolescent everything is magnified and causes her to imagine, lash out, withdraw, have moments of tenderness followed by hate and indifference.
She is uncomfortable in her skin and mind, lurching between strategies of action and non-action, always confrontational.
Though warned against her and until now they've never met, Giovanna cultivates a relationship with her estranged Aunt Vittoria, seeing her as a convenient tool of provocation and a source of not always reliable information.
She spewed bitterness, and yet those words now brought me relief, I repeated them in my mind. They affirmed the existence of a strong and positive bond, they demanded it. My aunt hadn't said: you have my face or at least you look something like me; my aunt had said: you don't belong only to your mother and father, you're mine, too, you belong to the whole family that he came from, and anyone who belongs to us is never alone, is charged with energy.
It is a roller coaster of emotions and a river of consciousness as we ride along, wondering who is going to survive these years unscathed.
The Class Divide
There is the intensity we've come to expect of Ferrante, the twisted emotions and imaginings of her protagonist leading the story, reading the surface of behaviours of adults around her, creating confusion, with that precise, recognisable linguistic clarity. Her father and Aunt represent a class divide that Giovanni witnesses, growing up on one side her father has escaped to, and now intrigued by the other that her Aunt inhabits.
Their mutual hatred remained intact, and I soon gave up any attempt at mediation. I began instead to say to myself explicitly that that hatred was an advantage for me: if my father and his sister made peace, my encounters with Vittoria wouldn't be exclusive, I might be downgraded to niece, and certainly I would lose the role of friend, confidante, accomplice. Sometimes I felt that if they stopped hating each other I would do something to make them start again.
I can't really talk about the novel in the singular as I see her individual novels now as a tapestry of different women characters from Naples, in various stages of their life – the two friends in My Brilliant Friend, the daughter in Troubling Love and the betrayed wife of The Days of Abandonment.
Photo by Luidi Cardoso on Pexels.com
Inside the overthinking mind of an adolescent and the pushing boundary-like behaviours, exposing that lying life, provoking reactions, seeing the damage of truth-telling and then the transition, an increasing self-awareness, noticing a reduced need to react to annoyances, about one's parents, one's friends, teachers, family. A letting go. A transition. Decisions. To care or not to care.
I behaved like that certainly to feel free from all the old bonds, to make it clear that I didn't care anymore about the judgment of relatives and friends, their values, their wanting me to be consistent with what they imagined themselves to be.
Ferrante provides the reader no easy conclusions, makes no judgments, but leads you down paths that will confront you with your own, as you carry on a conversation inside your own mind, wondering and trying to guess what her character might do next.
As the novel nears the end, it reads almost like a thriller, as we can see she is moving towards adulthood, her behaviours are less volatile, she feels less of a need to respond so violently, and yet, there is the danger that now she is becoming one of them – an adult – those who hide their behaviours behind lies.
Raw, intense, a delightful, refreshing, "stand up to them" protagonist.
My Reviews of Ferrante Books
Photo by Emre Kuzu on Pexels.com
Troubling Love (novel)
The Days of Abandonment (novel)
The Neapolitan Quartet: (tetralogy – 4 novels)
Frantumaglia, A Writer's Journey (nonfiction)
Review, Guardian: a rebel rich girl comes of age
Elena Ferrante Shares 40 Favourite Books by Female Authors
Posted in Fiction, Italian Literature, Translation, Women in Translation	| Tagged adolescence, Ann Goldstein, class divide, Elena Ferrante, Italian Literature, Literary Ficiton, The Lying Life of Adults, Women in Translation | 9 Comments
As I'm currently reading her most recent novel, The Lying Life of Adults published in September 2020 and being a fan of many of her books to date, including My Brilliant Friend, The Days of Abandonment, Troubling Love and Frantumaglia, I was interested to learn thanks to the publisher Europa Editions that:
Elena Ferrante has compiled a list of novels close to her heart, all by women authors, and exclusively for Bookshop.org, the new alternative to Amazon for socially conscious shoppers wanting to support high street bookshops when they shop online.
Given the type of characters and narratives Elena Ferrante is known for, her stories usually set in or have a connection with the working class neighbourhood of Naples and concern female protagonists coming to terms with their situation, whether they are girls, young mothers, grieving daughters or an adolescent trying to make sense of the adult world, I thought it would be interesting to know which authors she gravitates towards, who she has been influenced by and being Italian, she is likely to have read books that might be outside the common anglo reading mainstream.
I'm sharing the list here as an easy reference for me to look at and will link any of the titles I have already read to my reviews. I have read 13 of the titles, though only reviewed six of them.
I've also added the countries the author is associated with, either by birth and/or nationality, as I find that helpful, it being one of the criteria by which I decide whether to read a book or not – to avoid always reading works from the same cultural influence.
The list is quite Euro-American influenced, with only one African representation (or two if you count Doris Lessing), so while not quite as diverse as what I like to read, it's an interesting exploration of the female pysche through female literature of the ages from those cultures represented.
I did also read that the list was limited by what is available in English and by what is available from the Bookshop, so there are titles that haven't been shared because either they haven't been translated into English or are not available. I wish they had been included because that might have sparked an even more interesting debate about the lack of availability of works in other languages and to hear the chorus of readers who might have helped persuade publishers to do something about that.
Juliana at The Blank Garden has more to say about that in her critique of the list (see the link to her blog post below), she is very widely read across languages, a wonderful reviewer and has read 28 of the titles. I'll be referring to her favourites of Elena's favourites as a further guide!
Elena Ferrante's top 40 books by female authors
Americanah by Chimamanda Ngozi Adichie (Nigeria/America)
The Blind Assassin by Margaret Atwood (Canada)
The Enlightenment of the Greengage Tree by Shokoofeh Azar (Iran/Australia) translated by Anonymous
Malina by Ingeborg Bachmann (Austria) translated by Philip Boehm (German)
A Manual for Cleaning Women by Lucia Berlin (US)
Outline by Rachel Cusk (UK)
The Year of Magical Thinking by Joan Didion (US)
A Girl Returned by Donatella Di Pietrantonio (Italy) translated by Ann Goldstein
Disoriental by Négar Djavadi (Iran/France) translated by Tina Kover
The Lover by Marguerite Duras (France) translated by Barbara Bray
The Years by Annie Ernaux (France) translated by Alison Strayer
Family Lexicon by Natalia Ginzburg (Italy) translated by Jenny McPhee
The Conservationist by Nadine Gordimer (South Africa)
Fates and Furies by Lauren Groff (US)
Motherhood by Sheila Heti (Canada)
The Piano Teacher by Elfriede Jelinek (Austria) translated by Joachim Neugroschel
Breasts and Eggs by Mieko Kawakami (Japan) translated by Sam Bett and David Boyd
Interpreter of Maladies by Jhumpa Lahiri (US/India)
The Fifth Child by Doris Lessing (Zimbabwe/UK)
The Passion According to GH by Clarice Lispector (Ukraine/Brazil) translated by Idra Novey
Lost Children Archive by Valeria Luiselli (Mexico)
Arturo's Island by Elsa Morante (Italy) translated by Ann Goldstein
Beloved by Toni Morrison (US)
Dear Life by Alice Munro (Canada)
The Bell by Iris Murdoch (UK)
Accabadora by Michela Murgia (Italy) translated by Silvester Mazzarella
Le Bal by Irene Nemirovsky (Ukraine/France) translated by Sandra Smith
Blonde by Joyce Carol Oates (US)
The Love Object: Selected Stories by Edna O'Brien (Ireland)
A Good Man Is Hard to Find by Flannery O'Connor (US)
Evening Descends Upon the Hills: Stories from Naples by Anna Maria Ortese (Italy) translated by Ann Goldstein & Jenny McPhee
Gilead by Marylynne Robinson (US)
Normal People by Sally Rooney (Ireland)
The God of Small Things by Arundhati Roy (India)
White Teeth by Zadie Smith (UK)
Olive Kitteridge by Elizabeth Strout (US)
The Door by Magda Szabò (Hungary) translated by Len Rix
Cassandra by Christa Wolf (Poland/Germany) translated by Jan van Heurck
A Little Life by Hanya Yanagihara (US)
Memoirs of Hadrian by Marguerite Yourcenar (Belgium/US) translated by Grace Frick
Critic of the List: Elena Ferrante's Shopping Advice | Reading Project
Article, Guardian: 'This is revolutionary': new online bookshop unites indies to rival Amazon
Article, Guardian: List by pseudonymous author of Neapolitan novels includes Zadie Smith, Sally Rooney and several Italian classics
Posted in Fiction, Memoir, Non-Fiction, Translation	| Tagged Elena Ferrante, Favourite Women Authors, Independent Bookshops, Women in Translation | 14 Comments
Atlantis, A Journey in Search of Beauty by Carlo & Renzo Piano tr. Will Schutt
What an unexpected pleasure this was. I spent a week reading it, always looked forward to picking it up and loved the shared narrative between father and son as they travelled around the world on an Italian Navy Research ship, during 8 months.
They revisit the sites of Renzo's architectural designs, awakening his memory of the creative process, the people he met with to understand their needs and that of the community his structures would serve.
A lifetime of work he was passionate about and given him a unique perspective and wisdom, not to mention the deep cultural immersion all those projects provided this now 80-year-old architect and father.
A Sea-Lover's Journey
Renzo and Carlo set sail from Genoa one late summer day, and from the blurb, would have us believe they are :
guided by the ancestral desire felt by many explorers before them to find Atlantis, the perfect city, built to harbour a perfect society.
It is as much a conversation as a travelogue and one that takes place when 80 year old Renzo is still contemplating retirement, this revisiting of his projects and the reflection they invite, of inspiration and ideas, of listening and understanding, a quiet dissatisfaction his son will probe, and that scandal his early work (Beaubourg – the Centre Pompidou in Paris) provoked.
Sins of Youth
After the Paris adventure he spent years defending himself against people who feared they would put pipes up everywhere. Rogers suffered the same fate, a fate reserved for heretics in the Middle Ages.
"I see Beaubourg as a joyful urban machine, which inspires more than a few questions."
As Carlo questions and muses, he creates a narrative structure within which his father responds and reflects and by the end I can't even say whose narrative I prefer, there is such a wonderful synergy and relation between the two, a rhythmic flow of thoughts and words.
Perhaps Carlo is able to dig deeper and pick up on certain gestures, more so than another interviewer might, because it is his father he knows so well, referring to him by many names throughout, the Explorer, the Constructor, the Measurer, the Old Man.
Does he call him the Philosopher or the Artist? I'm not sure, but it is clear to me that he is both, his subjects creativity, beauty and place.
A lover of words and speaker of three languages, he educates us in how the word beauty differs in Italian, French and other languages, something that means good and beautiful, intrinsic in the essence of something. He reminisces with his staff on their collective purpose in a letter he writes them onboard, the day of his 80th birthday.
"The pursuit of beauty. The word is hard to articulate. As soon as you open your mouth, it flies off, like a bird of paradise. Beauty can not be caught, but we are obliged to reach for it. Beauty is not neutral; pursuing it is a political act. Building is a grand act, a gesture toward peace, the opposite of destruction."
I found the entire book totally engaging, from start to finish; their journey and revisiting the building projects along the Thames and the Seine, in New Caledonia and New York, San Francisco and Osaka Bay and finally to Athens, providing just enough information and context to keep the narrative interesting and intriguing, with the addition of that element of humanity that only two people who know each other as well as these two could bring.
A light touch allows you, even at your most determined, to listen to others and seek to understand them. A heavy tread you're better off without.
Lightness is key to understanding places, and, in that sense, an architect must inhabit the places where he works. I have been a Parisian, a Berliner, a New Yorker, a Londoner, a Kanak.
All the while remaining who I am.
I think an architect who does not recognize himself in the place he is building cannot capture its soul.
Renzo Piano Video : On the Shoulders of Giants – a wonderful, biographical interview with the Pritzker prizewinning Italian architect
Article (with photos): Les 10 projets les plus célèbres de l'architecte Renzo Piano by Marina Hemonet, AD Magazine – including one here in Aix-en-Provence (Le pavillon de photographie du Château La Coste)
Photo by Esther on Pexels.com
Anecdote/Coincidence : Upon finishing the four part series Unorthodox this week, I watched the short film 'The Making of Unorthodox' intrigued by the storytelling, sense of place and adept characterisation it had evoked. It is filmed in Berlin and Williamsburg, but mostly in Berlin, where the Production Designer Silke Fischer, looking for a specific architectural look and feel to extend the metaphor of freedom, found a great location at Potsdamer Platz next to the Philharmonic.
Unbeknown to me, while I was reading Atlantis, I was also immersed in a series shot on location in one of his architecturally designed buildings.
N.B. Thank you kindly to the publisher Europa Editions for sending me a copy of the book.
Posted in Italian Literature, Non-Fiction, Translation	| Tagged Architecture, Atlantis A Journey in Search of Beauty, Europa Editions, Italian Literature, nonfiction, Renzo Piano | 9 Comments
Booker Prize 2020 Winner – Shuggie Bain by Douglas Stuart
Scottish-American author Douglas Stuart has won the Booker Prize 2020 for his Scottish working-class novel, Shuggie Bain, a novel that follows a boy growing up in poverty in 1980s Glasgow with a mother who is battling addiction.
It was inspired by some of his own personal experience, his mother died of alcoholism when he was 16.
Here's what the judges had to say:
Shuggie Bain has so much heart and it does much to put you so deeply inside the society of impoverished Glasgow in the 1980's. Emily Wilson
It's heartrending, it's hopeful, but it's also desperately sad, it has humour, it has so many qualities, it's fiction at its best. Margaret Busby
The author, through the two magnificent characters at the centre of this book, they lead us through this world and they are the spark of humanity that makes the pain bearable. Sameer Rahim
The poetic prose and the clear characterisation and sense of place, that has to make this the number one. Lemn Sissay
For future generations of our readers I sincerely think it will be a long term classic that is loved, admired and remembered for a very long time. Lee Child
'Glasgow' – Photo, Anna Urlapova on Pexels.com
Scottish Prime Minister and avid reader, Nicola Sturgeon describing it as a raw, searing and beautifully tender novel, mentioned that Douglas Stuart becomes the second Scot to have won the prize; his book also a finalist for the National Book Award (an American Literature Prize) for Fiction awarded this week, that prize won by Charles Yu for Interior Chinatown.
"When James Kelman won in the mid-90s, Scottish voices were seen as disruptive and outside the norm. And now to see Shuggie at the centre of it, I can't express it," he said. "Young boys like me growing up in 80s Glasgow, this wasn't ever anything I would have dreamed of."
Writing about Glasgow from the US "brought clarity, but it also allowed me to fall in love with the city again", describing it as "a city of reluctant optimists by default".
"How would we have survived otherwise?" he asked. "When you don't have the comfort of money, then you are forced to deal with life on the frontlines, and sometimes love, humour, optimism is all you can bring to a bad situation."
– extract from interview with Stuart by the Guardian
The only two I have read from the shortlist were Maaza Mengiste's The Shadow King and Tsitsi Dangarembga's This Mournable Body. Dangarembga's Nervous Conditions is already considered a modern classic, one I'd highly recommend if you haven't already read it.
I have been seeing excellent reviews of Shuggie Bain so I may read it in the months to come. Although I have Maaza Mengiste's Beneath the Lion's Gaze on my shelf, so that might be sooner!
Have you read Shuggie Bain? If so, what did you think of it?
Article: Douglas Stuart wins Booker Prize – the Guardian
Posted in Fiction	| Tagged Booker Prize 2020, Douglas Stuart, literary fiction, Shuggie Bain, working class fiction | 4 Comments
My first read of visual artist, sculptor and writer Sara Baume, I decided to read her work of creative nonfiction before trying her fiction (she has written two novels Spill Simmer Falter Wither and A Line Made By Walking).
I stumbled across this after reading the excellent A Ghost In The Throat published by the same independent Irish publisher Tramp Press, so I bought it hoping for a similar experience.
Handiwork is a pure joy to read, it's a small book, with often only a paragraph on a page, it has a beautifully thought out structure, referencing a number of different texts that the author, who is an artist, a craftswoman clearly holds dear and memories of her father and grandfather, as family members who worked with their hands.
Overall, it is an exploration of her process and influences, charting a daily practice, working with hands, expressing her creativity.
In The Craftsman, Sennett is a little grumpy about the prospect of confronting the question 'What is art?' Instead, he sets out his inquiry as: 'We are trying to figure out what autonomy means – autonomy as a drive from within that impels us to work in an expressive way, by ourselves.'
After travelling Europe, she returns to her parents home and is greeted in her old room by a cacophony of objects she had assembled over many years, re-conceptualised out of available fragments, collected from her material environment.
a practice that Charles Jencks in the early 1970's designated 'adhocism' – a method of creation relying particularly on resources which are already at hand.
Now she lives in a house with Mark, structuring her day between the mundane repetitive tasks of living, mornings dedicated to writing, and afternoons of making.
She considers herself a disciple of William Morris, artist, designer, writer, activist, socialist, who:
Photo by Andrew Mckie on Pexels.com
agreed that hands know what they must do without instruction, that the objects shaped by their ancestor's phalanxes and phalanges and metacarpals for thousands of years remain in the memory compartment of their tiny brains, in the same way as birds know which way to fly without being guided or following a plotted course, without a book that provides detailed drawings and plans with parts and kits to accompany it.
This text is a place of reflection, aided by quotes from the various authors she refers to, relating to her own experience and insights and to the memory of her father and grandfather, one who worked with wood and the other with metal.
From my Dad I inherited a propensity for handiwork, but also the terrible responsibility, the killing insistence.
Her medium is plaster and her subject – she is making, carving, painting and mounting birds. While reading about bird migration. And trying to entice local songbirds she sculpts to a feeder in the garden.
It is like a songbird itself, a small book that sings its tribute to those who craft and create and follow the intuitive inclination to fashion one thing out of another using their hands.
We must begin, William Morris said in his lecture 'Useful Work v. Useful Toil' to the Hampstead Liberal Club in 1884, ' to build up the ornamental part of life'
'This little book is a love-child of my art and writing practices, or a by-product of novels past and coming. It's about the connection between handicraft and bird migration, as well as simply the account of a year spent making hundreds of small, painted objects in an isolated house'. – Sara Baume
Article: New book is a love-child — of my art and writing says Cork author by Colette Sheridan
Read An Extract or Listen on RTE – Handiwork by Sara Baume 2 May, 2020
Posted in creative nonfiction, Irish Literature, Nature Writing, Non-Fiction	| Tagged creative nonfiction, Handiwork, review, Sara Baume, sculpture, visual art | 12 Comments
You Don't Look Adopted by Anne Heffron
Anne Heffron tells us it took her 93 days to write her book, but really it took a lifetime and she is to be commended for being able to complete it.
Being an adoptee and trying to write about the experience and the double edged sword of searching, is like choosing solitary confinement as a self help therapy. You go in thinking it would be a good idea and it can't be all that hard just to recount your story, and then that being confronted with yourself, that isn't your self, or is it, thing happens.
Writing is hard. Writing when you are adopted is even harder. If you think your voice is dangerous in its ability to hurt the ones you love, you learn to keep it quiet.
And then the real trouble starts.
It's therapy without the therapist, so most will abandon it, that's something adoptees know a lot about, abandonment, often without even realising it.
Photo by Tasha Kamrowski on Pexels.com
Heffron's book is a narrative of threads woven together over those 93 days, but it is also a collection of anecdotes and reflections, she allows herself to digress and share experiences that have given her insights, that might disarm the reader who is looking for a chronological tale, unlikely if you are an adoptee.
Every adoptee's experience is different, but there are common elements and sharing the experience and making it available like this is an important resource for other adoptees.
Adopted people aren't much different from people who weren't adopted, they just live with more questions. They are the human experience intensified.
Much of the book is about the relationship with her adoptive mother, the strong bond they shared and the utter frustration and anger she often felt towards her, the shock of realising that though she was her only daughter, she was a mother to her brothers as well.
Photo by Helena Lopes on Pexels.com
A few years earlier my half-brother, whom I had never met, got in his car and drove down from his temporary work site in San Francisco to come meet me.
He may as well have come cantering up on a white horse. Having someone claim you is the bomb.
Thoughts on adoption arrive unbidden, so it is understandable that this is a narrative of fragments, and yet put together as they are here, they provide a sense of the whole, not only an incredible achievement, but proof of existence.
Seven Reasons I Love Anne Heffron by Claire at How To Be Adopted
Adoptees On Podcast – adoptees discuss the adoption experience
A Girl Returned by Donnatella di Pietrantonio (fiction)
On Chapel Sands by Laura Cuming (memoir) – a daughter (art historian) researches her mother's disappearance
Never Stop Walking by Christina Rickardsson (memoir) – raised in Sweden, a Brazilian adoptee returns home
An Affair With My Mother by Caitriona Palmer (memoir) – born in Ireland, an adoptee searches for her birth mother and looks into the Irish treatment of young unwed mothers
A Long Way Home (Lion) by Saroo Brierley (memoir) – an Indian boy lost on a train, adopted to Australia, retraces his journey to find his family
Journey Of The Adopted Self: A Quest For Wholeness by Betty Jean Lifton (nonfiction) – adoptee, counselor and adoption-reform advocate
Blue Nights by Joan Didion (memoir) – an adoptive mother reflects
Why Be Happy When You Could Be Normal? Jeanette Winterson (creative nonfiction/memoir)
Red Dust Road by Jackie Kay (memoir) – poet, adoptee of English/Nigerian parentage, raised by Scottish communists
Posted in adoption, Memoir, Non-Fiction	| Tagged adoptee experience, Anne Heffron, memoir, nonfiction, review, You Don't Look Adopted | 6 Comments

redpajama_set_name: RedPajamaCommonCrawl


Congratulations to Gilbert Santavenere, Greg Dillon and Stephen Olea for winning the RIDE Safe Fleet Maintenance Tip Contest!
Each winner will receive a new iPod Docking Station. Thank you to everyone that submitted their tip and participated in the contest! Stay connected with us on Facebook and Twitter for future contests and exclusive promotions.
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Spray out your grill with a water hose after all long trips to clean bugs and other debris out of the radiator and condenser (if equipped with A/C). This helps prevent overheating when you are idling or stuck in traffic by providing proper air flow through these parts.
Clean the components that contain oil or have oil on them with a water-based degreaser; for example, engine, transmission and differentials. This will remove build-up that can cause excess heat and will help diagnose oil leaks and ware marks from components rubbing against each other.
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WINTHROP, Mass. - The Regis (Mass.) men's swimming & diving team received a trio of major awards from the Great Northeast Athletic Conference, as the conference announced its end of year award winners for swimming & diving on Tuesday afternoon. Senior Nick Rainville (North Reading, Mass.) was named the conference's Athlete of the Year, James Sweeney the men's Coach of the Year, and the team was named the recipient of the Men's Institutional Sportsmanship Award.
Rainville was a five-time GNAC Athlete of the Week selection and won three of his four individual events (100 free, 200 fly, 100 fly, 50 fly) at the GNAC Championships. At the NEISDA Championships, he won the 100 fly by nearly two seconds and set a program record with a top finish in the 100 free.
Sweeney, who has been at the helm of the Pride's swimming & diving programs since 2012, led the Regis men to a second-place finish at the GNAC Championships and helped guide Rainville and the team to a strong showing at NEISDAs. Sweeney was a four-time NCAA All-American and three-time Big Ten Champion in his time at Indiana University.
Both awards mark a first for both the men's and women's programs, as Rainville's GNAC Athlete of the Year award is the first in Regis history, while Sweeney receives his first Coach of the Year honors. The only other major GNAC award won by the Pride came in 2015, when now-senior Jessica Higgins (Peabody, Mass.) was named GNAC Rookie of the Year.
Seniors Michael Bruno (Winthrop, Mass.) and Ashlyn DeRoche (North Reading, Mass.) also received recognition from the conference on Tuesday, as they were named to the men's and women's GNAC All-Sportsmanship teams.


text:
Antonio Moreno Barberá est un marin militaire espagnol né le  à Madrid.

Biographie
Antonio Moreno Barberá s'engage dans la Marine espagnole à l'âge de seize ans. Promu au grade d'amiral en 1997, il est nommé cette même année chef d'État-major de la Marine. Il devient, trois ans plus tard, chef d'État-major de la Défense (JEMAD), poste dont il est relevé en  au profit du général Félix Sanz Roldán.

Notes et références

Voir aussi

Articles connexes
 Chef d'État-major des armées (Espagne)
 Vol UM Airlines 4230

Amiral espagnol
Naissance en avril 1940
Naissance à Madrid

redpajama_set_name: RedPajamaWikipedia


I have decided to try my hand at a small infill smoothing plane. I found a design I liked at Brese Plane. His small smoother looked like just the thing. I ordering materials and started a CAD drawing to get the layout for a mock-up to be built from wood.
This is the initial mock-up. I cut in the dovetails to see how the spacing would work. I also did the tongue and groove joint at the mouth opening as if this were the final project. If anything was not going to fit, I wanted to find out at this stage.
It looked a lot like the original but something was not quite right. I made a real blade and was able to do some planing with it but no matter how much tweaking I did on the shape, it just wasn't comfortable in my hand.
I have done additional modifications, not pictured here, but I still don't like the way it feels. This is going to require a major redesign on my part. I can't change the overall size since that would create a waste of material. I may try shortening the length of the sides while leaving the length of the sole. By doing this I hope to create a more curved back end. I have some East Indian rosewood for the infills. If it is large enough I may try to eliminate the flat section on the top too.
I have some other projects that need to be finished before I continue with this so I will post more as things develop.


text:
Q: jQuery synchronous REST API call fails to return object I am making a synchronous REST API call in the main thread. jQuery (or browser?) complains. But I don't know how to code it asynchronously, or at least the code is less confusing to read as it stands.
This is a simplified version of what I'm doing:

Why is the function not returning the foobar object that is created?

A: Solution on callback:

A: There are a couple issues here.

*

*You are not returning anything in get_foobar.

*You cannot access the return value of the success callback.

*You should never use async: false
A common way to solve this is to use Promises
function get_foobar(val1, val2) {
    return new Promise(function(resolve, reject) {
        $.ajax({
            url: 'http://localhost:8000/api/' + va1 + '/' + val2,
            success: function (data) {
               let my_object = $.parseJSON(data)
               //console.log(data);
               console.log(my_object);
               let params = my_object['params'];
               let blob = my_object['the_thing'];
               var foobar = new FooBar(var1, var2, params, blob);

               resolve(foobar);  // <- resolve the object created here ...
            },
            error: function(err) {
                reject(err); // REJECT any errors that occur in request
            }
        });
    });
}

get_foobar($('#field1').val, $('#field2').val())
    .then(function(foobar) {
        console.log(foobar)
    })
    .catch(function(error) {
        console.error('something went wrong!', error);
    });

A: Here's an example that shows the problem you are facing, and the proper way to get data asynchronously (unfortunately, making Ajax request synchronously is bad practice and support for it will be removed from browsers in the future, so you definitely shouldn't rely on it).
The main problem is that by the time your asynchronous code runs, the function that called it has long since finished running and already returned. In this example, you're wanting a function like timer1 to return a result, but it returns it's result to the inner code of setTimeout, where it is actually called from. setTimeout returns nothing (hence undefined). What you need to do is use promises or for simple cases, callbacks. The second example in the code below uses callbacks to run additional code after the asynchronous operation.
I recommend you read this: https://developer.mozilla.org/en-US/docs/Web/JavaScript/EventLoop. It will help you understand asynchronous code in JavaScript, and why things work the way they work.

var log = (function(){
  var out = document.querySelector('#out');
  return function(msg){
    out.innerHTML += '
' + msg + '
';
  }
})();

function getSomethingAsyncTheWrongWay(){
  setTimeout(function timer1(){
    log('Round 1: First in code, last in console');
    return 'Result';
  }, 1000);
}

log(getSomethingAsyncTheWrongWay());

log('Round 1: Last in code, first in console');

function getSomethingAsyncTheRightWay(callback){
  setTimeout(function timer2(){
    log('Round 2: First in code, last in console');
    callback('Result');
  }, 1000);
}

getSomethingAsyncTheRightWay(function(result){
  log(result);
});

log('Round 2: Last in code, first in console');
#out{
  color:green;
  background:#000;
  font-family:courier new;
  padding:1em;
  font-weight:bold;
}

A: You won't be able to directly return 'blobby' to an in memory variable.
Pass 'blobby' to a global variable.
Try one of the following:
JQuery - Storing ajax response into global variable
Jquery - Store Ajax jSON response as variable

redpajama_set_name: RedPajamaStackExchange


text:
Venezuela seems to be preparing its people for Hugo Chávez's death
"Chávez lives and will prevail." But perhaps not for much longer.
Image: AP Photo/Ariana Cubillos
Gideon Lichfield
Update (5:08 p.m. ET): Hugo Chávez is dead
Since Hugo Chávez went to Cuba in December for cancer treatment, reports on the Venezuelan president's health have been vague and focused on his valiant struggle to recuperate. In the last couple of days, however, officials have been releasing grimmer news.
Yesterday it was revealed that Chávez had a new infection, making it harder for him to breathe. Today, in a speech filled with bombast worthy of Chávez himself, Nicolás Maduro, the vice-president, said Chávez was suffering his "most difficult hours" since his surgery in Cuba. He also accused unnamed foreign and domestic enemies of conspiring to poison Chávez, and drew comparisons with Palestinian president Yasser Arafat, whose death in 2004 is still the subject of murder speculation. Additionally, Maduro announced that the country is expelling a US military attaché, David Delmonico, whom he accused of stirring up support for a coup. (Update: a second attaché is also being expelled.)
Rumors that Chávez is already dead have abounded; last week, a Panamanian ex-diplomat claimed that the president's life-support had already been switched off, though his sources of information seemed dubious. But if Chávez is indeed already dead, then the trickle of bad news, the sabre-rattling, and the intriguingly symbolic comparison with Arafat—a martyr and hero to the ideological left that leads Venezuela—would all be consistent with preparing the Venezuelan people to hear the bad news.


Chocolate Devils Food Cake - made by my wonderful husband! He wanted to make a cake for a family gathering and this is a recipe I've made a number of times before and it's always enjoyed by everyone.
Mix all the dry ingredients first, then add the milk, then the oil and finally the eggs.
To make frosting, soften the butter until it's light and fluffy, then mix in the cream cheese. Sieve the icing sugar and cocoa powder and mix in gradually. Once combined mix in the vanilla essence.


We're Brunswick Cushion Company from Brunswick, Maine and we serve the greater Maine and New England area - including your town of Guilford, Maine. Our products are custom marine and home cushions, awnings, outdoor furniture and more.
We start by visiting your boat at Guilford where we'll create a unique full size template of each cushion area. These templates enable our skilled craftsmen to create cushions that fit perfectly and look fantastic. watch our interview by BoatMaine.us.


Karen Bondarchuk, a Canadian visual artist living and working in the United States, employs a broad range of materials and processes in her work. She has exhibited widely in the United States, as well as in Canada, England, France, Italy and India, and has completed residencies at the Moulin a Nef in Auvillar, France, the Virginia Center for Creative Arts, Vermont Studio Center and Ragdale Foundation. Her work has received honors and awards in New York, Virginia, Michigan, Illinois and Maryland and is in the permanent collection of the National Gallery of Canada, the Woodson Art Museum and several other public and private collections. She has been named the 2016 Master Artist at the Woodson Art Museum in Wausau, WI. Bondarchuk received her MFA in sculpture from The Ohio State University in Columbus, Ohio, and her BFA in sculpture and video from the Nova Scotia College of Art and Design (NSCAD) in Halifax, Canada. She is an associate professor and foundation area coordinator in the Frostic School of Art at Western Michigan University in Kalamazoo, MI.


text:
Get in touch 0118 940 3416
Heat Pump Technical Information
What is a Heat Pump?
How a Heat Pump Works
Types of Heat Pump
Non-Domestic
Heating Installers Have Their Say
19th November 2019 /in News /by Martyn Cooper
To tackle climate change, the UK has a legal commitment for carbon emissions to be net zero by 2050. This means that high carbon fossil fuels currently used to heat our buildings will need to be replaced with low carbon fuels and technologies. In order to be successful, it will be vital that those working in the industry are a contributory part of this change.
The HPA and other industry member organisations launched a survey, and supported by government, gave installers, plumbers and heating engineers an opportunity to share their views to help ensure Government understands the opportunities and risks that installers face in the transition to low carbon heating and the challenge of communicating the necessary changes to households and consumers.
Key findings included:
90% of respondents work in organisations with less than 10 people and 48% are sole traders.
A large proportion of respondents were from an older demographic: 82% of respondents were aged 41 or over and 58% were 51 or over.
74% of installers do not rate themselves as 'very confident' in recommending and choosing the best low carbon options to their customers.
Just 11.5% of respondents have customers who frequently ask about low carbon heating, renewable energy, or carbon emissions, while 69% say that they are either rarely or never asked.
Factors that installers rate as very important in influencing the decision to retrain are 'obligatory training for organisation membership' (58%), 'new mandatory installation standards' (50%), 'future mandatory installation standards' (42%) and 'demand from customers' (38%).
Installers believe the best way to increase awareness about the need for renewable heating systems is through communications and marketing.
Nearly half (41%) of the installers surveyed said that they understand what moving away from high carbon technologies means for their job, but more still needs to be done to raise awareness among installers.
A link to a summary of the survey data is available here
http://www.heatpumps.org.uk/wp-content/uploads/2017/04/hpa-logo.png 0 0 Martyn Cooper http://www.heatpumps.org.uk/wp-content/uploads/2017/04/hpa-logo.png Martyn Cooper2019-11-19 14:30:492019-11-19 14:39:26Heating Installers Have Their Say
Boyles law
Consumer Organisations
Gas Absorption Heat Pumps
Government Incentives
How to become an Installer
Purchasing a Heat Pump
The Vapour Compression Cycle
Heat pump industry rises to meet Manchester's low carbon challenge Stepping up to the decarbonisation challenge: Heat Pump Association launches...


Backpacking, at the age of twenty five.
So young, strong, happy, sober.
Secure in myself, and, indeed, it is only me today.
In new territory, I am making for the sound of falls.
bright rays are spilling through.
slip on a damp rock, skin my shin and knee.
Hah! Small payment for what I am about to find.
When, all at once, the sun's sparkle dazzles me.
I am out into the sound and the beauty.
A trinity, I think, of the holy.
And the divine artist of both.


text:
Śpiew trwogi (cz. Zpěv úzkosti) – wiersz czeskiego poety Františka Halasa, zaliczający się do jego najlepszych utworów i zarazem najbardziej znanych liryków czeskich XX wieku.

Charakterystyka ogólna
Śpiew trwogi pochodzi z tomiku Kadłub nadziei (Torzo naděje). Tego wiersza nie można w pełni zrozumieć bez kilku podstawowych informacji na temat okoliczności jego powstania. Liryk został napisany w roku 1938 jako bezpośrednia reakcja na postanowienia konferencji w Monachium (mającej miejsce w dniach 29–30 września 1938). W czasie tego szczytu na najwyższym szczeblu mocarstwa zachodnie, Francja i Wielka Brytania, za aprobatą faszystowskich Włoch zgodziły się na aneksję przez nazistowskie Niemcy ziem należących do Czechosłowacji. Krótkowzroczna polityka ustępstw wobec Hitlera spowodowała rozpad pierwszej Republiki Czechosłowackiej i pośrednio doprowadziła do wybuchu II wojny światowej. Czesi poczuli się zdradzeni przez dotychczasowych sojuszników. Układ w Monachium często, również w literaturze polskojęzycznej określa się mianem "zdrady" i "hańby".

Forma
Utwór jest napisany wierszem zasadniczo nieregularnym, doraźnie sylabotonizowanym. Ważną rolę odgrywa w nim czterowersowy refren. W końcowej części wiersza Halas stosuje paralelizm składniowy: Pole... Lesy... Řeky... Hory... křičí... hučí... šumí... bouří... (Pola... Lasy... Rzeki... Góry... krzyczą... huczą... szumią... dudnią). Poeta wykorzystuje też aliterację: zvoni... zrady... zvon (dzwoni zdrady dzwon) o wyraźnie onomatopeicznym charakterze. O formie wersyfikacyjnej liryku pisze, cytując Miroslava Červenkę, Dagmar Ševčíková.

Treść
Śpiew trwogi jest jednym z najbardziej gorzkich w swej wymowie liryków czeskich XX wieku. Utwór rozpoczyna się apostrofą do własnego wiersza. Potem poeta przechodzi do bezpośredniego werbalnego ataku na "Słodką Francję" i "Dumny Albion". Mówi, że to francuskie i angielskie ręce rozbujały dzwon, który swym biciem obwieszcza wszem wobec ich haniebną zdradę. Stwierdza, że za taką Europę wstydzi się każdy żołnierz czekający w okopie na rozpoczęcie walk. Warto dodać, że sam poeta był wtedy w pozostającym w gotowości bojowej oddziale. Podmiot liryczny w odgłosach przyrody, dobiegających z pól, lasów, rzek i gór słyszy powtarzające się słowa "zdrada" i hańba". Poeta robi zresztą w tym miejscu aluzję do czeskiego hymnu, w którym mowa o szmerze wody w strumieniach i szumie borów na skałach. Halas nie był odosobniony w swoim sprzeciwie wobec układu monachijskiego. Podobne w tonie wiersze pisał przyjaciel Halasa, Vladimír Holan. Kwestii tragicznego pozostawienia Czechosłowacji na pastwę Hitlera Holan poświęcił cykle Odpověď Francii (Odpowiedź Francji) i Září 1938 (Wrzesień 1938) jak też Zpěv tříkrálový (Śpiew trzech króli), zmieniając stylistykę swoich utworów. Charakterystykę pomonachijskiej twórczości Holana przedstawił Martin Sedlák.

Przekład
Wiersz Halasa przekładali na język polski między innymi Adam Włodek i Kazimierz Andrzej Jaworski.

Przypisy

Bibliografia
 František Halas, Torzo naděje, Československý spisovatel, Praha 1980.
 František Halas, Imagena. Wybór, wstęp i redakcja Józef Waczków, Państwowy Instytut Wydawniczy, Warszawa 1982.
 Franciszek Halas, Poezje wybrane. Wyboru dokonał i opracował Marian Grześczak, Ludowa Spółdzielnia Wydawnicza, Warszawa 1973.
 Józef Waczków, Halas František, [w:] Literatury zachodniosłowiańskie czasu przełomów 1890-1990. 2. Literatura czeska, Katowice 1999.
 Józef Magnuszewski, Historia literatury czeskiej. Zarys, Ossolineum, Wrocław 1973.
Utwory poetyckie Františka Halasa
Utwory literackie z 1938


comfortable Abel & Lula coat that fits perfectly with the Abel & Lula dresses!
Moncler Bodywarmer Sucre from the Moncler Summer Collection 2019.
Moncler Jacket New Iraida Pink from the Moncler Summer Collection 2019.
Mayoral Coat Ruffle Navy from the Mayoral Summer Collection 2019.


Want to make sure your child can attend Barbara Bush Elementary 2011 – 2012 ?
June 9th 2011 is the last date for early registration Pre K – 5th for HISD's exemplary Barbara Bush Elementary.
Check out the Schools ratings at Houston Association of Realtors School Finder . You can also read parent comments about the school at the real estate website in Trulia's School Rating section.
In years past this school has filled forcing parents that have waited too long to register their children to overflow elementary Ray K. Daly.


text:
L'Epyx FastLoad è una cartuccia d'espansione per Commodore 64 per il caricamento veloce del software da floppy disk.

Fu prodotta dalla casa di software americana Epyx nel 1984 e programmata da Scott Nelson, che aveva progettato anche l'Epyx Vorpal per i giochi della compagnia.

Caratteristiche
Permetteva di caricare programmi e giochi con il drive Commodore 1541 fino a 5 volte più velocemente del normale.  Essendo su cartuccia, e non avendo bisogno di modifiche hardware sul computer o sul drive, la cartuccia Epyx Fastload ed altri sistemi su cartuccia simili divennero presto popolari. In aggiunta al caricamento veloce, la cartuccia forniva una versione aggiornata del DOS Wedge del Commodore 1541 che forniva comandi veloci per fare operazioni del disco.

Includeva inoltre un monitor in linguaggio macchina. Anche se non era un assembler, aveva molti potenti strumenti per fare debugging. Tra questi c'era il disassembler, la possibilità di eseguire istruzioni una alla volta (il cosiddetto single-stepping) e un rilocatore di codice macchina automatico. Era inoltre dotata anche un disk editor, che mostrava il flusso di dati dal disco floppy tramite un editor esadecimale. Tra altro, la cartuccia era utilizzata per inserire trucchi nei giochi.

Il menù della Epyx Fastload comprendeva la facoltà di disattivare la cartuccia fino al successivo riavvio, evitando l'ulteriore stress meccanico di rimuovere la cartuccia quando non necessaria o per caricare l'occasionale gioco incompatibile.

La versione originale della cartuccia Epyx Fastload è perfettamente compatibile coi lettori floppy Commodore 1541 e Commodore 1571 se avviato in modalità 1541 su un Commodore 64 o un Commodore 128 in modalità 64. Non supporta però il lettore floppy Commodore 1581 e il sistema di emulazione floppy basato su schede SD SD2IEC. In questo caso diventa necessario ricorrere a reintepretazioni moderne della cartuccia, come la Epyx FastLoad Reload .

Note

Voci correlate
 Commodore 64
 Epyx

Altri progetti

Collegamenti esterni
Epyx FastLoad: manuale d'istruzioni di F. Yarra
Intervista con Scott Nelson da The Epyx Shrine, di Cybergoth

Commodore 64
Cartucce di espansione


Steve Kinniburgh insists everyone at Kettering Town has "each other's back" as they try to find a way to turn their season around.
The Poppies finally registered their first home win of the season in the Evo-Stik Southern League Premier Division last weekend when they fought back from a goal down to beat Weymouth 3-1 at Latimer Park.
But the good feeling didn't last long as, just three days later, they were back to square one after a 1-0 defeat at Chesham United.
The Poppies' inconsistent form has left them in mid-table and has seen the pressure grow on manager Marcus Law after the club themselves admitted a push for promotion was the main aim for the season.
But first-team coach Kinniburgh insists there are no divisions within the Kettering camp, although he admits the frustration is growing at the lack of results.
"Everyone is firmly behind the manager and behind each other, that is not an issue," Kinniburgh said.
"Everybody has got each other's back and we want to play to win.
"The problem we have is that we are coming off the pitch, like we did on Tuesday night, baffled by how we have not been able to get a positive result.
"It is becoming more and more frustrating.
"Our build-up play has, in general, been very good and I would say that in the majority of games we have played this season, we have been the better team on the day.
"But, more often or not, we have not been coming out with the results we want.
"There's obviously a reason behind that and we have to look into that.
"On paper, we have a fantastic squad but we aren't punishing teams often enough and then, when we make silly mistakes, our opponents are taking advantage of it.
The Poppies are now preparing for a switch of focus as they host Evo-Stik Northern Premier League Division One South side Market Drayton Town in the first qualifying round of the Buildbase FA Trophy this weekend.
And Kinniburgh believes the lack of clean sheets Kettering have been keeping of late is an issue that they "need to address".
"It's not just the finishing that is the problem," he added.
"We did have a couple of chances on Tuesday night but we are unable to kill teams off in the final third at the moment.
"But if we look back at the last few games, we are not keeping clean sheets.