text:
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# Introduction

This book features nine alphabets that are perfect for adding a personal touch to nearly any item. The alphabets are divided into three categories: Elegant & Exquisite, Fun & Funky and Clean & Classic. Each category features three alphabets with letters that can be easily combined to create names or words. The colors can be altered and the fabrics changed to create projects that are functional, beautiful and one of a kind. The alphabets here range from simple, clean lines to fanciful letters made of flowers. There are classic bordered letters and whimsical letters made with bright colors. The finishing on every project is simple, with easy-to-follow instructions that are addressed step by step in the Finishing Instructions. Your creations will be treasured for years to come. We hope you enjoy the designs and unique finishing ideas in this book, and we hope you will decorate your stitching with Lovely Letters.

# Contents

Introduction

Elegant & Exquisite

Elegant Script Alphabet

Floral & Vines Alphabet

Filigree Alphabet

Fun & Funky

Bold Pattern Alphabet

Wild Whimsy Alphabet

Floral Garden Alphabet

Clean & Classic

Swirls & Dots Alphabet

Classically Styled Alphabet

Traditional Monogram Alphabet

How to Stitch

Finishing Instructions

Special Thanks

# Elegant Script Alphabet

Designs by

Angela Pullen Atherton

**Skill Level:** Confident Beginner

### **Materials**

• 9" x 9" piece 14-count white perforated paper from Wichelt Imports Inc.*

• One skein DMC® six-strand embroidery floss**

• Size 24 tapestry needle

_*See Suppliers on page 112._

_**Refer to color code._ | **DMC ®**

|
---|---|---

  | 815 | garnet, med.

**Stitch Count**

Border: 70H x 70W

Letters: 38H x 38W each*

**Design Size**

Border: 5" x 5"

Letters: 2¾" x 2¾" each*

_*Stitch count and size given are for largest letter. Stitch count varies by letter._

**Instructions:** Cross stitch over one square using two strands of floss. Center letters inside border.

**Finishing Materials & Instructions**

Day planner

See Book Cover/Album/Journal/ E-Reader/Daily Planner Finishing Instructions on page 110.

* * *

**Make It _Your Own_**

_Use 14-count waste canvas to add a stitched design to almost any item. This simple fleece baby blanket becomes an heirloom by adding Baby's initial. Our model is stitched using two strands DMC ® 807. Follow manufacturer's instructions for using waste canvas._

* * *

* * *

**Make It _Your Own_**

_A classic photo album gets a personalized cover by adding this elegant alphabet and border to it. This project was stitched on 14-count lambswool Aida using two strands DMC ® 3865. See the easy-to-follow and quick-to- finish instructions for adding the design to an album on page 110._

* * *

* * *

**Make It _Your Own_**

_Jazz up a guest bath with a monogrammed hand towel. This beauty uses two strands DMC ® 815, but it eliminates the border and centers the letter on a Showcase Huck Towel (#HF6500EAS-2724) from Charles Craft/DMC®._

* * *

# Floral & Vines Alphabet

Designs by Marie Barber

**Skill Level:** Confident Beginner

### **Materials**

• 11" x 11" piece 28-count platinum linen from Wichelt Imports Inc.®*

• One skein DMC® six-strand embroidery floss**

• Size 24 tapestry needle

_*See Suppliers on page 112._

_**Refer to color code._ | **DMC ®**

|
---|---|---

  | 3799 | pewter gray, vy. dk.

  | 725 | topaz, med. It.

  | 986 | forest green, vy. dk.

  | 783 | topaz, med.

**Stitch Count:** 71H x 82W*

**Design Size:** 5⅛" x 5⅞"*

_*Size given is for largest height and width. Each letter will vary._

**Instructions:** Cross stitch over two threads using two strands of floss.

Backstitch over two threads using one strand of floss.

Work couching stitch where green lines appear for vines using two strands 986 for laid thread and one strand 986 for couching thread.

**Backstitch (bs) Instructions**

783 | flower

---|---

3799 | swirls around letter

**Finishing Materials & Instructions:**

Coordinating yellow pillow Four ½" coordinating buttons

See Pillow Finishing Instructions on page 109.

* * *

**Make It _Your Own_**

_Create an elegant photo album for a wedding or anniversary by adding a Floral & Vines monogram to the cover. Our model uses two strands each DMC® 420 for the letter, 581 for the leaves and 725 for the flower. Couching stitches are worked using 581; letters and swirls are backstitched with 420 and flowers with 783. See the easy-to-follow and quick-to-finish instructions for adding the design to an album on page 110._

* * *

* * *

**Make It _Your Own_**

_Create a quick and simple needlebook for your stitching basket. Our model uses 32-count lambswool linen and two strands each of DMC ® 350 (flowers), 581 (leaves) and 3031 (letter). Backstitch flower in 350 and letter and swirls in 3031; work couching stitch for vines using 581. Our model uses Weeks Dye Works #2245 grapefruit wool felt. Needlebook Finishing Instructions appear on page 111,_

* * *

# Filigree Alphabet

Designs by Sharon Pope

**Skill Level:** Confident Beginner

### **Materials**

• Two 9" x 9" pieces 14-count white perforated paper from Wichelt Imports Inc.*

• One skein each DMC® six-strand embroidery floss**

• Size 24 tapestry needle

_*See Suppliers on page 112._

_**Refer to color code._ | **DMC ®**

|
---|---|---

• | 598 | turquoise, lt.

  | 3810 | turquoise, dk.

  | 3808 | turquoise, ul. vy. dk.

⁄ | 169 | pewter, lt.

_@_ | 413 | pewter gray, dk.

  | 3799 | pewter gray, vy. dk.

  | 310 | black

**Stitch Count:**

Border: 70H x 70W

Letters: 28H x 28W each*

**Design Size**

Border: 5" x 5"

Letters: 2" x 2" each*

_*Stitch count and size given are for largest height and width. Each letter will vary._

**Instructions:** Cross stitch over two threads using two strands of floss.

Backstitch over two threads using one strand of floss.

**Backstitch Instructions**

3810 | letter shadows

---|---

3808 | letter

3799 | filigree

310 | remainder of backstitch

**Finishing Materials & Instructions**

Two 6" x 6" stone pavers

Two 5" x 5" pieces white cardstock

Strong double-stick tape

2 yards 2"-wide black grosgrain ribbon

See Bookend Finishing Instructions on page 111.

* * *

**Make It _Your Own_**

_This simple design is also perfect for framing. This model was stitched on 14-count white Aida using the following DMC ® colors (given in the order of the color code on page 26): 3835, 3834, 154, 703, 701, 699 and 3031. Backstitch letter shadows in 3834, the letter in 154, filigree in 699 and the remainder of backstitch in 3031._

* * *

* * *

**Make It _Your Own_**

_Make your inital into a handy and lovely pincushion. Using 28-count white linen and the following DMC ® colors (given in the order of the color code on page 26): 3688, 3687, 3803, 563, 562, 561 and 435, this project is a quick-finishing project. Backstitch letter shadows in 3687, the letter in 3803, filigree in 561 and the remainder of backstitch in 435. See Pillow Ornament Finishing Instructions on page 110 and omit the hanger step to create a pincushion._

* * *

# Bold Pattern Alphabet

Designs by Sharon Pope

**Skill Level:** Confident Beginner

### **Materials**

• 10" x 10" piece 28-count smoke grey linen from Wichelt Imports Inc.*

• One skein each DMC® six-strand embroidery floss**

• Size 24 tapestry needle

• Professionally framed*

_*See Suppliers on page 112._

_**Refer to color code._ | **DMC ®**

|
---|---|---

  | 973 | canary, bt.

  | 972 | canary, dp.

  | 971 | pumpkin

  | 906 | parrot green, med.

  | 3843 | electric blue

  | 552 | violet, med.

  | 718 | plum

• | 603 | cranberry

  | 310 | black

**Stitch Count:** 56H x 56W*

**Design Size:** 4" x 4"*

_*Size given is for largest height and width. Each letter will vary._

**Instructions:** Cross stitch over two threads using two strands of floss.

Backstitch (bs) over two threads using one strand 310.

* * *

**Make It _Your Own_**

_Why not jazz up your favorite e-reader cover with a lovely monogram? Stitched on 14-count white Aida, the project can be easily trimmed, edges frayed and then attached to your cover using double-sided tape._

* * *

* * *

**Make It _Your Own_**

_Create a set of personalized coasters with this bold patterned alphabet. Stitched on 40-count ivory linen from Wichelt and using one strand of floss, the letters become 2⅞" x 2⅞" in size, which means they fit seamlessly inside a 3" coaster. These simple-lined acrylic coasters (item #432037) are available atAnniesCraftStore.com._

* * *

# Wild Whimsy Alphabet

Designs by Marie Barber

**Skill Level:** Intermediate

### **Materials**

• Three 10" x 10" pieces 28-count white linen from Wichelt Imports Inc.*

• One skein each DMC® six-strand embroidery floss**

• Size 24 tapestry needle

• Professionally framed*

_*See Suppliers on page 112._

_**Refer to color code._ | **DMC ®**

|
---|---|---

_µ_ | 3854 | autumn gold, med.

¥ | 3853 | autumn gold, dk.

  | 720 | orange spice, dk.

946 | burnt orange, med.

  | 606 | orange red, bt.

  | 601 | cranberry, dk.

  | 603 | cranberry

602 | cranberry, med.

  | 3689 | mauve, lt.

• | B5200 | snow white

~ | ecru | ecru

  | 732 | olive green

  | 310 | black

  | 3865 | winter white

445 | lemon, lt.

  | 307 | lemon

  | 166 | moss green, med. lt.

  | 906 | parrot green, med.

  | 955 | Nile green, lt.

  | 3849 | teal green, lt.

  | 3812 | seagreen, vy. dk.

  | 3761 | sky blue, lt.

  | 3845 | turquoise, med. bt.

  | 3843 | electric blue

3760 | Wedgwood, med.

  | 333 | blue violet, vy. dk.

  | 340 | blue violet, med.

  | 921 | copper

  | 3782 | mocha brown, lt.

  | 917 | plum, med.

3835 | grape, med.

  | 3371 | black brown

  | 154 | grape, vy. dk.

  | 3856 | mahogany, ul. vy. lt.

  | 3828 | hazelnut brown

**Stitch Count:** 50H x 50W each

**Design Size:** 3⅝" x 3⅝" each

**Instructions:** Cross stitch over two threads using two strands of floss.

Backstitch over two threads using one strand of floss unless otherwise indicated.

Work French knot where • appears on R using two strands B5200 and wrapping floss around needle once.

**Backstitch Instructions**

B5200 | R, P (two strands)

---|---

340 | B

3849 | D

606 | Q and pattern on C

601 | F, G, Z

166 | pattern on F, L, T and V; stems on F (two strands)

3371 | H, L and S; X, N, J and M (two strands)

955 | pattern on H (two strands)

154 | U, Y

3854 | pattern on W

720 | pattern on Y

310 | remainder of backstitch

* * *

**Make It _Your Own_**

_Fashion a classic door hanger by stitching your initial on 28-count linen and finishing according to the Pillow Ornament Finishing Instructions on page 110._

* * *

* * *

**Make It _Your Own_**

_We jazzed up a simple jewelry box by stitching an initial on 14-count perforated paper and attaching it to the top of the box with double-stick tape. See Perforated Paper Finishing Instructions on page 110._

* * *

* * *

**Make It _Your Own_**

_Use 14-count waste canvas to add a stitched design to almost any item. This simple white T-shirt gets gets a quick makeover by adding your initial. For Waste Canvas Finishing Instructions, see page 110._

* * *

# Floral Garden Alphabet

Designs by Marie Barber

**Skill Level:** Confident Beginner

### **Materials**

• 11" x 10" piece 28-count antique white Jobelan from Wichelt Imports Inc.*

• One skein each DMC® six-strand embroidery floss**

• One skein DMC® Variegated six-strand embroidery floss**

• Size 24 tapestry needle

_*See Suppliers on page 112._

_**Refer to color code._ | **DMC ®**

|
---|---|---

  | 3804 | cyclamen pink, dk.

• | blanc | white

~ | 3854 | autumn gold, med.

  | 553 | violet

  | 154 | grape, vy. dk.

  | 3845 | turquoise, med. bt.

  | 606 | orange red, bt.

  | 973 | canary, bt.

  | 166 | moss green, med. lt.

  | 741 | tangerine, med.

bs | 580 | moss green, dk.

bs | 702 | kelly green

**DMC ® Variegated Floss**

  | 94 | variegated khaki green

---|---|---

**Stitch Count:** 71H x 88W*

**Design Size:** 5⅛" x 6⅓"*

_*Size given is for largest height and width. Each letter will vary._

**Instructions:** Cross stitch over two threads using two strands of floss. Work ¼ cross stitch where small symbols appear using two strands of floss.

Backstitch over two threads using one strand of floss unless otherwise indicated.

Work French knot where • appears using two strands of floss and wrapping floss around needle once.

**Backstitch (bs) Instructions**

580 | leaves

---|---

3854 | outside border of large pink flowers, outside of blue flowers (two strands)

166 | inside of large pink flower, outside of yellow flowers

154 | outside edge of red flowers

702 | inside of red flowers

3845 | inside of blue flowers

**French Knot Instructions**

154 | center of large pink flower

---|---

166 | around leaves

553 | around yellow flowers

**Finishing Materials & Instructions:**

Coordinating tote bag Yellow ribbon Fusible interfacing White muslin

See Tote Bag Finishing Instructions on page 109.

* * *

**Make It _Your Own_**

_Create a one-of-a-kind scarf by adding a stitched initial to a premade scarf using fusible interfacing. The model pictured uses 14-count white Aida, fringed around the edges. For more details,see Scarf Finishing Instructions on page 109._

* * *

* * *

**Make It _Your Own_**

_Jazz up your decor with a simple matted and framed letter. Our model uses 28-count lambswool linen._

* * *

# Swirls & Dots Alphabet

Designs by Sharon Pope

**Skill Level:** Confident Beginner

### **Materials**

• 11" x 11" piece 28-count white Jobelan from Wichelt Imports Inc.*

• One skein DMC® six-strand embroidery floss**

• Size 24 tapestry needle

_*See Suppliers on page 112._

_**Refer to color code._ | **DMC ®**

|
---|---|---

  | 817 | coral red, vy. dk.

**Stitch Count:** 70H x 70W each*

**Design Size:** 5" x 5" each*

_*Size given is for largest height and width. Each letter will vary._

**Instructions:** Cross stitch over two threads using two strands of floss.

Backstitch over two threads using two strands for swirls and one strand for letters.

**Finishing Materials & Instructions**

Coordinating red pillow Four ½" coordinating buttons

See Pillow Finishing Instructions on page 109.

* * *

**Make It _Your Own_**

_For this framed design, we used DMC ® blanc stitched on 28-count Calypso Cashel linen from Picture This Plus. The letters were spaced six linen threads apart._

* * *

* * *

**Make It _Your Own_**

_Create a personalized baby gift with a prefinished Royal Classic Hooded Baby Towel (item #RC5520EAS) from Charles Craft. This design uses DMC ® 3844 stitched over one square on the 14-count Aida panel on the hooded towel. The design is then backstitched with one strand 310._

* * *

# Classically Styled Alphabet

Designs by

Angela Pullen Atherton

**Skill level:** Confident Beginner

### **Materials**

• 7" x 8" piece 14-count white perforated paper from Wichelt Imports Inc.®*

• One skein each DMC® six-strand embroidery floss**

• Size 24 tapestry needle

_*See Suppliers on page 112._

_**Refer to color code._ | **DMC ®**

|
---|---|---

• | 347 | salmon, vy. dk.

  | 498 | red, dk.

  | 815 | garnet, med.

**Stitch Count:** 48H x 43W*

**Design Size:** 3½" x 3⅛"*

_*Size given is for largest height and width. Each letter will vary._

**Instructions:** Cross stitch over one square using two strands of floss.

**Finishing Materials & Instructions**

4⅝" x 3¾" piece patterned scrapbook paper

4¼" x 3¼" piece solid-color cardstock

4¼" x 3¼" piece white cardstock

12" length ½"-wide ribbon Glue stick

Trim stitched piece to one square from stitching on all sides using sharp embroidery scissors. Using stitched piece as template, cut white cardstock to same size. Lightly glue to wrong side of stitched piece. Center and glue to solid cardstock using glue stick. Center and glue to scrapbook paper using glue stick. Attach ribbon hanger using craft glue.

* * *

**Make It _Your Own_**

_Create a quick and simple needlebook with a friend's initial. Our model uses 32-count ivory Jobelan from Wichelt Imports and two strands each of DMC ® 334, 312 and 823 (from light to dark); the design is mounted on a book made from Weeks Dye Works™ #2104HB deep sea herringbone wool felt. Needlebook Finishing Instructions appear on page 111._

* * *

* * *

**Make It _Your Own_**

_Bring a bit of elegance to a classic white napkin by adding a monogram. Our model uses two strands each DMC ® 334, 312 and 823 (from light to dark) in the corner of a Royal Classic Bread Cover/Napkin in ivory (#RC4850PK-4290) from Charles Craft/DMC®_.

* * *

# Traditional Monogram Alphabet

Designs by

Angela Pullen Atherton

**Skill Level:** Confident Beginner

### **Materials**

• 13" x 17" piece 14-count Riviera gold Aida from Wichelt Imports Inc.*

• One skein DMC® six-strand embroidery floss**

• Size 24 tapestry needle

_*See Suppliers on page 112._

_**Refer to color code._ | **DMC ®**

|
---|---|---

  | 414 | steel gray, dk.

**Stitch Count**

Large Letters: 70H x 44W*

Small Letters: 46H x 28W*

**Design Size**

Large Letters: 5" x 3¼"*

Small Letters: 3⅓" x 2"*

_*Size given is for largest height and width. Each letter will vary._

**Instructions:** Cross stitch over one square using two strands of floss. Center side letters as indicated by red lines on charts.

_**Note:** Centering lines will adjust for letters with curves. If desired, adjust according to monogram._

**Finishing Materials & Instructions**

12" x 12" cork tile Straight pins Coordinating pushpins

Refer to Corkboard Finishing Instructions on page 111.

* * *

**Make It _Your Own_**

_Why not pull a single letter from this alphabet and stitch a quick bookmark? Our selection was stitched on 14-count antique brown perforated paper using two strands DMC ® 445. The stitched piece was then trimmed to within one square on all sides and glued to a piece of coordinating cardstock._

* * *

* * *

**Make It _Your Own_**

_A prefinished apron receives a personalized makeover by adding a traditional monogram to it. This project was stitched using two strands DMC ® 704 on 28-count white Jobelan. See the easy-to-follow and quick-to-finish instructions for adding the design to your favorite apron on page 109._

* * *

# How to _Stitch_

_**Use the information in this section to help you create the right stitch and select the correct tools to complete your projects.**_

### **Working From Charted Designs**

Each square on a chart corresponds to a space for a cross stitch on the stitching surface. The symbol in a square shows the floss color to be used for the stitch. The width and height for the design stitch area are given in number of stitches and in inches; centers are shown by arrows at bottom and right-hand side of chart. Locations of backstitches are shown by heavy lines.

### **Fabrics**

In our materials listings, we give fabric suggestions that will complement each design. Our stitched models were worked on a variety of materials including 28-count, 32-count and 40-count linens, which have respectively 28, 32 and 40 threads per inch; 14-count Aida, which has 14 squares per inch; and 14-count perforated paper, which also has 14 squares per inch.

### **Needles**

A blunt-tipped tapestry needle is used for stitching. A size 24 needle is recommended for stitching on 14-count Aida or perforated paper and on 28-count linen; a size 26 needle is recommended for 32-count linen; and a size 28 needle is recommended for 40-count linen. The correct-size needle is easy to thread with the amount of floss required, but is not so large that it will create a larger hole in the fabric or paper. When threading the needle, insert one end of strand or strands of floss and pull through.

### **Floss**

All of our models were stitched using DMC six-strand embroidery floss. Color numbers and names are given for floss. Cut floss into comfortable working lengths; we suggest about 18 inches. When separating the strands, gently pull apart the strands and regroup as indicated by pattern instructions.

### **Scissors**

Good scissors are a necessary stitching tool to have on hand. They are used to cut fabric and floss. We recommend having two pairs of sharp embroidery scissors—one for cutting floss and one for trimming the perforated paper. Always be careful when using sharp scissors or when trimming your designs.

### **Getting Started**

To begin in an unstitched area, bring the threaded needle from the back through to the front of paper or fabric. Hold about ¼" of the end of the floss against the back and then secure it in place by catching it in the back loops of your first few stitches. To end one length of floss and begin a new one next to existing stitches, weave through the backs of several stitches before bringing needle to the front. Whenever possible, start stitching in the center (indicated by arrows on chart) of a project.

### **The Stitches**

The number of strands of floss used for stitching will be determined by the thread count of the fabric or paper used and the pattern. Refer to the chart and instructions to determine the number of strands used for cross stitches, backstitches or specialty stitches.

### **Cross Stitch**

A cross stitch is formed in two motions. Following the numbering in the figures below, bring the needle up at 1, down at 2, up at 3 and down at 4 to complete the stitch. Work horizontal rows of stitches wherever possible.

### **¼ Cross Stitch**

A ¼ cross stitch is half of a half cross stitch and should slant inward, depending on the pattern.

### **Backstitch**

Backstitches are worked after cross stitches have been completed. They may lie in any direction and are occasionally worked over more than one square on a chart. The figures below show the progression of several stitches. Bring the needle up at odd numbers and down at even numbers.

### **French Knot**

Bring the needle up where indicated on chart. Wrap floss once around needle and reinsert in the same place. Hold wrapped floss tightly and pull needle through, letting floss go just as knot is formed. Pull gently and firmly, but do not pull too tightly.

### **Couching Stitch**

Work couching stitches after cross stitches and backstitches have been completed. They are used to create more curves in a pattern and can curve in any direction. The first step is to lay the thread in the desired pattern; the second step is to secure it using small couching or tacking stitches, keeping the shape desired. Refer to instructions for the number of strands indicated for both the laid stitches and the couching stitches.

### **Planning a Project**

Before you stitch, decide how large to cut fabric. Determine the stitched design size, and then allow enough additional fabric around the design plus 4"–6" more on each side for use in finishing and mounting if finishing differently than indicated. Try to allow 4" extra on each side on perforated paper. Cut your fabric exactly true, right along the holes of the fabric. Some raveling may occur as you handle the fabric. To minimize raveling along the raw edges, use an overcast basting stitch, machine zigzag stitch or masking tape, which you can cut away when you are finished. Cut your paper exactly true, right along the holes of the paper.

### **Finishing Needlework**

When you have finished stitching, dampen your embroidery (or if fabric is soiled, wash in lukewarm mild soapsuds and rinse well). Roll in a towel to remove excess moisture. Place facedown on a dry towel or padded surface; press carefully until dry and smooth. Make sure all thread ends are well anchored and clipped closely. Proceed with professional framing, self-framing or finishing, as desired. _**Note:** Dark, saturated colors can run during washing; if this happens, soak in cold water rinses until color lifts from fabric._

# Finishing Instructions

**Pillow Finishing Instructions**

• 6" x 6" piece lightweight fusible interfacing

• Coordinating sewing thread

• Four coordinating buttons

• Coordinating pillow

• ½"-wide fusible interfacing tape

• Transparent or seam tape (optional)

Press stitched piece from reverse side, straightening as much as possible. Measure ¾" from edge of stitching on all sides and remove one linen thread on each side. Press. Center and fuse 6" x 6" piece of interfacing to reverse side of stitched piece, following manufacturer's instructions. Trim 1" from pulled thread on all sides.

Fold seam allowances to back of stitched piece, folding along pulled thread; press. Following manufacturer's instructions on fusible tape, fuse seam allowances to back of stitched piece. Center stitched piece on pillow; use a small piece of transparent tape or seam tape to temporarily hold it in place, if desired. Position one button in upper left corner of stitched piece. Using coordinating sewing thread, sew button through corner of stitched piece and catch pillow covering. Knot and trim, burying thread ends in pillow. Repeat with remaining three buttons and three corners, making sure to position buttons evenly in corners. Remove tape.

**Scarf Finishing Instructions**

• 4½" x 3½" piece double-sided lightweight fusible interfacing

• Coordinating scarf

Press stitched piece from reverse side, straightening as much as possible. Trim stitched piece to five squares from stitching on all sides. Using a needle, carefully remove two rows on all sides to create fringe. Trim interfacing to fit within fringed border, if necessary. Fuse interfacing to back of stitched piece, following manufacturer's instructions. Position piece on scarf end and fuse to scarf.

**Tote Bag Finishing Instructions**

• 6" x 6" piece double-sided fusible interfacing

• 6" x 6" piece muslin

• 24" length ⅜"-wide yellow grosgrain ribbon

• Coordinating tote bag (model uses burlap polka-dot tote from Hobby Lobby)

• White fabric glue

Press stitched piece from reverse side, straightening as much as possible. Trim stitched piece to ⅝" from stitching on all sides, staying on grain line of fabric when possible. Trim interfacing and muslin to same size. Fuse interfacing to back of stitched piece, following manufacturer's instructions. Fuse to muslin; trim edges if necessary.

Position fused piece on tote corner and glue in place using fabric glue. Cut two 5⅜" lengths of ribbon and glue to left and right sides of fused piece. Fold remaining ribbon in half and cut. Position one length at top of fused piece, folding under ends to fit width of fused piece; glue ribbon in place. Repeat with remaining piece of ribbon at bottom of fused piece.

**Apron Finishing Instructions**

• 6" x 9" piece double-sided lightweight fusible interfacing

• 1 yard 1"-wide coordinating grosgrain ribbon

• 1 yard ¾"-wide fusible tape

• Coordinating apron (model uses turquoise and plaid apron from Wal-Mart)

Press stitched piece from reverse side, straightening as much as possible. Trim stitched piece to ½" from stitching on all sides, staying on grain line of fabric when possible. Trim interfacing to same size as stitched piece. Fuse interfacing to back of stitched piece, following manufacturer's instructions. Position piece on apron bib and fuse in place.

Cut two 5½" lengths of ribbon. Using fusible tape, adhere cut ribbon to left and right sides of stitched piece, making sure ends of ribbon are even with edge of stitched piece and following directions for fusible tape. Fold remaining ribbon in half and cut. Position one length at top of design, folding under ends to create mitered corners and to fit width of stitched piece. Following manufacturer's instructions for fusible tape, fuse in place along top of stitched piece. Repeat with remaining piece of ribbon at bottom of stitched piece.

**Pillow Ornament Finishing Instructions**

• Backing fabric

• Polyester fiberfill

• Coordinating sewing thread

• Sewing needle

• Straight pins

• Coordinating trim and hanger

Press stitched piece from reverse side, straightening as much as possible. Trim stitched piece to ½" from stitching on all sides, staying on grain line of fabric when possible. Trim backing fabric to same size. Place stitched piece over backing fabric with right sides together and pin layers together. Sew around ornament, leaving an opening at bottom for turning. Trim all layers to ¼" seam allowance. Clip corners. Turn ornament right side out and fill with polyester fiberfill; sew opening closed using a blind stitch. Attach trim and hanger.

**Waste Canvas Finishing Instructions**

• Waste canvas

• Floss or sewing thread

• Tapestry or sewing needle

• Tweezers (optional)

Cut a piece of waste canvas 4" larger than design size. Center canvas on desired surface (T-shirt, blanket, etc.) and baste in place along edges with floss or sewing thread. Work cross-stitch design on waste canvas as indicated by project instructions, taking care not to stitch too tightly. Once stitching is complete, remove basting stitches and carefully remove waste canvas threads individually by pulling gently from stitched area. Tweezers can be helpful in removing these. Refer to manufacturer's instructions for more details on waste canvas; some waste canvas products are water soluble.

**Perforated Paper Finishing Instructions**

• White cardstock

• Sharp embroidery scissors

• Glue stick

Trim stitched piece to desired size, usually one square from stitching on all sides, using sharp embroidery scissors. Using trimmed piece as a template, cut cardstock to same size. Glue cardstock to reverse side of stitched piece. Center stitched piece as desired and glue in place.

**Book Cover/Album/ Journal/E-Reader/ Day Planner Finishing Instructions**

• Album or journal (or E-reader or day planner)

• Double-stitch tape (for Aida or linen project)

• Cardstock (for perforated paper or linen project)

• Glue stick (for perforated paper or linen project)

Press stitched piece from reverse side, straightening as much as possible.

For Aida projects, trim stitched piece to three squares from stitching on all sides. Using a needle, carefully remove threads of two rows on all sides to create fringe. Center fringed piece on front of album and adhere in place using double-stick tape.

For perforated paper projects, trim stitched piece to one square from stitching on all sides using sharp embroidery scissors. Using trimmed piece as a template, cut cardstock to same size. Glue cardstock to reverse side of stitched piece. Center stitched piece on journal and adhere using double-stick tape.

For linen projects, trim stitched piece to ½" from stitching on all sides. Cut a piece of white cardstock to same size as stitched area, adding ¼" on all sides. Center cardstock on reverse side of stitched area; fold seam allowances to back of cardstock, centering design and stretching just enough so that stitched piece is taut and flat on front (do not distort design). Make mitered corners and secure seams on back of cardstock using double-stick tape or glue stick. Position in place on front of album and adhere using double-stick tape.

**Needlebook Finishing Instructions**

• 6" x 11" piece (for large needlebook) or 10" x 4½" piece (for small needlebook) desired-color wool felted fabric from Weeks Dye Works™

• 4" x 4" piece #1096S snow cream wool felted fabric from Weeks Dye Works™

• Double-sided lightweight fusible interfacing

• Coordinating floss

• Tapestry needle

• Pinking shears

• Straight pins

Press stitched piece from reverse side, straightening as much as possible. Trim stitched piece to ½" from backstitched border on all sides. Using a needle, carefully fray threads, leaving a 12-thread border around backstitched border. Trim interfacing to fit within frayed edges; following manufacturer's directions, fuse interfacing to back of stitched piece.

Fold desired-color wool in half to create needlebook spine; mark center with a pin. Center snow cream wool on inside back of needlebook. Using two strands of coordinating floss, carefully attach snow cream wool to needlebook along top of page using straight stitches. Fold needlebook in half; center stitched piece on needlebook front and fuse in place according to manufacturer's directions.

**Corkboard Finishing Instructions**

• 12" x 12" corkboard tile

• White craft glue

• Coordinating pushpins

Press stitched piece from reverse side, straightening as much as possible. Trim stitched piece to 10 threads from top and bottom of stitched area, leaving ends uncut. Fold stitched piece three squares from stitching along top and bottom; press in place. Position stitched piece along top of corkboard tile and wrap ends around edges of tile. Glue in place along back of tile. Place pushpins on corkboard as desired.

**Bookend Finishing Instructions**

• Two 6" x 6" stone pavers

• Two 5" x 5" pieces white cardstock

• Strong double-stick tape

• Glue stick

• 2 yards 2"-wide black grosgrain ribbon

Trim stitched pieces to one square from stitching on all sides using sharp embroidery scissors. Using trimmed piece as a template, cut cardstock to same size. Glue cardstock to reverse side of stitched piece. Center stitched piece on paver and adhere using double-stick tape. Wrap ribbon around edges of paver and adhere in place using double-stick tape.

# Special _Thanks_

### **Designers**

Angela Pullen Atherton

Marie Barber

Sharon Pope

### **Model Stitchers**

Ardis Behrendt

Meagan Brys

Shirley Meyer

Michelle Munger

Linda Nelson

Judy Osterhoudt

Sherry Robertson

Wava Rowe

Terri Scott

Sandra Truman

Marcia Van Gelder

Johanna Woehrle

### **Model Finishers**

Suzanne Herman

Christy Schmitz

### **Suppliers**

**Annie's Craft Store,** AnniesCraftStore.com

**The DMC Corp.,** 10 Basin Drive, Suite 130, Kearny, NJ 07032, (800) 275-4117, www.dmc-usa.com

**Picture This Plus,** 212 N. Broadway St., Abilene, KS 67410, (866) 314-4343, www.picturethisplus.com

**Wichelt Imports Inc.,** N162 Highway 35, Stoddard, WI 54658-9711, (800) 356-9516, www.wichelt.com

### **Framing**

**A.D. Stitch 'N Frame,** 4220 Bluffton Road, Fort Wayne, IN 46809, (260) 478-1301
  _Lovely Letters : 9 Cross-Stitch Alphabets & Monograms_ is published by Annie's, 306 East Parr Road, Berne, IN 46711. Printed in USA. Copyright © 2014 Annie's. All rights reserved. This publication may not be reproduced in part or in whole without written permission from the publisher.

**RETAIL STORES:** If you would like to carry this publication or any other Annie's publication, visit AnniesWSL.com.

Every effort has been made to ensure that the instructions in this publication are complete and accurate. We cannot, however, take responsibility for human error, typographical mistakes or variations in individual work. Please visit AnniesCustomerService.com to check for pattern updates.

ISBN: 978-1-57367-655-7

Library of Congress Control Number: 2014918654

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redpajama_set_name: RedPajamaBook


An excellent country villa type property located just 2.5km from the center of the village of Relleu by road but due to its location just 800 meters walking distance in a straight line, the village has various restaurants, shops, a local supermarket, sports facilities and the beaches of Benidorm and Villajoyosa are just a 20 minute drive away.
The property has 5 bedrooms, 2 complete bathrooms, hallway entrance, separate fitted kitchen, large 45m2 living-dining room with a fireplace, there is a barbecue area and a private swimming pool.
A great country property with great potential, a completely fenced in plot spread over two large terraces, mains water and electric, parking for numerous cars, a large amount of fruit trees, tarmac to the entrance of the plot, very much a great family property.
PLEASE NOTE : The images are taken from when the property was occupied !!


Conrad Moroder is the gold standard in quality, detail and magnificence for church art that comes to life. Conrad Moroder's long tradition of church statues, wood carvings and art inspires devotion in churches and chapels, and warms the heart of those have the opportunity to admire them. This renowned company has had many years of experience in the Ars Sacra. We carry a large variety of stunningly detailed, hand-crafted Conrad Moroder carved wood statues to choose from. These products are designated for either indoor or outdoor use.
Indoor statues are hand-carved from Lindenwood and are finished in exquisite detail using an oil-based paint. Outdoor statues are crafted using either PolyArt casting or bronze casting. PolyArt casting involves mixing Carrara marble dust with fiberglass and resinal additives to create a base material for forming the statue. The figure is then painted or sealed using weatherproof products. Bronze casting utilizes a different technique that involves treating the figure with 240c of a special bronze-colored paint that will not rust or stain. Bronze-cast statues are safe for outdoor use and take on a beautiful aged appearance over time.
Conrad Moroder statues depict a variety of holy biblical figures and saints as well as coats of arms. The statues and creations are incredibly detailed and make an exceptional, awe-inspiring addition to any home, business, chapel or church. Keep a small wooden statue of your favorite religious figure in your home for personal devotions or opt for a larger cast statue to accent the outside or an outdoor garden of a church. Add a patron saint sculpture to your business to honor a legend. Whether you're looking or indoor or outdoor figures, Conrad Moroder statues make a fine addition to any space.
Shop with Matthew F. Sheehan for a large selection of finely crafted Conrad Moroder statues. Since 1907, Matthew F. Sheehan has provided homes, churches and businesses with religious products, apparel, statutes and décor that inspire veneration, contemplation and spiritualness. We take great pride in offering the finest quality church goods at exceptional prices. Order your favorite figures today to enhance your home or church.


text:
Terrace River Kings
CIHL
N2K Archive
Alberta health minister Tyler Shandro has ordered a review into the health authority's response after a noose found in a hospital in 2016. (The Canadian Press)
Alberta health minister orders review into response after noose found in hospital in 2016
A piece of rope tied into a noose was found taped to the door of an operating room at the Grande Prairie Hospital in 2016
Alberta's minister of health has ordered an independent third-party investigation into how the province's health authority responded to a racist act at one of its hospitals.
Tyler Shandro said in a statement Friday that a piece of rope tied into a noose was found taped to the door of an operating room at the Grande Prairie Hospital in 2016.
"In August of 2019, I was first made aware of this incident and was reassured by senior officials that the matter was being dealt with appropriately," he said.
Shandro added, however, that he recently heard about it again and there are questions about how Alberta Health Services handled the matter in 2016.
"I share their concerns and I am not satisfied that this matter was handled appropriately," he said.
"Racism and bigotry have no place in our health-care system."
The Opposition NDP's deputy leader and former health minister, Sarah Hoffman, said she hadn't been told about the racism at the time.
"I am shocked and disgusted to learn of the violent, racist incident that occurred at the Grande Prairie Hospital in 2016," she said in a statement Friday. "If I had been informed, I would have taken swift action.
"My record on confronting racism is clear. In 2017, when two AHS employees used a racial slur against an Indigenous woman, we moved swiftly to dismiss them."
Hoffman added she's concerned that Shandro has known about the incident for nearly a year but has not raised it publicly or acted.
Shandro said in his statement that the initial investigation may have been limited by medical staff bylaws that govern how the health region responds to complaints and disciplines staff.
"These bylaws have not been updated in more than a decade," he said. "Consequently, I have issued a directive requiring AHS to revise their bylaws within 60 days."
He said he would be introducing legislation next week that would increase the number of public representatives on college councils, hearing tribunals and complaint review committees, which will increase the public's oversight of health professions.
"These initial steps are only the beginning," said Shandro.
"The review, which will be made public, will undoubtedly bring further required changes to our attention."
Lower Mainland teacher facing child pornography charges
Group rescued unharmed after attempting to tube Lakelse River
Nisga'a state of local emergency extended, vaccines delayed
There are 21 active COVID-19 cases in the Nisga'a Valley Health Authority
Overdose calls in Terrace increased 'dramatically' last year
Numbers up across B.C.
BC Parks now hiring student ranger crew to work near Terrace this summer
Applications are open until Feb. 21, 2021
Terrace, Nisga'a regions continue to have high rate of COVID-19 cases
Two more exposure notices posted for Terrace schools
Explore Terrace Standard
Terrace Weather
Terrace Classifieds
© 2021, Terrace Standard and Black Press Group Ltd.

redpajama_set_name: RedPajamaCommonCrawl


text:
Giacinto "Jim" Boni (born June 4, 1963) is an Italian-Canadian professional ice hockey coach and executive, convicted of manslaughter.

Playing career

Born  in Frosinone, Italy and raised in Canada, Boni played professionally in Italy and Germany. He won four Italian championships with HC Bolzano in 1982, 1985, 1988 and 1990. Boni spent the last two years of his career at German third-division team EC Ulm, before retiring in 1998.

In 1992, Boni struck fellow player Miran Schrott in the chest with the end of a hockey stick, causing Schrott sudden cardiac death. Boni was charged with culpable homicide, but eventually plead guilty to manslaughter, and he was ordered to pay restitution to Schrott's family.

Coaching and managing career
Boni started his career behind the bench at ERC Ingolstadt, where he served as head coach from 1999 to January 2003. During his tenure, he led the team to promotion to the German top-flight Deutsche Eishockey Liga (DEL). He stepped aside in early January 2003.

He signed with the Vienna Capitals of the Austrian Hockey League (EBEL) for the 2003-04 season and remained in that job until the end of the 2006-07 campaign. Under his tutelage, the Capitals won the Austrian championship in 2005.

In 2007, Boni accepted the position as head coach at fellow EBEL team EHC Linz and would coach the team to back-to-back trips to the EBEL-semifinals. Boni accepted an offer to return to ERC Ingolstadt in 2009, taking the position as sport director and remained in that job until January 2014, when he requested to leave the ERC organization.

He was appointed head coach of the Vienna Capitals in February 2015, returning for a second stint in charge at the EBEL club. He guided the Capitals to the finals, shortly after taking over. Boni parted ways with the club at the end of the 2015-16 season.

National team coaching
Boni was named assistant coach of Team Canada for the 2004 Loto Cup in Slovakia.

While coaching in Vienna, Boni also took over head coaching duties at the Austrian national team, beginning in 2005. He guided the team to winning the 2006 IIHF World Championship Division I, Group B and to qualification for the 2007 World Championships, where Austria finished 15th.

External links
 Jim Boni on eliteprospects.com

References

Canadian ice hockey coaches
Living people
1963 births
People from Frosinone
Italian emigrants to Canada
Deutsche Eishockey Liga coaches
Canadian expatriate ice hockey players in Germany
Sportspeople from the Province of Frosinone
Italian expatriate sportspeople in Germany
Expatriate ice hockey players in Germany
Italian expatriate sportspeople in Austria
Canadian expatriate sportspeople in Austria
Italian ice hockey coaches
Italian expatriate ice hockey people

redpajama_set_name: RedPajamaWikipedia


text:
Silenced Hearts by Sora Tayuya
Games » Kingdom Hearts Rated: T, English, Suspense & Adventure, Roxas, Sora, Words: 12k+, Favs: 10, Follows: 10, Published: 1/3/2010 Updated: 2/13/2010}
11 Chapter 3: To Learn
Kingdom Hearts 2: Silenced Hearts
Disclaimer: I do not own Kingdom Hearts or any Titles used in this work
Day II
Soon to be Coming to Your Old Senses
"Doubting yourself for no good reason, you're listening to someone else..."
-"I'm Here" by Aly & A.J.
"Follow your heart, but be quiet for a while first. Ask questions, then feel the answer. Learn to trust your heart."
As fast as a wink, the red-head charged at the boy like a bull, his steel weapons held out before him to skewer the blonde with their pointed ends right into his chest. Blue eyes widening in shock, his body reacted before his mind registered the movement. Legs bending, then springing agilely to the right, his muscles commanded him like clockwork. For some strange reason, his body acted almost on impulse to the man's attacks with extraordinary evasion tactics; his arms swayed out of the blades reach just carefully enough, his torso shifted to get the heart and vitals furthest from the blade, and his legs' speed came quickly and felt natural.
The red-head came in for another swipe diagonally, putting a little more speed into the attack. Roxas reacted in turn by twisting his body to the right, avoiding the deadly blade by mere inches. His attacker moved swiftly and gracefully, and to the non-existance observer, it almost seemed as though the two were involved in some sort of deranged, wild dance rather than an attempt to keep from being ripped to shreds.
The precision the teen felt was basic to him, the movement of his muscles corresponding to the fight was like instinct, his urge to counter attack was more as a mandatory reaction than a foreign idea…as though I'm used to people attacking me, and I… attack them back.
Roxas shivered visibly as the silver and red steel spikes sliced through the place he had been standing but moments earlier as the man swung at his arm. But…that can't be right! His mind struggled to think amidst the rush of adrenaline, his heaving chest, and the intense, overbearing heat of the attack…Wait, heat? I know that moving makes you sweat and all, but this feels almost like, real…
Roxas recovered from his evade quickly; skidding with his heels on the polished floor before coming to a rest several feet away. His breath came in short bursts, but he surprised himself with his moves just moments earlier.
How in the world did I just?...I'm sure that I've never dodged something, well, like that before! Where are all these moves coming from? His thoughts rushed through his head, screaming random answers into his overworked and pounding brain. A gleam of sweat began forming on his skin, and his hair stuck to his face where it touched, making his usually messy hair look mottled and disarranged.
His attacker brought the weapons back towards himself, and stood up again, holding the chakrams loosely at his sides. The man in black smiled; the corners of his mouth played upwards slightly, and a secretive gleam shone from his pale-green eyes.
"Well Roxas, I guess you still know how to dodge, at least." He laughed, a short, humorless chuckle, but the feeling did not reach those green eyes. Those eyes which still bore into the boy as thought they were they were scouring his soul itself.
Confused, angry, and a little bit frightened, he clenched his fist tightly, focusing all of his tension into that ball of concentrated flesh and bone. He consitered socking the man right between the eyes if he came at him again, but figured that with his short reach, the man could just as easily slice straight through his arm as he could a piece of paper.
Thoughts rattled his mind, each one more confusing and heated as the next. Why am I here? Who is this? What is he- Then he saw something flicker out of his perifial vision. It took every ounce of his willpower to focus his eyes on the shifting shapes, but they were there all right. Blinking his eyes a few times to guarantee that they were not deceiving him, he watched in stunned silence as thin, fiery tendrils delicately wrapped themselves around the steel-bladed circles the man held. Gently, he let them curl around his outstretched fingers as though playing with them.
Those flames…how are they not burning him? Roxas thought to himself wildly, as he watched the figure caress the fire as though he were its master. That…that's not possible. This…how is he doing that? He didn't even notice when his own mouth moved; he spoke as though his inner questions had finally burst from his small form, and they needed to escape from his mute body.
"Who…who are you?" This was the question the boy said almost in a whisper, but it reached the man in black anyway. The red-head's eyebrow's went up a fraction in feign surprise, and the flames died down to his feet, circling his body like a ring of fire. He kept the rings of steel blades at his sides, though he did not raise them threateningly as before. When he spoke, it startled the blonde, for he had not yet realized that he had spoken his question aloud.
"Roxas." The boy flinched noticeable at his name, but did not respond to the man's voice. His eyes roamed the cloaked figure for an answer. The man did not give a knowing smile again; he was tired of this game, tired of looking, and tired of hiding from him. He hated being tired, it made him feel old.
"Roxas, we both know that answer." He stared hard at the boy, as if daring him to reproach his words. The blonde just stood, seemingly too confused to respond. Come on Roxas…listen to me… "I thought I told you once already that I'm not gonna repeat myself." He turned his head slightly down, and as his eyes became shaded from the shadow of his hair, the edges of his mouth turned into a tired, almost sad, smile. "Now, you're not going to try and make a liar out of me…are you?"
The brief smile was gone as soon as it appeared, his eyes coming back into focus again: bright green bore into blue, trying to send the message into his very soul. Desperation clung to his words like rain, pulling him down as he spoke the dampened words. "Listen to me, Roxas. I know it's there…somewhere deep inside of your memories." His gaze never strayed from the boy, the intent to deliver his message blazed like Greek fire. His left hand slashed through the air as he spoke his next words, like in a fury at some unseen opponent. "You've gotta find it…you have to remember!" The urgency in his voice surprised the boy, his tone had changed from secretive and knowing to having an almost desperate edge so suddenly, that for a moment Roxas felt…something.
The boy shook his head, and his immediate thought was of denial; he did not want the red-headed man to be right, he couldn't stand the thought for some reason. Nonsensically, his mind forced itself to ignore possibilities, to ignore logic, to ignore his own feelings.
"I…I don't know you! I don't remember you…and I don't know! I just…don't know…" Roxas's voice rang out with newfound volume, though they lacked any true force. He yelled the words almost to just to try and prove that he was right, just to try and hold onto what he knew, just to make the other wrong. His voice began to crack, as to his surprise, he found that he was shaking.
His blue eyes closed a brief moment in thought, and he fought back against a throbing headache. Oh man…why can't I remember? Remember… remember what? I don't know this guy…do I? What's the truth? His pupils dilated as they sprang open, and his hand went instinctively to his face as the world blurred around him. His head coursed with unprecedented pain, pounding like drums inside of his mind. He did not even notice as he fell to his knees, the pounding was excruciating.
What…what's happening? I can't…I can't remember… The pain was unforgiving, yet while the pounding inside his skull increased, his fears did as well. I…I can't remember…anything! As hundreds, no, thousands of images raced through his mind, he felt a strange sensation of pulling.
Faces of tall people, people in black cloaks, three teens running past a sidewalk, a town covered in the warm glow of the setting sun, stunning scenery that couldn't belong to this world, names and words and actions he thought he should know, all whizzing past his mind like those similar ones did earlier. Only this time, they felt more familiar, almost as though these things were normal. He could not feel any great urge to remember, it was more like a vacuum taking away those thoughts and sights, smells and sounds. It almost felt as though something was pulling a block of something out of his mind, although it was large and difficult to move.
These pictures he saw, none of which he could even identify anymore, blurred and faded as the pulling lessened, then stopped altogether as his world went black.
He was suspended in darkness, and nothing surrounded him.
What's happening? He thought blankly to himself.
A scene of blue, white, and green settled in front of him, enveloping his body in its warm glow. An image of a teenage boy, sparring on a sandy beach with an older teen, each fighter with a look of determination on their faces appeared from the light. The older boy had silver hair was wearing a yellow vest and baggy blue pants, the younger was a brunette with red and white pants and shirt, and large yellow shoes. A girl in white and purple sat off to the side, watching the spar with a smile on her face. Her short, red-brown hair blew gently in the wind, and she laughed as the silver-haired boy whacked the other with his wooden sword, and he fell into the sand with a 'whoom'. The teen in yellow stood panting for a moment as the brunette rubbed his side and tried to stand up again, and failed.
The older boy extended his hand out to help the other, and the kid in red took it gratefully, leaping up off the sand. The girl sighed, knowing that they could do this all day, and smiled. They all looked so happy, being together. They were having fun, and seemed really close. Unlike the other time he saw these guys though, Roxas could hear their voices, even though they were muted slightly.
Hey…these are the kids I saw before, I think. I wonder who they are…they seem so familiar…His mind wandered back to the scene as the teens began speaking again.
He heard the girl's soft laugh, and the exaggerated sigh from the silver-haired teen as he waited for the other to attack again. The spiky-haired teen grinned and said with a determined smile, "I'm gonna win this time for sure, Riku! Then, you have to buy me and Kairi some ice cream!" The older boy, Riku, smirked in amusement, and pointed his wooden sword at his younger opponent in a mocking gesture.
"Come on Sora, I do that every day because you never have any munny! Besides," he said, then went into a defensive position "you never win against me." With the teen's words, Roxas felt a different force pull him close to the scene. Suddenly, Roxas was not watching the scene from a distance, but he was seeing it from the brunette's eyes.
He could feel his pulse, the adrenaline coursing through his system. He felt the light weight of the wooden sword, and felt his muscles tensing as his body moved on its own accord to attack. He had no control over his actions, it was almost as though he was just occupying the brunette's body and watching from the boy's eyes. Spiked hair waving in the breeze, he ran at Riku, and went for his chest. The older boy motioned to block, but the other wasn't finished. He swung the play sword away just at the last minute, and instead took a swing for Riku's side. The older took the hit in surprise, and fell to one knee as Sora retreated a few feet with a springing jump.
He grinned good-naturedly, a familiar feeling on his bright face, and said, "Well, I think that today that's gonna change."
Huh, what the-? Roxas thought as his mind was suddenly pulled away from the teen's body, and seemed to float above the scene once more. His eyes just those of the observer once more.
That was so strange. Roxas thought to himself. It felt so real, like I actually did that. He concentrated for a moment in confusion.
Wait…did I do that? What is this anyway? It's so nostalgic…His sight once more focused on the picture, as it seemed the duo's practice fight was drawing to a close.
The girl, Kairi, stood up and cheered the boys on, her enthusiasm flushing her face. Riku shoved his sword into the sands, and pushed himself up without too much effort. He grinned acknowledgement, then held his hands up in the air halfway.
"Ok, ok, you got me! Let's stop early today, Sora. I think we've got enough practicing in." The other boy let his shoulders droop in an exaggerated manner, then began whining about how he was about to beat the other boy, and that he was only scared of losing his win streak. Ignoring the energetic boy's complaints, the Riku started walking away, and Kairi ran over from her place on the sidelines to join them as they strode away from the scene, over a small hill to the ice cream shack.
What…was this? Roxas thought as the image disappeared. I wonder where this came from. Did I…remember it? As his body floated in space pondering what he had just observed, a small light appeared to his right, growing larger with each second. Hm, what's that? He moved his gaze to look at the growing form, and saw that a figure was sort of appearing from the glow.
Around the same height as he was, a girl about his age in a white dress seemed to appear from the light, hands tightly clasp in front of her. Her medium-length blonde hair fell around her shoulders, and she had on a saddened expression as her aqua-blue orbs met Roxas's similar ones.
The two stood there for a minute, each observing the other, and it was a while before either spoke. The girl's voice sounded first; her gentle tone deepened by a strange emotion which Roxas could not identify, whether it was the dark space around him or something else.
"Hello, Roxas." The girl watched him with her blue eyes, silently studying him with polite curiosity.
Roxas looked at her with confusion, but more of a calm demeanor than when he was confronted by the man from before. This girl seemed to be more trustworthy, and more calming than the mysterious figure earlier, so Roxas asked his question without fear, but hopeful to get answers from this strange new girl.
"Who are you? How do you know who I am?" His voice bounced off unseen walls, but no echo sounded.
She shook her head sadly, but replied, "Roxas, I've known about you… for a long time now." He watched her with interest, but still with caution; he did not fear this person like the black-cloaked man, she seemed to give out almost a peaceful aura of sorts. She continued in her serious, yet calm demeanor.
"My name is Namine, and I am going to help restore your true memory." As she said this, her gaze fell to her feet, and silence filled the air. For some reason, she seemed as though she was ashamed of something. Roxas spoke again, only a few of his many questions escaping in a rush.
"What do you mean, restore?" His voice showed his concern, and slight fear taking root. "Is…is something wrong with my memory? Do you mean like that guy said, that I have to remember something? What do I have to remember?" His innocent look of confusion made Namine feel worse, though, she thought to herself, she was a Nobody and therefore could not literally 'feel'. She looked up and into his blue eyes again.
"What you remembered of your past life…isn't right." She started, then paused for him to understand. He did not respond, so she continued. "I…I'm going to fix it. It will take a little time, but you need to know your real memories, Roxas." She glanced away at this, and the boy was confused at her action. She acted as though guilty of something, even though Roxas did not know what. Still, there was a feeling of trust around her, and he felt as though he believed her word.
Biting her lip a little, she decided to tell him, even though she was under orders which forbade her from doing so. I don't care what he says, Roxas deserves to know at least a little bit of the truth. She didn't meet his eyes, but instead stared off into the darkness as she spoke again.
"You will be able to recall almost everything that has happened in your past, for real, except for a few parts." He looked at her quizzically, not sure of what she meant.
"Huh? I can't remember everything?" He threw his arms out in front of him in frustration. "Why not?" He demanded. He looked to her for answers, but she would not meet his longing gaze. She couldn't bear to. His questioning eyes roamed her face for a sign, a hint of what it meant, but her features revealed nothing to him. When she spoke again, it was barely more than a whisper, and it was as though she spoke carefully, to hide something.
"I…am not supposed to say, but…" she looked up into his eyes, and he was surprised to see that her eyes were filled with a deep sadness, which seeped into his soul and made him confused even more than he already was. Finding the right words, she finished.
"…I'll be restoring all of your memories…from your time as a human. A Somebody."
A chill ran through the boy's spine, a strange coldness seemed to creep up through his fingers as her words echoed around his ears.
"A…Somebody? What…what does that mean?" He raised his hand to his chest, and said insistently, "But, I am human! What are you talking about?" His inquisitive look was almost too much for her mind to bear, but she continued, knowing now that she could not stop her explanation there.
"Roxas…" She began, trying to put her words as delicately as she could. "You know about Heartless, right?" Her sudden question surprised the boy, but he nodded, unsure of what she meant.
"Yeah, everybody knows about those! They're dangerous dark creatures, and they steal people's hearts." This was basic knowledge to him, he could remember that someone had told him this at one time, but he couldn't quite recall who. Weird…I wonder why I can't remember who told me that. It is kinda important, so thats odd...
Namine's face showed no change, although inside she felt miserable, but knew that she had to press on.
"Well, when a Heartless steals a normal person's heart… their heart becomes lost in the darkness. That person then becomes a Heartless, or one without a heart, and runs instinctively to steal more hearts." She paused for a moment, then taking a breath continued.
"When a person with a very strong heart has their heart taken by Heartless, their body becomes a Heartless too, and their heart shrouded in darkness. But… these people with strong hearts…from their strong wills are born a new creature. It is like a... replica, of who they used to be, with a few minor changes to their appearence, and they retain all of their memories and abilities from when they were human. Except…for their hearts." She paused once more, and could feel the boy's deepening look beating into her. With a sad sigh, she continued.
"Since they do not have a heart, they cannot feel emotion, and so are called… Nobodies." She raised her head to meet the boy's startled, fearful eyes. "Roxas, you are…a Nobody. You once had a heart, but it was lost to darkness. Roxas…you shouldn't exist." There was silence for a long time after her words, and she could not hold his distraught gaze any longer.
She turned her head to her feet, now debating on whether this had been better for the boy or not. I didn't have to tell him…perhaps it was better that he not know…no. He would have found out eventually, and plus…I just couldn't bear lying to him…
Roxas did not speak for a long time; his body just could not form words. It was coming in too fast, all of this information. That his life had been one huge lie, that he technically was dead, that he shouldn't exist, that he…had no heart. The shock came slowly to the boy, he just couldn't register this fact.
"No…no! I…I am somebody, I…I have to be!" He shook his head violently, and he couldn't control the shaking in his arms as he raised them in front of him and stared blankly at them. "I…" His eyes lost their fight as he thought about her words. "I…don't…have a heart?" A terrible look of realization and sadness clouded his features.
"So…what? What does that mean?" He stretched out his thin arms, and looked at them as though seeing them for the first time. "Am I...what am I supposed to do then?"
Namine spoke, her voice barely more than a whisper. She did not meet his staring eyes. "This…this is why I need to restore you to the way you once were, Roxas." At the use of his name again, he lowered his arms back to his sides, and listened mutely to her words with his head lowered in a dull, blank fashion.
"If…if I can return to you your rightful memories…you should be able to be whole again. You can get your heart back, and rejoin with your friends." His head snapped up at these words, slight hope flickering in his bright eyes. It was not much, but it was enough to give him some strength.
"So…how are you giving me back my memories? How did I lose them in the first place?" He motioned with his arms in confusion, which turned into frustration as more and more unanswered questions spilled out of him. "Who are those guys on the beach? Was that a memory too?" Namine raised her head again at this, and replied to his question, to the relief of the blonde boy.
"Yes, I have begun to bring your lost memories back to you." She looked deep into the boy's eyes, and continued. "Those guys…those kids were from your past. You used to know them, once upon a time." She adverted her gaze once more. "The process may take a few days, but once it's done…you can return to your heart. You can be whole again, and go back to your friends." She looked away sadly.
"I cannot tell you who they are; you have to remember that on your own." Roxas nodded his head once in understanding, it would be unfair for her to just reveal everything to him, or else he would not know if he were really remembering, or just imagining from what he wanted to believe.
"But…" his voice faltered. The nagging feeling in his mind still tugged on his conscience."…I still have so many questions! Who is that guy with the red hair, what does he want with me? Did I know him? Who should I believe?" She shook her head quickly, stopping his barrage of questions. The space around him seemed heavier suddenly, and he looked around himself to see light filling up the dark edges of his mind. In worry, he desperately looked again to Namine, and saw that she was fading.
"Wait! Don't go! I still have so much to ask!" He insisted, but she raised her blue eyes to look into his and his protests died at his lips.
"I cannot say. You need to decide who to trust, Roxas. After all..." Her body grew more and more see-through with each second, until the teen's eyes could only barely see her outline in the growing light. "...they are your memories Roxas. Trust yourself, and your own memories. Remember who you are." As light obscured the dark space around him, and he could feel himself waking up from sleep he did not know he had been in, he could hear the girl's final words to him as though she were speaking right beside his ear.
"Oh, and don't forget how to use the Keyblade. It would be really bad…if the Keyblade master couldn't summon his own weapon!" A brief giggle, and what Roxas thought was a hint of a smile, were the last things he saw before reality returned to him.
It had been a good five minutes now that the blonde had stayed in his kneeling position on the floor, his eyes glassy and vacant. The red-head was getting worried now; had he freaked him out that much?
I really didn't think that it was going so badly…oh man, Saix is gonna kill me for sure this time… He dismissed his chakrams in a flash of light and made a motion to move towards the boy, but stopped himself when he thought of something. Wait, what if his mind is connected to Namine right now?
He began to get nervous, which made him frustrated, because he was unsure of what could happen if Namine were to enter Roxas's mind now. Would he attack? Would she reveal to him about the Organization's plans? Would she halt the memory restoration process? Many questions burned in the pyro's mind, but his troubled thoughts were disrupted as the small form's shoulder twitched slightly. The bladed circlets appeared instinctively in his hands, for he did not know what would happen once the boy awoke.
Will he…maybe…remember? A slight tug occurred in the man's chest, although he could not feel it, he guessed that if he had a heart, perhaps what he was wanting right now was…hope?
He shrugged off the non-existant feeling, for he was a Nobody, and therefore could not 'feel'. Their Superior had drilled this knowledge into them so often, it was like a basic rule of life that each member just repeated to themselves each day. Each time someone recalled having an emotion of sorts, His words would come back to remind them that they no longer 'felt' anything.
Number VIII carefully watched the blonde figure as he stirred, and began to emerge from his trance-like state.
Well…whatever happens…the only way to get the old Roxas back now…is to force it out of him, it looks like.Roxas's mind returned to the world outside, and as it did, he noticed what was wrong. His encounter with the mysterious girl burned fresh and alive in his mind, as did his dreams about the teens from before on the beach. As he sought out what he had been doing before that, before he began to fight the cloaked man, he couldn't recall anything. Everything before waking up in this room was a blank, a hole in his memory, as though it had never existed before. As his blue eyes returned to focus, he slowly looked up to the man in confusion, and a new fear began to grow on his pale face.
"I…" Roxas's voice waivered, as if he could barely form the words. "Why…can't I remember?" The man's grip on the weapons lessened, his arms went slack as he realized that the boy's face looked to him in complete helplessness, and those deep-blue eyes sought in him answers which he could not give. If he had a heart, it would have ached to see the boy like this.
"I…I don't know how I got here." His eyes continued to stare at the man, no longer angry, but more of a desperate question. The red-head's grip on his weapons tightened; narrowing his eyes he matched the boy's stare, unable to tell him that answer. He was worried that he was running out of time, and that he should finish his assigned task quickly. He looked again to the other's face, and something inside of him quivered. He swore that if he had a heart, that it was breaking right now just looking at how pathetically Roxas was looking at him. His eyes burned the question which his lips repeated.
He doesn't remember anymore? Does this mean… the red-head dismissed his chakrams, and they disintegrated in fragments of light and flame. The boy did not react to this action, he only observed in silent confusion. He could no longer remember why the man had tried to attack him in the first place, only that he had tried to slice him in two for no good reason.
"Where were you before you came to his room, Roxas?" The man spoke suddenly, his blunt question startling the confused boy abruptly. He needed to know what was really going on inside the boy's head, if they were ever going to figure out what to do with him.
"I…" The blonde scrunched his eyebrows together in serious concentration. "I…can't remember." He looked up in confusion to the other's face, his eyes searching and lost.
"Why did you attack me? What do you want?" He rose to his feet slowly, eyes never leaving the other man's gaze, even as his feet wobbled and threatened to collapse under him. The other man stared back calmly, but inside he was also confused.
So Namine must have erased all of his fake memories from the simulation…but why? What is DiZ planning now… The red-head thought to himself, suspicion mounting on his increasing list of things buzzing through his mind.
"Fair enough Roxas. I'll tell, but you have to tell something also." The boy did not respond, but registered the man's words carefully. "I still need to find out how much you remember, kid, so it's time you get to answer my question." He held out his hand in an explanatory gesture, and took a moment to speak. "What…are you fighting for, Roxas?"
The blonde was startled, taken back by the sudden sincere question. He set his eyes to the side, and thought for a moment. After a minute, he returned his gaze to match the man's, and replied.
"I guess...I just want to know...who I was. I...want my heart back." The red-head's eyebrows moved up slowly in honest surprise, this was not what he expected to hear, but it was interesting news.
So…he probably knows that he's a Nobody, at least. He's also got a few of Sora's memories inside him too…darn it, DiZ! What in the world are you doing to him? Why can't he remember the Organization, if he remembers that he has no heart? His anger flared for a moment, but his only change in demeanor occurred with a grimace with his thoughts, and was cast aside with the boy's new movement. He had completely ignored the taller Nobody's reaction to his answer, and was instead staring intently at his outstretched palm.
Did he really remember that much so fast? The red-head's mind flooded with questions on the boy's behalf. He reached up to his head, and pulled on a few spikes of his hair out of habit as he thought about the situation. Well, I guess I'll just have to wait and see…what exactly they're doing to him…darn it.
Roxas stared down at his hand suddenly, and thought back to what that girl had said. I wonder, what did she mean? If I concentrate like this… The boy reached his hand out in front of his body, and in an instant a strange glow lit up his out stretched arm, and a huge key appeared in a warm glow of light. While surprised, he inspected his newfound weapon. It was sliver and had a golden handle, with a keychain dangling from the hilt with the shape of a familiar looking insignia in the shape of three circlets of silver. It felt light and natural in his hands, yet at the same time, foreign and new. He held it out in confusion, his questioning look fastened on it as he spoke again.
"This…is the Keyblade…isn't it?" He swung it down vertically, and it responded to his actions with ease. "Did I…used to fight with it?" He asked unsurely to the other man, the insecurity open on his face.
He held it tightly at his side once more, his gaze no longer on the cloaked man, but rather was fixed on the strange blade he held in his grasp. "It feels…right, to be holding it. I mean..." he swung it experimentally some more "...at least I feel like I've used it before." He looked up at the man again, almost as if he was stating a fact, and was just waiting for the red-head to contradict him. He did not trust this man, for his strange unprovoked actions earlier, but Roxas knew that if anyone knew who he used to be, that it would probably be this strange, dangerous man before him.
The man just watched him, carefully observing the boy's actions. When the red-head continued to remain silent, the teen just kept speaking, hoping to draw some information out of him, or at least a word.
"I heard someone talk about it in a dream, or at least, I think it was a dream." Looking up for a response, Roxas was startled to find that the man had turned away from him, towards a large swirl of darkness. "Hey, where are you going? You still haven't answered my question!" The boy demanded, his calm demeanor melting away as the man pointedly ignored his talk. As he closed in on the final few feet, he yelled out again at the figure, trying desperately to get an answer from the mysterious man. "At least…at least tell me your name! That's all I need!" His voice got very quiet all of a sudden, causing the figure to slow in his strides.
"Listen to me!" The boy spoke up suddenly. The red-head stopped his walk towards the swirling black mass, but did not turn to face him. No emotion flickered across his tempered face; he did not let any pass, even if Roxas could not see his expression. The boy stared defiantly at the back of his spiky-haired head, and almost willed him to turn and face him. He did not respond, and Roxas sighed, then sort of shied away from a direct confrontation. He continued speaking, but now less demanding, and more of an almost apologetic or off-beat way.
"I knew you, I just remembered. I…don't really know how though." His right arm moved to rub against his left, not knowing what else to say. He just felt as though this needed to be said. "I…I'm sure I knew you, somehow." His gaze moved to the back of the spiked, red hair, and a forlorn expression reached out from his eyes and tried to reach the man before him.
The boy, although he did not know it, looked just as he did throughout most of the past year of his existence: bleak, and empty of feeling. Simply because he was told that he was forever denied the reality of having his heart, and having no emotions, he would not even let himself feel anything. Even if he did 'feel' something now, he reminded himself, it would not matter. He was a Nobody, and any 'emotions' he thought he felt…weren't real. They were just memories left over from his past. His past which he was just now beginning to recover, apparently.
"I just wish…" the younger finished with a longing, but earnest look as he stared after the man in black. "…I wish…that I still did." Each figure stood there for a moment more, neither responding. It seemed like an eternity before either would move, but the empty loneliness radiating from the smaller Nobody certainly created a void-like feeling to the atmosphere. Without turning around or registering the boy any further, the man resumed walking, and passed into the black vortex. He stood there a moment, then let himself become swallowed by the dark energy.
As the last wisps of black darkness encased the cloaked figure he spoke aloud, too softly for the boy to catch; his face turned from the boy. "Yeah, Roxas…I wish so too." Roxas could not see, but as he left the confused, sorrowed teen in that room, his mouth was fixed in a saddened line and his sea-green eyes were downcast in uncharacteristic regret.
A/N: Hm...too much random emotion? I think that I will try and work on that...everytime I read over this chapter, it just seems waaay too...overly dramatic. I need to chill out on the emotion levels, or at least take a break and be able to scan my work more thoroughly. Maybe I'm just not concentrating...
Anyway, I hope that you peoplez liked it, even if I didn't...
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text:
Q: Automatically export a worksheet from SAP GUI I use vbscript to run SAP GUI via Excel VBA, the following is my actions:

*

*Login

*select Tcode

*give data and execute

*export as worksheets.
My question is that the last action (export as worksheets) will show a file dialog that I need to choose path and press. But I want to export automatically by my set path and filename without the "save as" dialog.

Is there any method to do that?
Here is my VBA code:
Dim SAPconn As Object
Dim SAPsession As Object
Dim SapGuiAuto As Object
Dim WshShell As Object

Shell "C:\Program Files\SAP\FrontEnd\SAPgui\saplogon.exe", 4
Set WshShell = CreateObject("WScript.Shell")

Do Until WshShell.AppActivate("SAP Logon ")
    Application.Wait Now + TimeValue("0:00:01")
Loop

Set WshShell = Nothing

Set SapGuiAuto = GetObject("SAPGUI")
Set SAPapp = SapGuiAuto.GetScriptingEngine

Set SAPconn = SAPapp.Openconnection("ConnectionsName", True)
Set SAPsession = SAPconn.Children(0)

'LOGON
SAPsession.findById("wnd[0]").maximize
SAPsession.findById("wnd[0]/usr/txtRSYST-MANDT").Text = "100"
SAPsession.findById("wnd[0]/usr/txtRSYST-BNAME").Text = "userid"
SAPsession.findById("wnd[0]/usr/pwdRSYST-BCODE").Text = "password"
SAPsession.findById("wnd[0]").sendVKey 0
SAPsession.findById("wnd[0]/tbar[0]/okcd").Text = "tcode"
SAPsession.findById("wnd[0]").sendVKey 0
'run the script(skip)
SAPsession.findById("wnd[0]/usr/ctxtWERKS-LOW").Text = Cells(1, 2)......
'execute
SAPsession.findById("wnd[0]/tbar[1]/btn[8]").press
'show list
SAPsession.findById("wnd[0]/tbar[1]/btn[48]").press
'export
SAPsession.findById("wnd[0]/mbar/menu[0]/menu[1]/menu[1]").Select
'↑ just select export>as worksheet and open the file dailog....

A: This is the code I use to save from SAP - the exact path to the elements
(e.g "wnd[1]/usr/ctxtDY_PATH") will be different to your case as it depends on what tables you are working with:
SAPsession.findById("wnd[1]/tbar[0]/btn[0]").press
SAPsession.findById("wnd[1]/usr/ctxtDY_PATH").Text = "C:\Downloads\"
SAPsession.findById("wnd[1]/usr/ctxtDY_FILENAME").Text = "Downloaded_file_name"
SAPsession.findById("wnd[1]/usr/ctxtDY_FILENAME").caretPosition = 13
SAPsession.findById("wnd[1]/tbar[0]/btn[11]").press

This does the following:

*

*Clicks the save button

*specifies the desired file path where the file is to be saved

*specifies the desired file name

*positions the cursor and presses save

As far as I'm aware, it is not possible to entirely bypass the save dialog.

redpajama_set_name: RedPajamaStackExchange


Poverty is one of the most attention-able situations of any country. Poverty means living the life below the poverty line. If a person is having difficulties in survival and is struggling for the fulfillment of the basic needs (food, water and shelter) then he/she is said to be facing the situation called poverty. Poverty is a shameful situation for any independent country whether the country is industrial or non-industrial.
BHUTAN is the worst effected country of the world having difficulties even for survival. Such countries have to depend on other nations for the survival.
Talking about INDIA, No doubt, INDIA is developing day by day and joining hands with the most economical and industrial countries but it is also not left behind for facing such a situation.
After getting Independence, poverty is obvious but after 60 years of independence, how one can still imagine the poverty and lack of resources.
The main cause of poverty is illiteracy. INDIA is a rural country and villages are not yet developed in India; especially women are unable to get education. Second main cause of poverty is the population which is increasing day by day and India ranks on second number in this line and I would say that the population is the major problem and the root cause for any nation to be poor. China has world's highest population but they are now putting a check on the growing population and also, their land area is also very huge as compared to India. In a poor nation, middle class is also unable to fulfill all their requirements as compared to high society.
UNEMPLOYMENT also paved the way for poverty. Although all the political parties and even the government promise to provide employment to all but still unemployment virus is prevailing in our nation. Once, Indira Gandhi government gave slogan "Garibi Hataoo" (Remove Poverty) but it did not help anyone. Congress party always promise to provide 1 crore jobs every year but it does not work at all.
Poverty can be removed by awareness so that they can themselves make a check on increasing population. The only thing which is required is to keep a check on increasing births in the nation. People must know the value of education and political parties must be honest so that the future of India can be secured and INDIA must join hands with the developed and modern industrial countries.
What is the root cause of poverty? Let us understand this. It is not political system, it is not corruption, and it is also not mismanagement. It is the central bank, which is the reserve bank in India. It is a private bank. Learn that, you will find that is true, it is a private bank.
The poverty is caused by the central bank, which is a private company, in each country. The Nobel Laureate in Economics, Milton Friedman, said – "One unsolved economic problem of the day is how to get rid of the Federal Reserve". The Federal Reserve is the central bank of USA.
If you could print money then you will not have any poverty. You can then print money, whenever you need, to buy whatever you want. You also do not have to give that money back to any one, because it is your money and you printed it. But you are not allowed to print.
Now, if your government could print money, then also there will be no poverty. The government will print money whenever it wants and will give to whoever it wants to. The government will also not have to give back the money to anyone, because it is the government's money. But your government cannot also print money.
Only the central bank of your country can print money and give it to your government. The problem is, it is a private bank, and it wants the money back from the government. That is how we generated all problems: deficit, tax, poverty, and unemployment. So Egyptians, revolt against your central bank and remove it. Do not waste your energy in wrong direction.
You are not focusing on who is controlling money and how. Political system is independent of economic system. Politicians cannot control economics. Economics is controlled by the central bank. They print the money; they control the supply of money. They create unemployment by controlling the supply of money. In the same way they increase the price of food. Most of the politicians do not even know that the central bank is a private bank. All nations must rise against these banks. Please Google and find out about the central banks. In India the central bank is the Reserve Bank of India.
Corruptions are not the cause of poverty. America has the highest level of corruption in the world. Imagine going to Iraq war, pretending that they have the weapons of mass destruction. Americans have written at least about 10 books on the conspiracy of 9-11 attack. So, at least 10 million people believe that 9-11 was created by the US government. America killed at least 4000 American young men and women in Iraq to take actions against 3000 killed in 9-11. The Iraq war started on March 20, 2003. By January 15, 2004 all Iraqi currencies were replaced by new currency and the central bank was installed on March 6, 2004. You can now see why America went to war in a Muslim country. Same thing happened in Afghanistan too. It is all about control of money and the central banks.
Education is also not the cause of poverty. Consider the great Americans who changed the world of technology. None of them were college graduates. The famous people like: Bill Gates – Microsoft Founder, Steve Jobs – Apple computer Founder, Thomas Edison – Electric power company founder, Benjamin Franklin – who declared independence for America from England. None of them were educated. Education is not needed for building engineering products. Math and science are not required; they do not even work in engineering.
These days everybody says India is doing very good. America thinks China and India are its competitors. So, I am sure Oscar Lewis will not say the same thing about poverty, if he were alive now. I do not buy Lewis's theory. They have very narrow views and actually propagate disinformation, knowingly or unknowingly, to support capitalism.
We must destroy the capitalism; otherwise poverty will not go away. We must eliminate all the central banks, as the Nobel Prize winner in economics Milton Friedman suggested. Let us help to create a moneyless economy in Bengal, only then poverty will go away. But realize that, money-people will not allow you to destroy their money. They have big guns. If they can create 9-11 then can do anything.
Ask these questions – where do we get the money from? Of course from the banks. Then ask – where do the banks get money from? The central bank – I am sure you did not know that. Then ask again – where does the central bank get the money from? It is free for them – they just print it. Only they can print it. You and I cannot, even our governments cannot. So you can imagine, the money is free, yet we have to work, and pay taxes, and refund the money with interests. This is the highest level of conspiracy by the central banks. Learn about the Reserve Bank of India, find out that it is a private bank, and only it can print money. The Indian Government does not have any control over it. The same is true for the Federal Reserve Bank in USA.
I do not understand why you blame the Bengali Language. I consider it is the best language in the world. No other country produced a philosopher as great as Rabindra Nath. Do you know that it is the fourth largest language in the world? We Bengalis should be proud of it. We must be proud of India also. Unfortunately we are in the grip of capitalism, and we are following America blindly.
I read your column on poverty. Reserve Bank of India is not so independent like you have mentioned. RBI has to take care of the demand and supply , GDP,per capita income ,economic fluctuations etc. Printing the notes is not so simple as we think. So I completely disagree to your point.
What if RBI prints notes and distributes among the poor people ? It will increase the demand of the goods(fruits,vegetables,cereals,furniture) and if the demand does not meet then it will cause inflation. Hence it will impact the economy of the country. I completely agree that RBI is free from politics as you have said. But RBI is responsible for our economic growth. They have to maintain the balance between demand and supply. Economists sitting there are not fools. They form strategies every year to print the notes . If money is already flowing in the nation which is sufficient to enable the people to buy the goods then they do not need to print the notes.
And also we cannot get free notes from RBI. If farmers stop farming ,technicians stop building softwares , pilots stop flying aeroplanes etc. then just imagine the situation of our country. Thats why we have to work and earn money.
Moreover, We have to pay the taxes as well on our income. It is because of our tax the soldiers are getting weapons , citizens are getting roads, Govt. employees are getting paid. Now if you say instead of tax, print the notes and provide these items then let me tell you that nation builds upon the efforts from each citizen of the country. And we must pay our taxes on time.
I will pen down by writing that a country's government should take measures and policies to remove poverty.
First I would suggest you to be cool then, try to realise the necessity of SPACE(mental as well as physical, both) the only tool which, can bring positive change in our life, by producing it.
@iqra: Welcome and we are glad to know that we were able to help you in your project.
atul i want your help please?
@jijin kp nayar – sure… please let us know how can we help you..
Because i am a very poor man and from very poor family in india.


text:
Q: How to bazel gazelle --update-repos with private repository How do you run bazel gazelle update-repo command when you have private repository when your go.mod file has private repository in there
❯ bazel run //:gazelle -- update-repos -from_file=search/go.mod
INFO: Analyzed target //:gazelle (0 packages loaded, 0 targets configured).
INFO: Found 1 target...
Target //:gazelle up-to-date:
  bazel-bin/gazelle-runner.bash
  bazel-bin/gazelle
INFO: Elapsed time: 0.231s, Critical Path: 0.00s
INFO: 0 processes.
INFO: Build completed successfully, 1 total action
INFO: Build completed successfully, 1 total action
go: bitbucket.org/blah/backend-components/go-logging@v1.0.5/go.mod: verifying module: bitbucket.org/blah/backend-components/go-logging@v1.0.5/go.mod: reading https://sum.golang.org/lookup/bitbucket.org/blah/backend-components/go-logging@v1.0.5: 410 Gone
        server response:
        not found: bitbucket.org/blah/backend-components/go-logging@v1.0.5: reading https://api.bitbucket.org/2.0/repositories/blah/backend-components?fields=scm: 403 Forbidden
                server response: Access denied. You must have write or admin access.
gazelle: exit status 1

A: I can't find it in the docs how, but you set the environment variable GOPRIVATE to a comma-separated list of module-like patters. For example:
export GOPRIVATE='github.com/mycompany/myrepo,*.example.com'


text:
History of The Phoenix: Part 2
We continue to chronicle the history of Jean Grey.
by Steffi Feldman
Having covered Jean's introduction and backstory in Part One of this two-part retrospective, we now burst into flame as she finally comes face to face with…
The Phoenix Force
One of the oldest cosmic entities in existence, The Phoenix Force represents life not yet born. Acting as the nexus of all psionic energy that does, has, and could exist in all realities of the Omniverse, the Force is known as the Guardian of Creation and a guardian of the M'Kraan Crystal—which houses a gateway to another plane of existence known as the White Hot Room.
The Phoenix Force destroys all that does not work or has become stagnant in the universe—and regrows a better, healthier version as a replacement. To intervene in worlds that voluntarily become stagnant and ease them to the way of progress, The Phoenix Force can utilize host bodies…with its most famous—and powerful—connection being to Jean Grey.
When the Force felt her mind transcend the physical realm when her powers first awoke, the cosmic entity felt a kindred bond with Jean, and used its power to save her from the brink of death. Years later, as the young mutant sacrificed herself to save her X-Men teammates by piloting a radioactive space shuttle back to Earth, the Phoenix appeared to her in a form and consciousness that resembled Jean herself. The Phoenix Force absorbed a piece of her consciousness and cast the mutant into a healing cocoon. The cocoon, with the real hero inside, sat at the bottom of Jamaica Bay for years while the Phoenix manifestation of Grey took her place on the X-Men. This version possessed all of her original memories and beliefs…though in the back of her mind rested the power and fury of the Force.
When Mastermind and the Hellfire Club attacked this Jean in an attempt to alter her psionic personality, the dormant Phoenix's sanity broke. In UNCANNY X-MEN #134, driven mad by Mastermind's psionic tampering, the Dark Phoenix was born. This new being devoured a star in issue #135, killing five billion people on one of its planets in the process. In a moment of lucidity, during which Grey's consciousness realizes the destruction she's caused, she chooses to kill herself—and the Dark Phoenix—to save her loved ones from what unspeakable horrors she might do in such a state. Scott Summers, having believed this to be the real Jean Grey, was devastated.
The Phoenix Force, now untethered from its Earthly host, recalled its nature as an ancient power, but still retained Jean's personality and memories. Utilizing its shared consciousness with Grey, the Force used this connection in a bid to try and rouse her from her cocoon. Jean refused to awaken, however, repelled by the memories of the Dark Phoenix. Though she resisted the Phoenix's urges, FANTASTIC FOUR #286 saw the Avengers and the FF discover her healing pod in the storyline "Like a Phoenix!"
Pulling Herselves Together
After Jean finally rose from her quasi-hibernation, her friends react with shock and confusion at the reemergence of a teammate they thought to be dead. The mutant hero chose to then keep the name "Phoenix," even though she no longer had the powers of the fiery being.
Later, when Wolverine chose to kill Grey in a story arc crossing NEW X-MEN #146–#150, The Phoenix Force sensed her death and revived her again. After this encounter, Jean experimented with the Phoenix, trusting its powers despite her better judgment. She finally allowed the Force to possess her fully, assuming control of its cosmic might. Though, in retribution, she was soon killed by a Xorn-induced aneurism.
The next resurrection of Jean Grey took place in X-MEN: PHOENIX – ENDSONG, when The Phoenix Force made its way back to reanimate the hero from her grave, despite her protests. As the Phoenix began to take on its dark energy, Jean—now an unwilling host—asked that Wolverine kill her as a measure to stop the cosmic entity. The Force, however, made her temporarily immortal, halting the potential death. At her wit's end, Grey dove into the icy depths of the Arctic Ocean to prevent Force from getting to her, killing herself again in the process.
Enraged by the rejection, the despondent Phoenix Force turned itself into another manifestation of Jean Grey in a vengeful attempt to win Cyclops' love. When Scott rebuffed the Phoenix Jean, the Force merged with Emma Frost instead. The real Grey, having been raised from the dead once more, drove the flaming essence out of Emma and made peace with her permanent Phoenix union—now able to harness the power of the Phoenix even as it inhabited another host. The act of the two uniting once again nearly pushed the hero's mind into insanity, but Frost returned to psychically link Jean (and the Force inside her) to all the people who love them, lending the strength necessary to regain her sanity. This storyline proved to be the final time that readers saw the adult Jean Grey, aside from her recent time-displaced appearance in GENERATIONS: PHOENIX AND JEAN GREY #1.
The Dark Phoenix Saga | Marvel TL;DR
In this article: Phoenix (Jean Grey)


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