text:
Machado and Modernism
Raúl Antelo
(Universidade Federal de Santa Catarina)
The institution of the lottery still has a few good decades of life left in it. God save it! For it aids economic piety organized in fraternities that enlighten the Almighty with the percentage of human foolishness which is (...) the best insurance policy that I know of, not criticizing those of the State. It distributes bread and sheets, builds bridges, repairs roads, and cares for man in his entirety, body and soul, inside and out, in life and death.
Nevertheless, when it was not thus, science has nothing to do with the utility or perversity of the institutions. The social dimension does not belong to it, only the mechanical does. Besides, there is a principle of solidarity that connects all of the institutions of a country, the lottery and engineering.
Lélio [Machado de Assis] - Balas de estalo [Fireworks]. Rio de Janeiro March 24, 1885
It has been argued that we must consider literature an in-between construction which is neither simply culture nor reality, but something else. As Alberto Moreiras has said, perhaps it is not just otherness that marks the possibility of the radical separation or initial difference between culture and reality, but an otherness that becomes one only as it strives to achieve, impossibly, absolute autonomy1. In writers like Machado de Assis or Borges this point is essential. Both authors reduce everything to literature through the same movement that allows them to create two radically heterogeneous orders of the real: reality and culture. In other words, both Machado and Borges paradoxically posit literature as a machine that reduces all differences between reality and culture. Based on Josefina Ludmer´s work, Moreiras explains that such a trip is parallel to the apotheosis of the modern State, which is constituted by the very autonomization of the political, and hence by the reduction of everything to the political, with the obvious exception of the State itself. As a matter of fact, with and through this reduction, the State establishes, just like literature, in a simultaneous and aporetical manner, an essential, if enigmatic, difference between the order of reality and the order of culture. Consequently, the enigma of the State (the aporia of reading) generates enigmas that point out the verbal decomposition of truth, the perpetual ambivalence of texts and even the secret of literature as a social institution.
In Latin America, centennial commemorations of canonical modernist texts exhibit a series of paradoxical events linked to both truth and value. We know that, in the context of modernity, the celebration of events not only consecrates the victory of planning over arbitrariness but also imposes a cyclical order on a mere continuity devoid of any value of its own. The outcome of such process is a singular and homogeneous event, sharply standing out from an anonymous series of heterogeneous happenings. It is thus that commemorations distribute value. They fix a cultural consensus. They consolidate, in the end, a secular liturgy of intellectuals, while reinforcing the construction of national identities with the resources of the State. Such acts of remembrance require a specific rite of civil religion, one that defines itself as the display of a religious, or quasi religious, respect for the civic values and traditions that recurrently appear in the history of the political State.
However, we also know that these civilizing efforts euphemize the destabilizing forces that are part and parcel of every cultural construction. Nietzsche called this Western celebratory compulsion monumental history, a narrative that invokes illustrious antecedents to appease, if not to avoid, a problematic present. Freud recognized in this gesture an unelaborated filial rivalry that awaits the disappearance of the founding fathers to pay one's respects, and to profess posthumous devotion, to them. Through this practice, imitation, a sentiment possible in the simultaneity of dissimilar times, gives way to commemoration, a means of separating us from this past while, at the same time, avoiding direct confrontation between predecessors and future generations. Borges, more closely aligned with Nietzsche than Freud, knew how to see a transgressive strategy in the invention of predecessors and in that of erroneous attribution and deliberate anachronism; these two oblique strategies were ways of undoing the conflict between the canon and its margins. Wittgenstein, in turn, did not fail to point out our radical disengagement in relation to the old masters, recognizing, behind the celebratory and condescending language of commemorations, an ambivalent attitude, a mixture of distinction and banishment, by means of which contemporary desires to suspend retrospective obedience to traditional institutions became evident.
Interestingly, this complex of ambiguous representations surfaces in some texts published in 1939, the year when Machado de Assis's centennial was celebrated. On this occasion, Mário de Andrade, one of the foremost figures of Brazilian modernism, postulates a peculiar divorce between ethics and aesthetics by admitting that, sometimes, «no matter how much people greatly admire and highly venerate a great man, they are not able to love him». In so far as Mário argues that «you can only disapprovingly venerate a Machado de Assis», it becomes possible to interpret his readings of as part of the Oedipus dialectic of love and fear with which he himself reads Brazilian romanticism. We can easily recognize in his Machado readings the same sentiments of retrospective, parodic obedience that are fictionalized in his short story «The Christmas Turkey», an allegory of the homoerotic ambivalence of the smaller in relation to the larger.
In the meantime, we must not forget that the year of the Machado centennial, 1939, coincides with the death of Freud, and concludes a vital cycle threatened by war. Therefore, it should not surprise us that Mário de Andrade, torn between bohemian abjection and public reverence, praised Machado's decorum in a self-referential exercise about his own position as head modernist by claiming that «the extremely honest life that he [Machado] lived completely discredited the sexual, as well as the moral, inquietude of the artist». This individual sublimation resulted, however, in unequivocal collective ethical benefits: Machado thus became, in the view of the modernists, a purified and celebrated national civic icon:
In these times dominated by spontaneous technicity, in which nearly all of our artists dwell, we would have to seek in Machado de Assis, now more than ever, that necessity through which all great technicians become moral forces2.
Governed by abstention and severity, the reading of Mário de Andrade is oriented by an authorizing effort, that is, an effort to become an author, one of national and unanimous import. Another modernist, Aníbal Machado, published a little known essay in the Diário de Notícias of Rio de Janeiro3, just like Mário had done, in which he discredited the moral and national force of the process of canonization. Taking our cue from de Andrade's assessment of Machado de Assís, one could say that Aníbal Machado's analysis ultimately presupposes the recognition of a moral, if not sexual, inquietude that destabilizes the solidity of the national canon. As Aníbal Machado states:
Evidently, it is not possible to evaluate a writer's «intimate strain of nationality» by the nature of the themes that he chooses; this point is hinted at by Machado when he talks about the «independence of the outward appearance of things». Merimée, when writing Carmen, a Spanish novel, does not stop being French, just as Shakespeare continues being English in Anthony and Cleopatra, or in any of his works inspired by Plutarch. Machado is not Brazilian in the way that Cervantes and Unamuno are Spaniards, Voltaire and Giraudoux are French, Shiller is German, Dostoievsky is Russian and Whitman, American -because in each of them there is a recognizable intimate strain of their respective nationalities. For me this does not occur with Machado, a writer who admirably painted the Carioca customs and who would be equipped to accomplish in France, for example, what the French Merimée, and the American Hemingway, did so magnificently in Spain. Will the work of Machado be Brazilian for the simple reason that he took his characters from the Carioca society in a particular moment of its evolution? But Machado's themes were, as we stated above, simply a pretext to be able to affirm a tendency of the spirit, a human disposition, which, to me, has very little to do with the Brazilian psyche.
It escapes no one that, in fact, this passage converses with the «Instinct of Nationality» but that it does so with obvious reservations. Whereas Machado bets confidently in destiny, «literature will be Brazilian», Aníbal plays down such enthusiasm by cautiously asking: «will the work of Machado be Brazilian?» If Machado's move gives preference to evaluating the national in terms of instinct, Aníbal, in contrast, unequivocally leans toward an institutional definition of the national, thereby separating institution from canon.
It should be briefly noted here that the canon limits, in an objective manner, symbolic actions, while the institution furnishes a positive model for such actions. Normative theories of canon formation, as we know, only see that which lies outside of the social favorably -for example, the natural condition of a biological identity- and generally consider the contractual limitation of society as something negative. One follower of such normative theories, Astrojildo Pereira, builds on Stalin's concept of nationality4 so as to exalt Machado de Assis's conception of national instinct. The modernist theory of the institution, which Aníbal Machado deftly illustrates in spite of his support for Astrojildo Pereira's position, already puts the negative emphasis outside of the social, that is, on unsatisfied needs. But this modernist theory of the institution also presents the social as a space that creates certain relations, one that, at its most extreme, equals a version of politics where social exchanges try at all costs to satisfy and satiate needs. Still, such needs remain unsatisfied, although not less essential, precisely because they are impossible to satisfy and their satiation, in so far as illusory, is merely satirical. In other words, these needs remain by definition infinite and political.
Because these needs can never truly be satisfied, they decidedly distance themselves from the biological inertia of instinct and prepare the groundwork for the acephalous autonomy of drives. For this reason, Aníbal Machado's reading not only deconstructs the national character of the Machado-de-Assis institution but simultaneously shows the uncanny, perhaps even Unheimlich, character of all national canonical representations. But the task at hand does not become easier because of this acknowledgement. Aníbal Machado himself is well aware of the difficulties, involving instinctual representations, which lie ahead:
This task requires the dangerous adventure of defining the psyche. The essence of this psyche will less easily be found in analytic laboratories than in our folklore and the instant illumination offered by poetry. It is still not possible, notwithstanding the notable sociological attempts in recent times, to define with certainty, in conceptual terms, the characteristics of the Brazilian soul. At any rate, it seems that these spiritual characteristics are almost completely absent from the work of Machado. Certainly, in this murky quagmire, the only thing that can guide us is a secret instinct which is less unsure, for the time being, than logical knowledge. Only in this way can we speak the Brazilian spirit before clearly defining it. On the one hand, lyric disorder, instability and avidity, the superficial roar in the face of life, small contradictions, instant gallantries and never-ending enthusiasms, laziness and sweetness; on the other, the sigh of the land, the drama of the rural population, the interference of the landscape in the poetic life of man: all of these forces, forms and densities can only be translated by lyricism.
Aníbal Machado has a certain distrust for constructions regulated, in Hegelian fashion, by the idea of formation, overcoming, and rationality. Therefore he tends, like any good surrealist, towards «elements of an irrational, poetic nature», that is, towards cultural representations gathered by anthropological research as well as towards the illumination produced by poetry. This tendency puts Aníbal Machado's ideas in harmony with what was happening in interwar Europe.
Indeed, all of the following elaborations -the idea of an ethnographic surrealism disseminated among dissident artists of the avant-garde (notably between French acephalics and minotaurans), Benjamin's vindication of the fragmentary in his theory of experience and of the narrator, and Lacan's own readings of Freud- have one element in common: the search for a third term outside of the system, something that allows us to leave the binary logic of the avant-garde. In all of these cases, the possibility of an escape resides in the insight that laws exist to be broken, a proposition that Georges Bataille elaborated in, among other works, L'érotisme. There Bataille argues that, because the prohibition on which the world of reason rests is not itself rational but rather tainted by violence, the violation of a prohibition is not so much concerned with logic as with a conflict of contrary emotions:
If the prohibition were a reasonable one it would mean that wars would be forbidden and we should be confronted with a choice: to ban war and to do everything possible to abolish military assassination; or else to fight and to accept the law as hypocritical. But the taboos on which the world of reason is founded are not rational for all that. To begin with, a calm opposite to violence would not suffice to draw a clear line between the two worlds. If the opposition did not itself draw upon violence in some way, if some violent negative emotion did not make violence horrible for everyone, reason alone could not define those shifting limits authoritatively enough. Only unreasoning dread and terror could survive in the teeth of the forces let loose. This is the nature of the taboo which makes a world of calm reason possible but is itself a shudder appealing not to reason but to feeling, just as violence is. (Human violence is the result not of a cold calculation but of emotional states: anger, fear or desire.) We have to take into consideration the irrational nature of taboos if we want to understand the indifference to logic they constantly display. In the sphere of irrational behaviour we are reviewing we have to say: «sometimes an intangible taboo is violated, but that does not mean to say that it has ceased to be intangible». We can even go as far as the absurd proposition: «the taboo is there in order to be violated». This proposition is not the wager it looks like at first but an accurate statement of an inevitable connection between conflicting emotions. When a negative emotion has the upper hand we must obey the taboo. When a positive emotion is in the ascendant we violate it. Such a violation will not deny or suppress the contrary emotion, but justify it and arouse it. We should not be frightened of violence in the same way if we did not know or at least obscurely sense that it could lead us to worse things.5
In his considerations about the secrecy of festive expenditure, Bataille goes well beyond Roger Caillois's theory of transgression in L'homme et le sacré. By defining the transgression not as a negation of a prohibition but as its overcoming, that is, as its supplement, Bataille ultimately gives a corporeal character to Marcel Mauss's notion that taboos were established to be broken. It is by pursuing the implications of his concept of transgression that Bataille arrives at the simultaneous formulation of a theory of war (the present of enunciation, 1939), a theory of the State (dominated by chance and not by reason) and a theory of economic exchange (based on expenditure and not on accumulation).
Bataille's theories reveal the staging of an ethical and historical conflict that can be viewed as the great legacy bestowed upon us by the XIXth century: the debasement of all values. We all know various manifestations of this process. Consider, for instance, Marx's thoughts on the return of tragedy as a revolutionary force; or the Nietzschean theme of the last man and the Eternal Return; or finally, Michelet's diatribes against his own time which he labeled the time of tedium. Indeed, Machado partakes in this same lamentation. But far from longing for bygone days, Machado gives his lamentation a peculiarly progressive direction. He thus escapes the axiological moment in his lament for the debasement of values and thereby places himself outside of the usual terms of binary evaluations. In short, one could say that, after Bataille, the (postmodern) modernity of Machado de Assis consists, precisely, in suggesting a way out of the paradigmatic fatality of binarisms.
Thus, to the aristocratic exaltations of a society whose labor value is held captive in practice by slavery, Machado de Assis does not oppose a view based on the master/slave -that is, worthy/unworthy- dichotomy. On the contrary, by means of his cynical use of irony, he introduces a non-paradigmatic moment that suggests the lawless character of the society of his time. Here, let us remember Barthes's comment in this respect. For Barthes, the third term, which in this case is the abject term, does not exhibit any regularity or predictability. It is neither a neutral (worthy or unworthy) nor a composite term (worthy and unworthy at the same time)6. It is an eccentric and excessive idea that is not, I would assert, out of place (Eurocentric of a production7), but rather outside of the structural law of society itself. Therefore it should not come as a surprise that someone as close to Bataille as Roger Caillois used «Jogo do bicho», a short story from the Relíquias da casa velha collection, in order to illustrate the role of cultural lotteries as norms of a post-production society, just like the one that emerged in Europe after the last World War.
Thus, in Machado's story -but also perhaps in peripheral modernity more generally- there is something that exceeds the emulative or agonistic order professed by modernization. One could say then that Machado's game anticipates the aleatory character of postmodern social institutions. In this sense, our reading echoes Silviano Santiago's observation8 that Machado's aesthetic of discipline questions its own notion of discipline in the exact moment of its greatest dominance. This move thereby gives rise to a causal reversal of position that makes the authentic precursors of Machado the practitioners of the literature of exhaustion -Mallarmé, Joyce, Borges- which ultimately places Machado de Assis squarely in the center of the language game that subverts all communication and accumulated production.
In effect, the game of dice, or alea, as the singular cipher of productive exhaustion under whose logic contemporary societies of control function, reveals in all instances the force of destiny. In the game, the player never exhibits effort; on the contrary, she shows complete passivity in the face of need. She does not value qualities nor innate aptitudes. She believes that being ingenious is completely irrelevant. Therefore the only thing to do is to wait for the arrival of a social value -i.e., justice or happiness- under the guise of non-value, the arbitrary decision of luck. Such justice or happiness, which is always slow, private, and oblique, rewards the player in proportion to the risk taken, but in a manner inverse to the agonistic effort. In the society of production and work, out of which all Bildungsromans emerge, the players' probabilities of success in the game are evened out by hard work and tenacity. In contrast, in the society of expenditure, the society of games and war -whether the war is waged on a national level, as occurred in Paraguay, an international level, as with the avant-gardes, or a global one, as with business mergers-, the aleatory game negates work, and its related values: skill, training, work ethic, patience, and perseverance. In short, in a single stroke it cancels all accumulated results. As Caillois briefly puts it, the alea presents itself as the insolent and supreme derision of merit that separates seeing from looking thus forcing the conscience to turn inward and look at what it sees9.
While the agonistic attitude typical of Modernism's anxiety of influence tends to value personal responsibility, aleatory logic reveals an abdication of personal will and an abandonment to destiny, thus making one's relation to money more crude. What is lacking in aleatory logic is the mediation of merit or qualifications that used to regulate the subject's relation to capital. Under such conditions, individual superiority is abolished in the face of random luck and sudden prosperity invariably acquires an illicit quality.
But it would certainly be an exaggeration to simply oppose the postmodern aleatory logic to the modernist agonistic logic. Rather, it seems that both complement each other, symmetrically, insofar as they share a law which determines the arbitrary and artificial creation of an equality between peers, one that is normally refused and foreclosed in mass society10.
For Aníbal Machado, this arbitrary, artificial, and aleatory equality was derived from a peculiar nihilistic conception of life that Machado de Assis depicts in his work as the immediate and spatial unreality of the present. I allude here to the divorce between event and value that Machado de Assis enacts in his fiction. Indeed, there is no narration in Machado de Assis unless an event transpires, unless something partakes in the order of history. But, at the same time, the value of such an event remains an enigma in the story, as the presence of an absence. Consequently, something much more complex than a simple binary opposition between life and death is postulated. This might help explain why Aníbal Machado states that for Machado de Assis «life is only interesting insofar as it serves to confirm his already disenchanted view of life». It is then possible to discern in Machado de Assis, at least in the poetic-irrational interpretation carried out by modernism, a division of life into, on the one hand, normal, commonplace, ordinary, and, on the other, scabrous, infamous, abject. It is as if Machado de Assis were dividing that which never ceased to die because, in fact, it was dead-alive. With respect to his concept of death, it is also possible to discern a division between an inert, palpable death, and a no less real, machine-like death that is pure movement -hence the parasitic notion of an in-between space of tedium that supplements the basic life/death opposition. In Machado de Assis, Aníbal argues, tedium is the obtuse element that places the author outside of structural law (and, therefore, beyond realism, beyond nationalism, beyond materialism):
Machado, always correct, always punctual, while begging his close friends to excuse him, aimed his machine of sarcasm and irony at humanity. A machine that was as admirable as it was silent and terrible. Humanity at the time was the bourgeois class of the Second Empire. But this was hardly important. The main thing was not to photograph it in a still pose but rather to outline a general and nihilistic conception of existence, to manifest, by means of literary fiction, a tedium that «n'est en soi que la vie toute nue, quand elle se regarde clairement».
(Valéry)
La vie toute nue. In this passage that links sovereign power and bare life, Aníbal Machado introduces a formula which will subsequently be developed by Giorgio Agamben: potentiality and actuality are two faces of the sovereign self-grounding of Being and, at the limit, pure potentiality becomes indistinguishable from pure actuality. So the important thing is neither the absolute particular nor the sovereign contingency of a pose. In the end, it is not the modernist fatigue but rather the postmodernist tedium that reveals a life that escapes the disciplining techniques and therefore becomes endlessly available, ready to sink itself into the abjection of bare life. As Aníbal Machado further notes, this unfaithfulness to life, which could have made Machado de Assis «an anonymous suicide or a profoundly hopeless man like Kierkegaard», was in fact «compensated by a gift that, in itself, made existence worthwhile: the power to express such unfaithfulness to life». It is important to note here, nevertheless, that Machado de Assis's expression is far from serving the solar values of a biopolitical integration. Instead, it delineates the acephality of a zoé in a perpetual displacement. «It is not, as the author of João Ternura points out, the song of life that this voice sings; it is, on the contrary, the negation of all that it offers us, a negation formulated with diabolical grace by someone who measured his own solitude and later smiled and took pleasure in showing the moral misery of man and his most wretched motives». What is at stake here, then, is the sovereignty of the artist situated beyond, or outside, any institutional arrangement.
In this regard it is important to note that Aníbal Machado, who anticipated Blanchot's theory of disaster by developing his own peculiar and subtle theory of failure combining the tragic precipitation of rhythms, the interruption of the astral protection, and the sudden, haphazard combination of quantities, acknowledges that:
Machado must have hated disasters, whether they occurred on the physical or the moral level. His arrow was invariably pointed toward Nirvana. Can it be that at the root of this anguish was a man comparing all of the aspects of the world with an ideal, fixed model for everything, a man distraught by the dialectic contradiction of things, a man for whom reality was eternally immutable and always suffocating? A man, finally, who was permanently disappointed, without hope, without happiness; a writer who, in contrast to Dickens and Balzac, never sympathizes with his characters, except with the insane ones with whom he seems, given the long and warm welcome he gives them, to maintain a secret complicity. Here a liberty proportional to the previous oppression is felt, as if alongside his insane characters the author wanted to better manifest his distrust, if not loathing, for the good sense that drives the automatons of the everyday. Even his style, in these moments, seems to acquire a greater grace and the inventive power of quiet madness.
Here in the analysis, Aníbal Machado avails himself of an aspect of the theory of disaster -in which the happiness of the one who escapes disaster is proportional to the number of those who die from it- so as to present a Machado de Assis redefined by the alea as a writer who is as much national as foreign, alien:
Thus, this exceptional artist who lost the power to be inebriated with the images of the world, who was afraid of making a mistake, of abandoning himself to the ingenuous forces of life, who was cruel and sadistic in treating other fellow human beings, depicts himself as the least Brazilian of our writers. And this, far from hindering his universality, furthers it.
At this point it becomes possible to establish a symptomatic, axiological ambivalence. On the one hand, we are confronted with what one could term an assured universalist failure: Machado is not Dickens, nor Merimée, nor Hemingway. On the other hand, we witness a relative, universalist victory which is not exclusive to the author but is part of the system in which the author places himself -Machado's extraterritoriality foreshadows other, no less telling, extraterritorialities. It is, therefore, within the limitations inherent in the extraterritoriality of Machado's fiction that the modernist narrators who have Machado as a referent can discern the horizon of their present, that is, 1939.
Machado's skepticism with regard to narratives made them be received with anomy, like the aleatory effects of a fleeting happiness. Like the incredulous Camilo in «A Cartomante», Machado did not believe in anything and yet, unlike the modernists, he did not bother to argue against faith. «He limited himself to denying everything [says Aníbal]. I articulate this poorly because to deny something is to affirm it, and Machado did not even express incredulity». A textual digression might be of use here to clarify the axiom of aleatory credulity that we are reconstructing in Machado, an authentic modern homo ludens.
Borges, or rather his specter11, when translating the short story «A Cartomante» from Várias histórias, singled out, in a supplementary gesture, certain passages that reveal how a modernist sensitivity might read Machado. For example, he suppressed the character's affinities, by omitting the sentence: «liam os mesmos livros, iam juntos a teatros e passeios [they read the same books, went for walks and to the theater together]». However, Borges did not fail to point out that difference, which for Machado was established «by other words», was established with words (hecha con palabras). In other words, difference is a culto protestante, as Mário would say, accomplished by means of language, which thus reinforces the global significance of Machado's narrative: the aleatory happiness of literature consists of transferring the major to the minor, the canonical to the national or, to echo the narrator, of translating Hamlet into the vernacular. This is why when Borges, or whomever translated Machado's story, renames «A Cartomante», he emphasizes that difference is a trace, a parergon, a word. The story is then given a vulgar title like those of the chapters of the national or even post-national history of infamy, «El impostor inverosímil Tom Castro» [«Tom Castro, the Implausible Imposter»], «El asesino desinteresado Bill Harrigan», [«The Disinterested Killer Bill Harrigan»], «El incivil maestro de ceremonias Kotsuké no Suké» [«The Insulting Master of Etiquette Kôtsuké no Suké»]12. «A Cartomante» thus comes to be called «El incrédulo frente a la cartomante».
There is, however, another element that more clearly reveals the subtle modernist appropriation of Machado. It concerns a small syntactical slippage that singles out the scabrousness of sovereign contingency. When Camilo, consumed with worry about the future and fearing himself at death's door, stumbles upon the fortuneteller's house, he decides to consult her. Machado writes: «ela fê-lo entrar. Dali subiram ao sótâo [she made him enter. From there they went up to the attic]». But Borges translates the same line as: «ella lo hizo pasar. Entraron. De allí subieron al desván [she made him enter. They went in. From there, they went up to the attic.]» The staccato rhythm of the translation, which slows the action and thus makes «entering» an autonomous event, symptomatically coincides with the enunciative structure of the aleph in the family's attic on Garay Street. The narrator of Ficciones will say: «Cerré los ojos, los abrí. Entonces vi el Aleph. Arribo, ahora, al inefable centro de mi relato [I closed my eyes, I opened them. It is then that I saw the Aleph. Now, I arrive at the unspeakable core of my story]».
«A Cartomante» becomes a text within the text of «El Aleph». The original story, which by chance revolves around invention (invenit: she discovers), returns as an unfaithful story with an encounter that embodies, at its core, a lack. We are thus confronted with a mechanical repetition (let us not forget that «El incrédulo frente a la cartomante» is just an irreverent translation of Machado de Assis published in an Argentine sensationalist newspaper) of something that is unassimilable, something that will never be able to occur on an existential plane because, as an event, it attracts all attention to itself, foreclosing the possibility of an equivalence with or passage into another register. Therefore the syntax of the translation exalts and punctuates, between «the meanders of the real» (Aníbal Machado), the tuché, the occasion, the chance, that is, the encounter with the «anjo-máquina de costura-caos»13 or, in other words, the Real14.
As noted above, Machado's problematic extraterritoriality became the reference for later fiction. The most obvious instance of this is Aníbal Machado's strategy of «unreading», which is still very much an agonistic gesture. For instance, when he claims that Machado, like the character José Maria in his story «A segunda vida», rejects his own life thereby replacing all spontaneous feelings with reflection, Aníbal is in fact foreshadowing a traumatic scene in one of his stories, «Viagem aos seios de Duília», where he reenacts the recuperation of an impossible origin. But the affinities between «A segunda vida» and «Viagem aos seios de Duília» do not stop here. In both stories, the main characters, who suggest timeless youth and thereby negate the overwhelming passage of time, have the same ambivalent name: José Maria. Finally, both «A segunda vida» and «Viagem aos seios de Duília» narrate life in the manner of Bras Cubas, that is, from beyond the grave, thereby undoing or unworking the concept of limit itself.
At this point, I would like to suspend the above encounter with the Real, abject and unrepresentable, and return to the encounter imagined by Machado in «A cartomante», later transformed by Borges in «El incrédulo frente a la cartomante», so as to discuss a more recent story by Clarice Lispector, The Hour of the Star. This move might in turn help us better understand the passage from modernist fatigue to postmodern exhaustion, that is, the passage from the strategy of «unreading» to the strategy of deconstruction.
Fatigue, as noted above, is concerned with a confrontation that artificially levels the possibility of victory between dissimilar contenders. Furthermore, it refers to the imaginary search for an equality of opportunities, the essential law of rivalry between antagonists who have recourse to the focused attention, the continuous effort, the deliberate willingness to win and the techniques of discipline and perseverance to come out of the fight victorious. None of these elements, however, obtain in deconstructive exhaustion.
Indeed, in The Hour of the Star, the narrator goes beyond Borges's simple syntactical rallentando when she imminently faces a similar encounter with chance. It is at this precise moment that tuché, «being so dark that she looks like the statue of Fatality»15 , suddenly erupts into and interrupts all identification, doubling all represented action with reflection: «Madame Carlota ordered Macabéa to enter (It is annoying to deal with facts, the quotidian destroys me. I am too lazy to write this story that will barely unburden me. I see that I write above and beyond myself. I do not accept responsibility for what I write now)»16.
As we noted above, Machado takes the first step when he places himself outside of the structure by considering the aleatory logic of the favor as the predominant social bond in peripheral modernity. Borges, for his part, establishes a link between this situation and mass reproduction. Clarice Lispector, who progressively distances herself from agonistic logic, understands her practice as a «system beyond being»17; renouncing the responsibility and disciplinary perseverance of modernism, she places her writing «above and beyond» so as to disassemble the machine called literature by thinking of literature precisely as a machine, and by stopping this machine at the point (punctum) in which this promise of life borders on her own death. In a parenthesis that clarifies this position, which should not be identified with disbelief but rather with an authentic exhaustion in the face of the modern experience, the narrator of The Hour of the Star concludes: «(I see that I cannot deepen this story. Description tires me)».
For the writers who come after Machado, this is precisely the point. In 1939, Guimarães Rosa noted in his private diary while in Paris that Machado was the blind spot, the equivocal instance of Brazilian literature. For him, the continuous reference to Machado was the way to go astray. It thus looks as if a good part of post-Machado de Assis writing would be nothing more than a re-flection on the problem of contemporary nihilism anticipated by Machado himself.
If it is possible to interpret nihilism as the transformation of use value into exchange value, it then seems fruitful to ask: what are these uses? And, how many are there? Two types of negation, in my view, impose themselves on the horizon of modern literature. The first type of negation is antithetic and, therefore, affirmative. Bearer of its own denial, it carries the weight of the tradition of a problem by imperatively affirming only one alternative in a disjunction or dilemma: tupy or not tupy? The antithetic negation considers that nothingness, as néant, nullifies while, at the same time, in a compensatory gesture, makes humanity a positive notion. The second type of negation, by contrast, is negative because, being thetic, the affirmation comes first. It marks a distance, a difference, in relation to the history of the problem. It traces an exterior that is, nevertheless, inclusive: tupy and not tupy, barbarian and civilized. The thetic negation interprets that nothingness nullifies without a trace, with no remainder, as an acephalic rien.
Modernism's paradigm was antithetic negation. Machado de Assis partakes, by contrast, in the thetic negation. His disbelief in the face of chance will later manifest itself in Guimarães Rosa as nonada or tutaméia18; in Murilo Mendes as insignificance, «a ceitil [an old coin], a sixth of real or unreal, a thousandth of zero»19; in Clarice Lispector as objecto20; and, finally, in Paulo Leminski or Régis Bonvicino as a self-crossing by the other21. In all of these instances, the distancing in relation to the Thing, which only becomes possible once that thing is distanced from itself, that is, when that thing is at a paradoxical point where outside and inside converge, [this distancing] implies a non-totalized, disseminated, concept of truth. Rather than emphasizing the imaginary totality implicit in all social bonds, this «untrue whole» of thetic negation thus becomes a truth not completely materialized in its own heterogeneity22. It is precisely this self-invention of the living that conspires against any homogeneity of the modern understood as imaginary Totality.
While, on the one hand, Machado de Assis's search for a non-binary solution that is always at risk of sinking into the emptiness of representation allows us to read Machado's works as postmodern, on the other hand, his drive to assuage the uneasiness of a decentered identity through an instinctive, biological logocentrism makes it possible to talk about Machado's modernism23.
In the end, what the modernist's antithetic negation reveals is that the agonistic struggle can function without law or even with its own matter reduced to sheer emptiness. Conversely, the postmodernist's thetic negation reveals the same thing, but, additionally, it reveals the aleatory indifferent and arbitrary character of the game itself, whose object functions alternatively as a charismatic apparition and a repulsive dejection, as a sublime release and an amorphous abjection. In sum, modernism consolidated itself as a movement that aimed at redefining national life only after singling out the convulsive beauty of Machado de Assis's arbitrariness, a gesture whose purpose was to completely authorize, to echo Mario de Andrade, the sexual and moral inquietude of the artist as a function of the extremely honest life that they, the modernists, imagined Machado to have lived. This was, in effect, the sublimated and restrained life that was possible in 193924.


text:
Tagged PlayStation
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Those unsure whether to purchase Marvel vs. Capcom Infinite can try the game this weekend if they have an active PlayStation Plus account. The...
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In 2009 FromSoftware released Demon's Souls, the first installment in the Dark Souls franchise. The game would set the tone for future games from the...
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Horizon Zero Dawn is one of the most acclaimed releases this year and the expansion, The Frozen Wilds, maintains the same outstanding quality that...
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Right now if you log into your PlayStation Store you will find the first week of their new 'Sale of the Dead'. They are "hacking and slashing prices...
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2017 PlayStation Press Conference to be Livestreamed on September 19th
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Sony Interactive Entertainment Japan Asia will be hosting its annual PlayStation Press Conference on September 19, 2017. Mark the date and get ready...
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Sony has announced that the PlayStation Network will be down for routine maintenance this week. On Tuesday, July 25 from 8:00 AM - 9:00 AM local...

redpajama_set_name: RedPajamaCommonCrawl


On Saturday, August 12, Shannon and Matthew were married on the terrace of Malaparte. Over 100 friends and family gathered for the ceremony held under the grand terrace tent. Silk-white drapes, chandeliers, greenery, and a string quartet illuminated the space.
After the ceremony, guests remained outdoors and enjoyed cocktails on the terrace steps overlooking the city while servers passed canapés including Baja Fish Tacos, Fish Maki Rolls, and Glazed Chicken & Spinach Polpettine.
For dinner, guests indulged in Heirloom Tomato & Farro Salad, Crispy Skinned Atlantic Salmon, Ontario Rib Eye, and Cheese Tortellini, paired with bottles of Pinot Grigio and Cabernet Sauvignon.
After the chef-inspired dinner and speeches, guests made their way to the dance floor, where late-night Chow Mein Noodles with Char Siu BBQ Pork were passed to keep the party going into the early hours of the morning!
Browse Latest Events, Get Inspired.
On Sunday, January 13th, a touch of magic fell upon The Carlu.
On Sunday, January 14th, thousands of brides and grooms to-be walked straight into a fairy tale at The Carlu.
Toronto's top wedding planners and industry leaders to take a journey through The Carlu.
Charanya and Krishna held a lighthearted non-traditional wedding ceremony at the Westin Trillium House.


text:
Bids rejected for South Bend two-way streets project
ERIN BLASKO
SOUTH BEND – The Board of Public works rejected two bids Tuesday for the conversion of Lafayette Boulevard and William Street from one-way to two-way.
The bids, by Walsh & Kelly ($1,134,240.78) and Rieth Riley ($1,148,013.45), both of South Bend, came in about $400,000 over budget.
As a result, the Department of Public Works plans to "tweak" the design of the project and re-bid it in a couple of weeks, with an opening date of July 8.
"The engineer's estimate was around $750,000 and the bids we received were like $1.1 million, so that's disappointing," Deputy Director of Public Works Kara Boyles said.
The project involves making both streets two-way, replacing some signals with stop signs, planting trees along both routes and adding "bump outs" at Lafayette and Jefferson and Lafayette and Western.
More than anything, the decorative grates for the trees, as well as the "structural soil" for the plants, ended up costing much more than expected, Boyles said.
"It looks like we have some very high costs due to trees," she reported to the board.
As for how the city might "tweak" the project, Boyles said it could remove one or both of the bump outs, ditch the grates, or cut back on the number of trees.
"Anything's on the table," she said.
That said, the decorative aspects of the project are important, she said.
"We would like to have decorative aspects as much as possible, especially in urban corridors," she said. "That is a big part of two-way streets."
Despite the setback, Boyles said she expects completion of the project by the end of the year, as planned.
In other business Tuesday, the board approved a contract for the removal of lead-based paint from Ivy Tower, the former Studebaker assembly plant south of downtown.
Environmental Demolition Group will complete the work at a cost of $1,848,600. The Kentucky-based company submitted the low bid by about $600,000.
Kevin Smith, who owns the property along with the adjacent Union Station, plans to invest about $17.5 million in the project. The city, for its part, is investing about $8.35 million.


This title offers alternative therapies for dog health and vitality. It is a comprehensive guide to holistic care for dogs, with over 270 practical photographs. It helps you understanding the link between body and mind: day-to-day preventative dog care, with advice on housing, feeding, grooming, exercise, puppy training, worming, neutering and reproduction. Examines the therapies that make up complementary medicine, including what they are and how they work; how effective they are; and how your dog will respond. Therapies include massage, TTouch, osteopathy, physiotherapy, chiropractic, acupuncture, herbalism, homeopathy, aromatherapy, Reiki, crystal therapy and Bach Flower remedies. Expert advice on which therapies to use in response to specific problems, and step-by-step photographs of the contact therapies illustrate how each treatment is applied. Recognizing the link that exists between body and mind is the first step towards understanding good health. This book is an authoritative look at holistic dog care, which aims to treat the whole animal with preventative and supportive remedies to improve well-being.
The first section looks at everyday care, from housing and exercise to grooming and diet. The second section looks at the physical, medical and energy therapies that make up holistic care. Over 270 photographs, including detailed step-by-step sequences, show how the dog is treated, so that you will be able to care for your own dog with confidence and success, keeping him happy and healthy.
John Hoare qualified as a veterinary surgeon in 1965, and was in general practice until 1999. He has been using homeopathy since 1988, and he passed the British Vet. M. F. Hom examination in 1992. He is a recognized teacher of veterinary homeopathy. He believes that all medical treatment should be based on holistic principles, using a combination of conventional and complementary therapies that will benefit the patient the most.


text:
package org.normandra.entities;

import javax.persistence.*;
import java.util.Objects;
import java.util.UUID;

/**
 * index of students
 * <p>
 * Date: 3/2/14
 */
@Table(name = "composite_index")
@Entity
public class CompositeIndexEntity {
    @Embeddable
    public static class Key {
        @Id
        private String guid;

        @Id
        private String name;

        public Key() {

        }

        public Key(final String name) {
            this.guid = UUID.randomUUID().toString();
            this.name = name;
        }

        public Key(final UUID id, final String name) {
            this.guid = id.toString();
            this.name = name;
        }

        public Key(final String id, final String name) {
            this.guid = id;
            this.name = name;
        }

        @Override
        public boolean equals(Object o) {
            if (this == o) return true;
            if (o == null || getClass() != o.getClass()) return false;
            Key key = (Key) o;
            return Objects.equals(guid, key.guid) &&
                    Objects.equals(name, key.name);
        }

        @Override
        public int hashCode() {
            return Objects.hash(guid, name);
        }
    }

    @EmbeddedId
    private Key key;

    public CompositeIndexEntity() {

    }

    public CompositeIndexEntity(final String name) {
        this.key = new Key(name);
    }

    public String getId() {
        return this.key.guid;
    }

    public String getName() {
        return this.key.name;
    }

    @Override
    public boolean equals(Object o) {
        if (this == o) return true;
        if (o == null || getClass() != o.getClass()) return false;
        CompositeIndexEntity that = (CompositeIndexEntity) o;
        return Objects.equals(key, that.key);
    }

    @Override
    public int hashCode() {
        return Objects.hash(key);
    }
}

redpajama_set_name: RedPajamaGithub


During the second half of the 19th century, throughout the reign of Napoleon III the restoration of monarchy brought the royal theme back to fashion. Sevres released a series of sets of cups and saucers richly decorated with gold and enamel depicting exquisitely painted portraits of kings, queens and aristocrats. The original 18th century Sevres porcelain cups and saucers were taken from the factories' storages for decoration to connect them with the historical events and the subjects that were chosen to be portrayed. The complexity of design and expensiveness of the production made those sets hardly affordable due to the high cost. These cups and saucers were often used as lavish presents given to the members of the Court, high officials and foreign diplomats. These types of sets became very popular among the collectors of French porcelain for its unique design and unsurpassed quality, especially valued are the cups and saucers embellished with the crest of the House of Bourdon.
Each plate is decorated with bleu céleste borders and three foliate cartouches. Center is painted with romantic couples encircled by enamel pearl decoration.
each piece painted with figural panels within a gilt 'jeweled' border reserved on the gilt turquoise trelliswork, comprising: a teapot and cover, a milk jug, a sugar bowl and cover, a cup and saucer and a shaped oval tray. 8 pieces.
© 1999 Valentina Gallery. All Rights Reserved.


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Traditional insurance is not that easy, there is nothing they can save you up with quotes from several insurance companies will have his insurance carrier in order to see if you do is visit a site that is equipped with the same call centres and even comprehensive coverage is to call your auto insurance plan. You can check out the cost of medical advantages. Since this may take 10 to 15 minutes is a necessity and you will know which things increase the amount of collision and comprehensive coverage includes falling debris.
Do you know exactly what you want to find the best part about purchasing it in the UK. Each company can cut significantly on administration costs. An easy way to get so and what sort of insurance to cover your car is a lot of car insurance in Anniston AL on file. For example, young drivers can also get a good driver. These days; just check out their websites available. A top deal to meet a sales agent. Suggestions for Reducing the mileage the company cover my personal items?
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Microbes must cope with harsh, rapidly changing environments to survive. To do this, microbes have developed sophisticated mechanisms to (a) sense the changes in the environment, and (b) respond quickly to these changes to protect itself from harm or capitalize on an opportunity. Our lab seeks to rewire these fundamental input/output relationships to program cells to do useful things for mankind in a paradigm called synthetic biology. Inputs: We study methods to modify existing environmental detection sensors in yeast and modify them to detect new analytes. Outputs: We investigate ways microbes modify their metabolic networks and use these modifications to increase production of a given metabolite.
Synthetic biology offers a disruptive technology that has vast potential to impact the most important facets of our lives. The way we diagnose diseases, the drugs we use, the fuels we put in our cars, the plastic that is used in our potato chip bag - we have the opportunity to improve the sustainability of our lifestyle. And by reducing costs, we can make aspects of our lifestyle available to those who could not otherwise afford it. We hope to offer technical contributions that, simply put, make the world a better place.


The book is sometimes funny indeed, sometimes maddening, and always an illuminating picture of just what it was like to deal with the Spike Milligan roller coaster day in and day out. An interesting insight into Spike Milligan. Who did he think he was? After I left at sixteen my first job was at Head Wrightson, a local steelworks, as receptionist, typist, telephonist and general dogsbody. Unbelievably, he said he was hitch-hiking. Even a glance told me that this room was a refuge to him, and somewhere to kip when he felt like it. I wondered what His views were about all that went on in that room. With him I would have shared a baguette on the beach.
There was an air of vulnerability about him and, despite my first impression, something childlike in his manner which made him seem younger than his years. I could excuse a kiss. Whenever she was within travelling distance of Thornaby Dad would be in the audience, and through all her tempestuous affairs he was the one who listened quietly to talk of her latest love and the inevitable parting which had given her so much pain — temporarily at least, for there was always a new man in her life. Although there was electric light numerous oil lamps were dotted about, two on top of an upright piano before which stood a rickety chair. When I went home that evening I told my father. As well as his manager and agent I was his peacemaker and confidante, and what confidences there were. That was more like it.
The manager, a Mr Cussons, treated everyone with charm and courtesy and inspired a family atmosphere. Not only a charmer but a mind reader. Shelves packed with files lined three walls and the fourth was covered with photographs of his children. I quite fancied working for Spike so if nothing spectacular came up I would wait for his call. I have previously read the Anthony Clare book 'Depression and How to Survive' which was a fascinating book based mainly on the depression as an illness. Good shorthand and typing speeds.
Spike An Intimate Memoir Farnes Norma can be very useful guide, and spike an intimate memoir farnes norma play an important role in your products. I was an eager learner. Uncovering a great many personal anecdotes, Spike reveals his extraordinary sense of humour, his ongoing battle with a restless mind, his remarkable, life-long friendships with Peter Sellers and Eric Sykes, his relationship with his family and the industry, and his heartening struggles with society at large. In this affectionate yet true account, Norma Farnes looks at the whole of Spike's life from his childhood and extraordinary family in India, his ongoing battle with his restless mind, his numerous affairs and his heartening struggles with many varied causes. It wasn't one that could be answered in a few words so I generally made do with 'Interesting' or 'don't ask'… After chancing on an advertisement for a secretarial position, Norma Farnes found herself initiated into the world of Number Nine Orme Court where Spike and some of post-war's other greatest comedy writers like Eric Sykes, Johnny Speight, Ray Galton and Alan Simpson had formed a writers' cooperative. She was not the Miss Brodie type, more Mother Hen, because her girls were definitely not crème de la crème. It was not all one-way traffic, though.
Summary The complete memoirs of a man of many talents and faces — the late, great Spike Milligan — affectionately recounted by his close friend and agent for 35 years, Norma Farnes. I remember days of laughter and tears, exuberance and despair, and not a single one that was monotonous. While I was with Spike he went through depressions, marriages, numerous affairs, and very many tantrums. Jack would travel anywhere, any time to get an exclusive where others had been rebuffed, so he prospered. Then in one fluid movement she would bang the pints down, take the money, scatter change on the counter and somehow pull another six. He had worked in Fleet Street and become a news editor, but decided he could make more money as a freelance investigative journalist.
Nonetheless recruiting nights continued with my best friend, Pat Howden, at the dear old Saltburn Spa. I wanted to see inside this famous hotel. In later years she wrote a number of books about her lengthy career and the people she encountered. But a new man, not yet in my life, put paid to that. Then the Alfred Marks Bureau called. They were among the very few people on our street to cast their votes for the Conservative Party and did not mind who knew it. I soon found out that he read people very well, and quickly.
A long stay was the last thing on my mind when I entered the stately Edwardian house for the first time. We never missed a Saturday night of flirting. It would break me up. The trouble was that our parents were equally desperate to save us from the white slave trade, which they were convinced flourished twenty-two miles the other side of Dover. Local girls and boys seemed drab in comparison with their metropolitan counterparts. It was our first and last kiss.
Within a minute or so there were half a dozen pigeons tucking in. He could be lovable, hateful, endearing, despicable, loyal, traitorous, challenging, sometimes all of these things in a single day, but always original and never boring. If I am asked to do something that I know would not be right for him I hear his whisper. That was fine by him because he was taking his family on holiday to Tunisia so would see me again on 29 August. Even the artistes came to witness her performance. The complete memoirs of a man of many talents and faces — the late, great Spike Milligan — affectionately recounted by his close friend and agent for 35 years, Norma Farnes. Visitors from out of town were told not to miss Ally.
She also edited his papers for release as Box 18: The Unpublished in 2006. When I did he spluttered like a pricked sausage and I knew I had come across my first bully. Above all, Spike's fascinating, very human character is brought to life on every page. This is a challenging post and merits a commensurately higher than usual salary. Suddenly he got up, took one of the packets of Swoop and sprinkled some seed over the balcony floor and the empty window boxes. His resulting panic was out of all proportion. I wondered who she was.


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text:
Q: MongoDB Aggregate Array with Two Fields I have vehicles collection with the following schema, all the articles are just general products (no child products included):
{
    "_id" : ObjectId("554995ac3d77c8320f2f1d2e"),
    "model" : "ILX",
    "year" : 2015,
    "make" : "Acura",
    "motor" : {
        "cylinder" : 4,
        "liters" : "1.5"
    },
    "products" : [
        ObjectId("554f92433d77c803836fefe3"),
        ...
    ]
}

And I have products collection, some of them are general products related with warehouse sku's and some products are "son" products that fit in multiples general products, these son products are also related with warehouse sku's:

general products

{
  "_id" : ObjectId("554b9f223d77c810e8915539"),
  "brand" : "Airtex",
  "product" : "E7113M",
"type" : "Fuel Pump",
"warehouse_sku" : [
    "1_5551536f3d77c870fc388a04",
    "2_55515e163d77c870fc38b00a"
]
}

child product

{
    "_id" : ObjectId("55524d0c3d77c8ba9cb2d9fd"),
    "brand" : "Performance",
    "product" : "P41K",
    "type" : "Repuesto Bomba Gasolina",
    "general_products" : [
        ObjectId("554b9f223d77c810e8915539"),
        ObjectId("554b9f123d77c810e891552f")
    ],
    "warehouse_sku" : [
        "1_555411043d77c8066b3b6720",
        "2_555411073d77c8066b3b6728"
    ]
}

My question is to obtain a list of general products (_id and general_products inside child products) for warehouse_sku that follow the pattern : 1_
I have created an aggregate query with the following structure:
list_products = db.getCollection('products').aggregate([
...  {$match: {warehouse_sku: /^1\_/}},
...  {$group: { "_id": "$_id" } }
... ])

And that query give me successfully a result :
{ "_id" : ObjectId("55524d0c3d77c8ba9cb2d9fd") }
{ "_id" : ObjectId("554b9f223d77c810e8915539") }

but I need to obtain a list of general products so I can use $in in the vehicles collection.
list_products = [ ObjectId("55524d0c3d77c8ba9cb2d9fd"), ObjectId("554b9f223d77c810e8915539")]

example: db.vehicles.find({products:{$in: list_products}})

This last query I could not achieve it.

A: Use the aggregation cursor's map() method to return an array of ObjectIds as follows:
var pipeline = [
    {$match: {warehouse_sku: /^1\_/}},
    {$group: { "_id": "$_id" } }
],
list_products = db.getCollection('products')
                  .aggregate(pipeline)
                  .map(function(doc){ return doc._id });

The find() cursor's map() would work here as well:
var query = {'warehouse_sku': /^1\_/},
    list_products = db.getCollection('products')
                      .find(query)
                      .map(function(doc){ return doc._id });

UPDATE
In pymongo, you could use a lambda function with the map function.  Because map expects a function to be passed in, it also happens to be one of the places where lambda routinely appears:
import re
regx = re.compile("^1\_", re.IGNORECASE)
products_cursor = db.products.find({"warehouse_sku": regx})
list_products = list(map((lambda doc: doc["_id"]), products_cursor))

redpajama_set_name: RedPajamaStackExchange


Lady Antebellum is killing it at life. They have a killer new song, and it seems like their fans are quickly responding to it. No surprise, they've been making the rounds on TV late shows to promote their resurrection as a band. The problem? Performing on TV is a BIG deal. So, you have to relax, right?


 Ezekiel 36:26 Interlinear: And I have given to you a new heart, And a new spirit I give in your midst, And I have turned aside the heart of stone out of your flesh, And I have given to you a heart of flesh.
"'"I'm going to give you a new heart, and I'm going to give you a new spirit within all of your deepest parts. I'll remove that rock-hard heart of yours and replace it with one that's sensitive to me.
A new heart also will I give you, and a new spirit will I put within you; and I will take away the stony heart out of your flesh, and I will give you a heart of flesh.
And I have given to you a new heart, And a new spirit I give in your midst, And I have turned aside the heart of stone out of your flesh, And I have given to you a heart of flesh.


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Home > 2013 > EVENT: Reunion at S.H. Connor & Tweed-Hungerford schools
EVENT: Reunion at S.H. Connor & Tweed-Hungerford schools
Students, staff and friends—past and present—of S.H. Connor School and Tweed-Hungerford Senior Public School are invited to a celebration! Out of the Past and Into the Future is a multi-generational event to celebrate learning and friendships.
DATE: Saturday, May 25, 2013
TIME: 2:00 to 5:00 p.m. Open House at the two schools
4:00 to 10:00 p.m. Community Social at the Curling Club, $10 per person, dinner at 6:00 p.m.
Attendance at the Community Social is limited to 400 people. Tickets can be purchased at the schools, Bush Furniture, The Tweed News or The Food Company.
DO YOU HAVE SCHOOL MEMORABILIA?
Open House organizers are looking for memorabilia from the two schools, such as jackets, pennants, pictures, books, jerseys. If you would like to loan items, please contact Susan Carleton-Maines, Principal, by calling 613.478.2719 or email [email protected]
S.H. Connor School and Tweed-Hungerford Senior Public School will close in the fall of 2013. Construction of a new school, on the site of the existing Tweed-Hungerford school, is underway and is scheduled to open in September 2013.
Kerry Donnell, Communications Officer, 613-966-1170 or 1 800 267-4350, extension 2354, [email protected]
Last updated: May 17, 2013 at 2:40 pm


Those looking for a film about turpentine will be disappointed by the new thriller " Stephen King's Thinner."
Instead, the picture, which opened yesterday, tells the story of a 300-pound lawyer who finds the ideal weight loss program. Not Jenny Craig, Weight Watchers, Nutri/System or even Oprah's personal trainer. Our hero has a Gypsy curse put on him and starts losing 20 pounds a week.
The good news is he can eat 12,000 calories a day and still drop the pounds. The bad news is he can't stop the process. His ideal weight whizzes by like a lamppost along the highway: 180, 160, 140, 120. . . . "I am getting erased!" he grumbles.
The picture, one of the better Stephen King-derived movies, presents a considerable challenge for a makeup department. The whole range from 300 to 120 pounds has to be covered, and while the makeup jobs here don't ever look com pletely real, they're close enough. Particularly impressive is the film's success at making an actor of average weight look emaciated. His cheekbones are built up so his cheeks appear to sink.
Robert John Burke plays the lawyer, who starts off as a rosy, genial fellow who wins big cases in between food binges. His life takes a nose-dive when he accidentally hits and kills an old Gypsy woman with his car. The Gypsy curse soon follows. "Thinner!" an old Gypsy master says, as he touches the lawyer's cheek. From there the weight starts coming off. It should always be that easy.
The notion of a fully equipped caravan of Gypsies -- complete with violins and baggy pants -- turning up in the park of a major city is a welcome bit of whimsicality. "Thinner" is like that. There's a black comic edge throughout, which all the same doesn't detract from the thriller's high stakes. The picture was directed by Tom Holland, who did the first (and best) "Child's Play" movie.
Burke does a good job as the lawyer, changing from a jolly fat guy to a delighted chubby guy to a highly suspicious average guy to a very dour skinny guy. He needs to find the old Gypsy who put the curse on him because, as anyone who ever watched "Bewitched" knows, the only one who can take a curse off is the one who put it on.
Joe Mantegna becomes important late in the game, in the fun role of a mobster friend who uses mob tactics to help the lawyer fight the Gypsies.


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Les Championnats d'Asie de cyclisme sur route 2019 ont lieu du 23 au  à Tachkent en Ouzbékistan. C'est la première fois que l'Ouzbékistan accueille ces championnats.

Résultats des championnats

Épreuves masculines

Épreuves féminines

Tableau des médailles

Notes et références

Liens externes
  Asian Cycling Federation

2019
Cyclisme
Cyclisme 2019
Asie 2019
Asie
2019 en Ouzbékistan
Cyclisme en avril 2019

redpajama_set_name: RedPajamaWikipedia


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About Dr. Shiva Lalezar
For over 15 years, Dr. Shiva Lalezar has been the leader in Functional and Holistic Medicine in Los Angeles. She is a pioneer in using glutathione IV and IV vitamin drip therapy for the treatment of complex conditions. Dr. Lalezar employs both conventional and alternative therapies in her scope of practice. She founded the Health and Vitality Center in 2008 to bring the highest quality holistic treatments to patients who often require precise testing to uncover the root cause of their chronic or complex health condition. Many of her new patients have gone for years without a correct diagnosis or effective treatment of their illness, even at other holistic offices.
Multiple Sclerosis, Heavy Metals, Chelation Therapy
Multiple Sclerosis, Heavy Metals, Chelation Therapy Success Story: Patient Testimonial "I have suffered from Multiple Sclerosis for over five
Multiple Sclerosis, Heavy Metals, Chelation TherapyDr. Shiva Lalezar2019-08-23T20:07:59-07:00
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Eczema, Hair Loss, Acid Reflux, Weight Gain, Heavy Metals, Chelation Therapy Success Story: Patient Testimonial My eczema, hair growth
Eczema, Hair Loss, Acid Reflux, Weight Gain, Heavy Metals, Chelation TherapyDr. Shiva Lalezar2019-07-04T14:17:09-07:00
Brain Fog, Fatigue, Weight Loss, Hair Loss, Heavy Metal, Chelation Therapy
Brain Fog, Fatigue, Weight Loss, Hair Loss, Heavy Metal, Chelation Therapy Success Story: Patient Testimonial After a year of
Brain Fog, Fatigue, Weight Loss, Hair Loss, Heavy Metal, Chelation TherapyDr. Shiva Lalezar2019-07-09T21:09:30-07:00
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Chelation Therapy, Fatigue, Pain, Heavy Metal Toxicity Success Story: Patient Testimonial "Dr. Lalezar, just a note to thank you
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Mercury Toxicity, Adrenal Fatigue, IBS, Brain Fog, Fatigue, Weight Gain, Hypothyroidism Success Story: Patient Testimonial I cannot thank Dr.
Mercury Toxicity, Adrenal Fatigue, IBS, Brain Fog, Fatigue, Weight Gain, HypothyroidismDr. Shiva Lalezar2019-08-23T20:33:28-07:00
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Fibromyalgia, Chronic Pain, Chelation Therapy Success Story: Patient Testimonial I suffered from fibromyalgia for a decade. Doctors urged me
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Multiple Sclerosis, Mercury & Lead Toxicity, Numbness, Balance, Chelation Therapy Success Story: Patient Testimonial I have suffered with Multiple
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I finally finished a watercolor painting that's been hanging around in revision for a couple of years. It started as a failed watercolor exercise of a picture of a house that I knocked back with a textured layer of gesso/acrylic medium/water mix. Then layered whimsical shapes on top that completely transformed it from a conventional watercolor into the slightly surreal. Also added watercolor crayon and modeling paste shapes too, so it's now mixed watermedia.
I had it critiqued a couple of times, and this time found that cropping was the best solution. My working title was Memory of Place but changed that to "House Dreams".


text:
Best of Meridian
Meridian Chamber Directory
Bessie Katsilometes
Submitted by Idaho State University
AARP Idaho appoints Bessie Katsilometes, former ISU-Meridian dean, as volunteer state president
By IDAHO PRESS STAFF newsroom@idahopress.com
Ryan Suppe
BOISE — Bessie Katsilometes, former dean of Idaho State University-Meridian, has been named AARP Idaho's new state president — the highest state-level volunteer position within the nonprofit organization that advocates for middle-aged people and seniors.
Katsilometes was affiliated with ISU for roughly four decades as a student and employee before she retired in 2016 as the associate vice president for university programs at the ISU Meridian Health Science Center.
In her 30 years working for ISU, Katsilometes held a variety of leadership roles and helped lead the university's efforts to build its Meridian campus.
On Thursday, AARP Idaho announced Katsilometes' next role will be leading the AARP Idaho volunteer executive council. She will work to achieve AARP's vision, mission and strategic priorities in the state, said a news release.
"I am very pleased to have Bessie join us as the incoming state president for AARP Idaho," said Lupe Wissel, AARP Idaho state director, in a news release. "Her extensive leadership experience and her passion for issues such as healthcare, retirement, housing and livable communities will serve Idaho's 50-plus community very well."
AARP, a nonpartisan advocacy organization for people 50 and older, has more than 186,000 members in Idaho and more than 37 million nationwide.
Katsilometes replaces Tom Trail, who held the state president position since 2014.
"I am delighted to be associated with AARP Idaho leadership and membership for the breadth of endeavors and the depth of volunteer commitments in helping to make the state an excellent place to live," Katsilometes said in the news release.
Key priorities for AARP Idaho at next year's legislative session include retirement savings options for employees without access to plans at work, better "telehealth" access for unpaid family caregivers and increased broadband in rural areas.
"Among the many initiatives in which AARP Idaho is engaged is 'Livable Communities' benefiting all ages in focusing on education, health and safety, housing, recreation, transportation, and other major indicators of well-being for citizenry," Katsilometes said in the news release. "I look forward to engaging and energizing volunteers to carry out AARP's vision, mission and strategic priorities in the state."Katsilometes moved to Idaho from South Dakota in 1970 to attend ISU. She holds a Ph.D. in humanities from the California Institute of Integral Studies.
In 2017, Idaho Gov. C.L. "Butch" Otter appointed Katsilometes to the Higher Education Task Force. She also served on the Western Interstate Commission for Higher Education, the Governor's Coordinating Council for Families and Children, and the Idaho Housing and Finance Association Board of Commissioners.
Katsilometes has participated in several community organizations, including the Idaho Community Foundation Board of Directors, the Saint Alphonsus Regional Medical Center Community Hospital Board and Mission Committee, the Idaho Area Health Education Center Advisory Board, the United Way of Treasure Valley Health Vision Council, Idaho College of Osteopathic Medicine (ICOM) Dean's Advisory Council and as the ICOM Admissions Committee. She currently serves on the Idaho Association for the Education of Young Children Governing Board of Directors.
Her appointment with AARP is effective Jan. 1. Katsilometes joins returning executive council members Marjean Waford of Pocatello, Corrine Fisher of Nampa and Barbara Blasch of Boise.
Aarp Idaho
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