Each package is designed to get you organized quickly without being overwhelming.
If you're a new client, start with the Snapdragon Package - this is the package that every client starts with and includes a home tour, storage assessment, comprehensive needs assessment, a fully comprehensive action plan, resources and product recommendations, plus starting the tidying process with the first category in the KonMari Method.
If you're a returning client, scroll down to book your next package.
Transform your closet into your own private space that gives you a thrill of pleasure!
laugh/have fun/maybe share some tears...this is a celebration of your life!
This is one 5-hour session for first time clients. ALL new clients start with this.
Satisfaction Guarantee: If you are not satisfied after the completion of an individual lesson, please contact Jane Organizes within 14 days. Jane Organizes will be happy to address outstanding concerns free of charge, either in person or on the phone until all promised goals are achieved. If you are not 100% satisfied with the results, you are entitled to a 100% refund.
At the end of our first session, we'll decide on what follow up package would work best for you and your organizing project. Depending on the size of your organizational project, you can choose any of the packages below. Like the Initial New Client Session, all follow up sessions are five hours long - beginning at 10am, and ending at 3:00pm.
How many sessions should I get? The number of sessions you need will depend on the magnitude of the project you're tackling, and how quickly you make decisions. Of course, every individual project is unique, and everyone make decisions about their possessions at different speeds - so what takes one person one session may take another person two or three. I'll give you suggestions based on my professional opinion, and how quickly we moved through things in the first session - but of course the decision is ultimately up to you.
1/2 to 1 Session: a closet or a dresser or a bathroom or a set of bookshelves.
Because every situation is unique and every person is different, at the end of your Initial New Client Session we'll talk about how we want to move forward, and what package will fit best for you.
If you need more individualized guidance, or need to book a custom package, please don't hesitate to contact me.


text:
Public servants to get pay increase
SHARE | Tuesday, 06 November 2018	| By Ricardo Kanono
President Dr Mokgweetsi Masisi
Public Servants are likely to get improved conditions of service and salaries in April next year; that is if the consultant engaged to review their pay recommends such.
President Mokgweetsi Masisi announced on Monday in his SONA address that despite the legal challenge that unions have made to the salary bargaining process, his Government has proceeded to engage a consultant.
"I wish to inform this august House that Government has appointed a consultant (PEMANDU Associates SDN.BHD of Malaysia) to, among others, review the current Public Service remuneration system in terms of salaries, allowances and benefits. The consultancy work is expected to be concluded before the end of December this year. Once the PEMANDU report has been finalized, Government will engage Public Sector Unions on the recommendations thereto. I also wish to inform this august House that I have appointed a Commission led by Honourable Justice Monametsi Gaongalelwe to review the conditions of service for the Members of Parliament, Councillors, Ntlo Ya Dikgosi and the Judiciary. The Commission is expected to submit its recommendations in December this year. It is the wish of Government for any recommendations agreed upon to be budgeted for and effected on 1st April, 2019."

redpajama_set_name: RedPajamaCommonCrawl


Poznań was incorporated into Prussia following the Second Partition of Poland in 1793. At that time, Germans sought to give the city German character and attract to the capital of Wielkopolska as many German settlers as possible. Consequently, a number of investments were made in order to turn Poznań into a city friendly to German settlers. It translated into founding German libraries, museums, theatres, and in the early twentieth century - monumental Castle District. Poles, united in their resistance against Germans, chose the tactics of passive resistance and sought to strengthen Polish structures through the Organic Work [social and economic development approach]. The period saw establishment of institutions and companies concerned about Polish culture and language, as well as co-operatives and banks granting loans to Polish entrepreneurs.
The oldest of the buildings located at Wolności Square is the Raczyński Library. The library was funded by Count Edward Raczyński and built between 1822 and 1929. It has been used to house Count Raczyński's collections, regularly enlarged with each new publication released in the Grand Duchy of Posen. The classicist edifice, specifically its front elevation, is modelled after the east wall of Paris Louvre. It was the first building in Poland to be erected specifically to house library collections.
Near the Wolności Square we can see the building of the National Museum, built between 1900-1903, with its form alluding to Berlin's Karl-Friedrich-Museum. Design and decor of both buildings were to display German power. Having regained independence in 1919, Kaiser-Friedrich Museum was transformed into Museum of Wielkopolska, and then, in 1950, the National Museum. External decor made by German artists was replaced with Polish ones. Today, the main building includes the Polish Art Gallery, International Art Gallery, Poster and Design Gallery, Contemporary Art Gallery, as well as a Prints Hall and Numismatic Hall. The National Museum includes five Poznań branches and three in the Region of Wielkopolska. In the Painting and Sculpture Gallery of the National Museum you can admire, among others, the collections of Western-European painting.
On the right-hand side of the museum is a historical building of the Hotel Bazar. The building was built between 1838 and 1842 and immediately became the centre of Polish economic and social life. The Bazar hosted Wielkopolska landowners, and on the ground floor, according to the statute, one could find only Polish merchants' stores. It is worth emphasising that it housed the first store room of Poznań's greatest entrepreneur of the nineteenth century - Hipolit Cegielski. The building also made history thanks to composer, Ignacy Paderewski, who in December 1918 gave a patriotic speech to Poznańians from the balcony of his room. Later the same day, Poznań saw an outbreak of the Greater Poland Uprising (Wielkopolska Uprising), as a result of which Wielkopolska returned to Poland after more than 120 years.
On the other side of the Wolności Square, our attention is drawn to the Arcadia building. The name 'Arcadia' is derived from a cafe and restaurant formerly located in this building. In the early nineteenth century, a royal theatre was built in the place of today's Arcadia; it hosted a number of performances and concerts, including Poznań's premiere of Stanisław Moniuszko's 'Halka.' The present building was erected for a new City Theatre, dubbed as 'German' - to distinguish it from similar Polish Theatre. The building, besides the aforementioned 'Arcadia' cafe, included Poznań's branch of Polish Radio. Today, it houses, among others, the City Information Centre.
Carry on your walk along 27 Grudnia Street. Pass the junction with Ratajczaka Street. A few dozen metres away is a University Library, built in 1902 as the Kaiser-Wilhelm-Bibliothek. Even in the 1970s 27 Grudnia Street was lined towards Okrąglak with nineteenth-century tenements. They were demolished in order to implement future investments, which have never been realised. As a result, we do not have to search for the Polish Theatre (built between 1873 - 1875) at one of the courtyards, since it is clearly visible from 27 Grudnia Street, and its architecture resembles the German Theatre building located in Arkadia. The Polish Theatre was funded from public donations originating from all annexed territories, which was commemorated on the facade by an inscription reading 'The nation for itself'.
Go down Fredry Street and enter the Castle District, marked out in the early twentieth century. At that time Wilhelm II announced the dismantling of obsolete fortifications that strangled city's development and the fortifications Germans replaced with a representative district, to emphasise city's German character. You are approaching Collegium Maius. The edifice was constructed in 1908 to provide office space for the Prussian Colonisation Committee, an institution committed to buying out land from Poles and populating it with German settlers. Both the internal and external decor referred to German history and culture. At present, the building is operated by the Adam Mickiewicz University and the University of Medical Sciences. A few dozen meters away, you can find a neo-classical edifice of Great Theatre, constructed between 1909-10 as a branch of the Berlin Opera. The front elevation of the theatre is adorned by six Ionic columns, with a sculpture of Pegasus dominating them (the former name of the theatre was 'the Pegasus Edifice'. The theatre can accommodate 900 spectators.
At the Great Theatre, turn left towards Mickiewicz Park and go to Adam Mickiewicz Square. On the west side of the square is the Collegium Minus. The building was built between 1905 and 1910 for the Prussian Royal Academy. Today, it houses Rector's Office of the Adam Mickiewicz University. Inside the building there are two halls - a large hall and a small one, known as the Lubrański Hall. The University Hall is one of the most famous concert halls in Poland. It hosts numerous musical events, including Henryk Wieniawski Violin Competition.
On the east side of the square you can see the monumental edifice of the former Imperial Castle. This huge neo-Romanesque building was designed by Franz Schwechten. It was built between 1905-1910 for Emperor Wilhelm II, who attended the opening ceremony. The style and grand scale were to render the status of the German power, while the Romanesque character of the building was considered as being very Germanic. In the interwar period, the castle was the seat of the Presidents of the Second Republic of Poland and the Poznań University. It was the workplace of the scientists who broke the German Enigma code. During the Second World War, however, the building served as Hitler's residence. It was then that the interior was remade in the Third Reich's style with participation of Albert Speer, Hitler's court architect. The dominant feature of the building is the clock tower, originally 74-m high. After the war, the tower, destroyed during the war, was lowered by about 20 m. The Rose Courtyardfeatures a fountain inspired by the thirteenth-century fountain with lions from Granada's Alhambra. Today the castle houses the 'Zamek' Cultural Centre, the Animation Theatre and many other institutions and hosts numerous exhibitions, meetings and concerts.


text:
Ronald W. Hunter
Omaha, NE (USA)
Omaha lawyer Ronald W. Hunter is credited as the force behind the preservation of Omaha's Art Deco Union Station building and as Founding President, Omaha Western Heritage Museum, starting the work that enabled its transformation into the Durham Museum. Writing history was his avocation and he is said to have written an as-yet unpublished manuscript about Omaha's 1964 property development bribery scandal. See Michael Kelly's Omaha World Herald column, "One man's passion revived Omaha's old Union Station, now the Durham Museum," November 13, 2014
Nebraska and Omaha History; Historic Preservation
Founding President, Omaha Western Heritage Museum
Western Heritage Museum : The First Ten Years. 1986.
ronald-w-hunter


Having a wedding is an exciting time for the entire family. But with that comes all sorts of ideas for how the wedding should go. Should you have a wedding cake or a dessert bar? Bouquet toss for all the single ladies? First look or see each other for the first time at the altar?
The decisions go on and on. And sometimes the opinions just don't match up. Sometimes what parents want and what you want are two completely different things. How do you avoid the disagreements and tension that can come with it all?
How do you maneuver the opinions of all the important players respectfully and still get the dessert bar that you've dreamed of?
How do you Mix Wedding Traditions with your Modern Style?


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My brother Jeff found this Peterson on one of his trips. He showed me the box and then the end of the box first. The end of the box said it was a Peterson Mark Twain XL Rustic. I could not wait to see what was inside. I am slow to get my hopes up because often what the box says and what is inside are very different. He opened the box and inside was a Peterson black satin pipe sock and the factory brochure. This was definitely looking up. He took the pipe out and it was exactly what the box said it was – a Peterson's Mark Twain Rustic XL. Jeff took pictures of the pipe to show the overall condition of the find before he started his cleanup work on it. The pipe was dirty with a lot of dust and debris in the crevices of the rustic finish and dull looking on the high spots. The bowl had a thick, hard cake and there was a heavy lava overflow on the rim top filling in the beveled area and the crevices in the finish. The inner and outer edges of the bowl looked to be in good condition. The underside of the bowl had a smooth spot that was stamped Peterson's over Mark Twain. Next to that it was stamped Made in the Republic of Ireland. The pipe had a silver band/ferrule on the end of the shank that bore the typical Peterson's of Dublin stamping and was stamped Sterling Silver. On the underside it had three hallmarks. The Irish sterling silver hallmarks are first a Hibernia mark (looks like a seated woman facing left) second a fineness mark (an Irish harp) finally the date code comes after those, in the form of a letter. In this case it is the upper case italic B. The hallmarks gave a good indication of the age of the pipe. I turned to Pipedia to have a look at the article by my old friend Mike Leverette to get a feel for the dating of the Mark Twain series. I knew there were several releases of the series but could not remember the dates. Here is the link to the article: (https://pipedia.org/wiki/A_Peterson_Dating_Guide;_A_Rule_of_Thumb). I have enclosed the section of the article pertaining in a red box in the pic below. I found a Peterson Sterling Hallmark chart on the web to help pin down the date associated with the Italic uppercase B. I have circled the letter on the chart to the left with a red circle. The pipe is clearly identified as a 1987 Mark Twain. That and the fact that it did not have any number on the shank puts it squarely in the Un-numbered Edition noted above from Mike's article. That edition of the series was made between 1983 and 1989 so this one falls squarely in the middle of the series release.
The stem was lightly oxidized but the P stamp was very clear and deeply stamped in the vulcanite material. There were light tooth marks and chatter on both sides of the stem near the button and shelf. I could not wait to see the pipe after Jeff cleaned it up. He did his usual thorough clean up on the bowl and stem. He reamed the bowl with a PipNet pipe reamer and cleaned up the last bit of cake with a Savinelli Fitsall reamer. He cleaned the internals with alcohol, pipe cleaners and cotton swabs – scrubbing out the sump area that is generally very dirty. He scrubbed the exterior of the pipe with Murphy's Oil soap and a tooth brush and was able to remove all of the dust and debris in the nooks and crannies of the rustication. He was able to remove all of the tars and lava on the rim top and leave it looking very clean. He soaked the stem in an Oxyclean bath to raise the oxidation to the surface of the vulcanite. I took photos of the pipe when it arrived. I opened the box that the pipe came in like a kid on Christmas morning. I wanted to see what he had been able to do with this pipe. I took the pipe out of the box and took photos of it before I did my part of the restoration work on the old Peterson. Other than the oxidized stem it looked pretty good. He did an amazing job on the rim top. It had come entirely clean under his workmanship on it. The inner bevel on the rim was flawless and the lava was gone leaving a clean bowl and rim. The underside of the bowl looked good and the stamping was very clear as I had surmised in the pre-cleaning photos. I took some photos of the stem to show the oxidation and the tooth chatter and marks. I put the stem to soak in the Before & After Stem Deoxidizer and left it overnight so that it could work its magic on the oxidation. I worked on the bowl while it soaked. I rubbed the bowl down with Before & After Restoration Balm to clean out the deep pits and crevices of the finish and enliven and protect the briar. I hand rubbed it with my fingers and used a shoe brush to get deep into the grooves. I rubbed it off with a soft cloth and buffed it with a microfiber cloth to give it a bit of a shine. I took some photos of the bowl at this point to mark the progress in the restoration. In the morning I removed the stem from the deoxidizer and wiped off the excess deoxidizer from the surface of the stem with a paper towel. I cleaned out the airway in the stem with pipe cleaners and alcohol to remove any remnants of the bath from that part of the stem. The photos below show the stem after the soak and rub down. I sanded out the tooth chatter and tooth marks on both sides of the stem with 220 grit sandpaper and was able to remove all of the damaged areas. I polished out the sanding scratches and marks in the vulcanite with micromesh sanding pads – wet sanding it with 1500-2400 grit pads and dry sanding it with 3200-4000 grit pads. I wiped the stem down with Obsidian Oil after each sanding pad. I buffed the stem with Blue Diamond on the buffing wheel. I brought it back to the table and sanded it with the final three 6000-12000 grit pads. After the final pad I gave it a final coat of oil and set it aside to dry. I used some acrylic paint to touch up the stamping on the stem. I puddled the paint over the stamping with small paint brush. Once the paint dried I polished it off with a cotton pad and 6000-12000 grit micromesh sanding pads. I polished the silver band with a jeweler's cloth to remove any tarnish and polish the band to a rich shine. The stamping really stood out with the polishing. I put the stem back on the bowl and worked the pipe over on the buffing wheel using Blue Diamond to polish the bowl and shank. I used a gentle touch on the rusticated briar when I was buffing it so that the nooks and crannies of the rustication would not be filled in and make more work for me. I buffed the stem with a harder touch to raise the gloss on the rubber. I gave the bowl multiple coats Conservator's Wax and buffed it with a shoe brush. I gave the stem multiple coats of carnauba wax. I buffed the entire pipe with a clean buffing pad to raise the shine. I hand buffed it with a microfiber cloth to deepen the shine. The finished pipe is shown in the photos below. The combination of brown and red stain on the rustication and smooth rim and base of the pipe along with the rich black of the vulcanite stem make this an interesting and beautiful pipe. The dimensions of the pipe are: Length: 6 1/2 inches, Height: 2 inches, Diameter of the bowl: 1 3/8 inches, Diameter of the chamber: 7/8 inches. I will be adding this one to the rebornpipes store shortly if you are interested in adding it to your collection. It will make a fine addition to the rack. If you are interested email me at slaug@uniserve.com or send me a message on Facebook. Thanks for looking.
This entry was posted in Pipe Refurbishing Essays and tagged 1987 Peterson's Mark Twain Rustic pipe, bite marks, Bowl - finishing, buffing, Dating a Peterson XL Rustic Mark Twain pipe, finishing, micromesh sanding pads, Oxidation, Peterson Pipes, Peterson's Rustic XL Mark Twain Pipe, pipe refurbishing, polishing, Polishing a silver band, polishing a stem, polishing stems, refurbishing, removing oxidation, removing tooth marks, sanding a stem, stem work, Un-numbered Mark Twain Pipe by Peterson, waxing, waxing a stem on December 12, 2017 by rebornpipes.


49 Spanish words of animals in a fun online game to learn Spanish.
"Spanish Words for Animals" is a free online knowledge level game to test or learn the Spanish words of 49 animals. Read the words and click on the matching image.
A small misaic game for desktop computers, laptops and tablets, which may be played in the web browser.
What are the spanish words for popular animals?
How to play Spanish Words for Animals.
A random spanish word will appear on the upper part of the screen in the white lined field. Read the word and click on the matching animal image. Every correct spanish word will give one "paw" and every wrong click will take one. You need 26 "paws" to win the game.
Know 15 animals in Spanish.
Here is a gameplay movies on YouTube.
Class subject: Spanish words of animals.
Labels: Games with Words , Mosaic Games , Spanish Learning Games , Language Games , Education Games , Free Online Games.


text:
Q: How do I know if a certain blueprint will be discussed at UDS? There's already a long list of blueprints registered for Oneiric. How do I know whether or not certain blueprints I'd like to follow will be discussed at the UDS?

A: That list of blueprints are ones that have been proposed for "Oneiric" the series in general. You want this list, as it's the approved list of topics for UDS:

*

*https://blueprints.launchpad.net/sprints/uds-o
Prior to UDS this list grows, so I bookmark the page. You can subscribe to the specific blueprint if you want to follow along, and check the schedule to see when it's actually going to happen if you want to participate remotely.

redpajama_set_name: RedPajamaStackExchange


text:
Half of Investors Have Seen Their Wealth Decrease Since Brexit Referendum
By Oliver Sullivan on 28th August 2018
The Enterprise Investment Scheme Association (EISA) has released a national and investor representative piece of research, gauging whether the British public and its investors feel that they will be wealthier in a post-Brexit UK, and how they feel the negotiations have gone.
With the date that Britain leaves the EU edging ever closer, the Enterprise Investment Scheme Association (EISA) has launched The Brexit Wealth Index 2018. Based on research conducted across a sample of 2007 respondents – of which – 1,122 were nationally representative investors, the data outlines the wealth creation opportunities available to them post-Brexit. Providing anecdotal and quantitative analysis as to whether the country will be richer after leaving the European Union, the survey specifically questions whether they feel their individual wealth will and has increased after the decision to leave was made.
Three in 10 British investors – 8.75 million – believe that securing a good deal with the European Union will be crucial to their continuing investments into UK SMEs. This is opposed to 5.75 million investors who do not agree that a good deal will affect their investments into SMEs in the future. British investors – 12.5 million of them (43%) – believe that the Government's actions affect their investment decisions more than ever before. This is opposed to four million (14%) who do not believe this to be the case. Moreover, 13 million investors believe that Brexit will not make them wealthier. This amounts to 44% of British investors, versus a fifth (19%) who believe that Brexit will make them wealthier. Of the wider sample, half of British investors – 14.5 million – believe that their wealth has not increased since the referendum decision in June 2016, while 5.5 million do believe that their wealth has increased since the vote to leave the European Union was made.
17 million (59%) do not think the Government is doing a good job in securing a deal for the UK's financial services sector
12.5 million (43%) of British investors feel that the Government's actions now affect their investment decision more now than ever before
8.75 million (30%) believe that securing a good deal with the EU will be crucial to their continuing investments into UK SMEs
Half of British investors – 14.5 million – have seen their wealth decrease since the referendum decision
13 million (44%) do not believe that Brexit will make them wealthier
Nearly half (45%) – 13 million – believe that there will be a Brexit deficit which will make the UK poorer after March 2019
Four in 10 – 11.5 million – believe that the Brexit deficit will make the UK poorer after March 2019
A third of British investors – 10 million – feel that there will be more opportunities to invest into SMEs in post-Brexit Britain
Four in 10 – 11.5 million British investors – feel that there will be more opportunity for wealth creation and entrepreneurship post-Brexit
A third of British investors – 10 million – believe that there will be a Brexit dividend which will make the UK richer after March 2019.
Overwhelmingly, 17 million British investors do not think that the Government is doing a good job in securing a deal for the UK's financial services sector. Six in 10 (59%) of respondents believe this to be true.
A third of British investors (32%) – 9.5 million – do not believe that there will be more opportunity for wealth creation and entrepreneurship post-Brexit. However, nearly four in 10, (39%) – 11.5 million – do. This sentiment continues as 10 million British investors believe that there will be more opportunities to invest into SMEs in a post-Brexit Britain while seven million disagree.
A third (34%) of respondents believe that there will be a Brexit dividend which will make the UK richer after March 2019. This amounts to 10 million British investors. However, 11.5 million – 39% of respondents – disagree with this. In fact, when asked, I feel that there will be a Brexit deficit which will make the UK poorer after March 2019, 45% of respondents – 13 million – agreed, while just over a quarter (27%) disagreed.
Mark Brownridge, Director General of the Enterprise Investment Scheme Association (EISA), commented on the results of the survey: "It is clear that from this research that British investors feel that Brexit has not made them wealthier to date, and they do not believe that it will in the future either. Moreover, they feel that our Government does not have their back, and in fact, is contributing to the negative sentiment surrounding Brexit. The fact that so many investors feel this way is going to have a knock-on impact on the rest of the country and the economy.
However, there is some positivity, with many feeling that there will be great opportunities for wealth creation, entrepreneurship, and investment into SMEs in a post-Brexit Britain. We must remain optimistic yet cautious, we need to ensure that investors have the confidence to continue to look to UK SMEs as a viable investment, and also ensure that there is enough capital for investors to reinvest back into UK businesses.'
(Source: EISA)
BrexitDecisiondecreaseFallInvestmentsInvestorsReferedumReportSharesWealth


text:
2018-04-26 - Love And Fear
From Battle Fantasia MUSH
Title: Love And Fear
Mikoto finally gets a chance to visit Yumi. They manage a little levity, but there are dark clouds on the horizon. They're both worried about Eri - and Yumi's own problems are many. But Mikoto speaks too harshly at the reminder of an enemy, and ends up startling Yumi. Neither are explaining everything about their reactions...
Yumi Ohzora, Mikoto Minagi
Mitakihara General Hospital
OOC - IC Date:
.***************************** Yamanote High City *****************************.
*+*+*+*+*+*+*+*+*+*+*+*+* Mitakihara General Hospital +*+*+*+*+*+*+*+*+*+*+*+*+*
Recently completed to great fanfare, this 42-story hospital is the tallest
in the world, with a glossy glass exterior that folds two great wings inward
towards the main entrance. Equipped with over 1,200 beds, Mitakihara is
known as a place of last resort for those with difficult illnesses (and,
ideally, disposable income). Designed with typical criticisms of health care
facilities in mind, this ultramodern building eschews the usual bland
pastels and workmanlike right angles for elegant, understated earth tone
patterns and dynamic diagonal windows and paneling. Its patient rooms have
large windows wherever possible to let in natural light, and are decorated
to suggest a hotel-like atmosphere.
There is substance behind Mitakihara's style; the latest technology
dominates its every facet, from the touchscreen controls on its room-sized
glass elevators to the particle accelerator in its basement used for
precision radiation treatment. For all of its amenities, however, Mitakihara
can be a quiet, lonely place; not all of its rooms are in use yet, and those
that get lost in it can find themselves wandering empty halls.
Mitakihara leverages its sheer size by providing a small, French-style
garden on the roof for patients. Low hedges of pink flowers seem to sprout
directly from the tiles, in a radiating circular shape, and an ornamental
iron fence around the rim of the building ensures safety.
<Pose Tracker> Mikoto Minagi [Ohtori Academy (11)] has posed.
Mai may have placed Mikoto under strict orders to stay home and rest, but even Mai can't argue with doctor's orders. Mikoto's been instructed to come in to hospital, this morning, so they can check on the progress of her stitches. She's insisted on going out without her walking stick, this time; she feels like she can walk just fine, and she's argued that if she really needs one the doctors will yell at her, so it's fine, right?
The doctors are impressed, when they see her. They say she's healing at a remarkable rate, and put it down to her youth and good health. Mikoto suspects it has more to do with the birthmark on her arm, that fate which makes her so much tougher and stronger and faster than normal girls - but she doesn't say anything, especially not when they decide they can take the stitches out.
Good. They're annoying, itchy little things, and it feels weird to have them threaded through her flesh. She is instructed quite firmly when they come out that she is still not better, and she shouldn't push herself with ridiculous stunts, but Mikoto is just relieved she can get rid of the bandages. With her fading bruises, maybe soon everyone will stop asking about what happened.
The first thing she does, once they're done poking at her, is to ask about Yumi. She won't leave without seeing Yumi first! So Mikoto is led into her suite as a visitor, for once. And she moves so much more slowly than she ought to, than her usual energy demands, but she's looking better than she did when she left, even if that shade of sadness to her hasn't quite left. Being out of hospital seems to have helped a lot, for all she's being so restricted.
"I'll just be outside," the nurse reassures them, before he leaves.
Mikoto glances aside as he goes, tracking his movement until the door closes, and then she turns to Yumi. She smiles, warm. "Yumi," she says, her greeting plain, and it is happiness to see her friend and concern for her wellbeing both.
<Pose Tracker> Yumi Ohzora [Infinity Institute (11)] has posed.
Yumi's suite, high up, is easily reached--there is the matter of checking in of course to make sure she's fit to be visited, that she's in the mood for one... And of course she is; it's nice to have Mikoto back, after all. So once Mikoto is escorted into the room--
Yumi looks a little drowsy, but she's sitting up; her gray hair is hanging loose, her glasses on as she sets aside her sketchbook, closing it, letting her pencil rest in her hand for the moment. The other hand--the one with the little clip on it attached to the wires--comes up, and Yumi waves lightly, tiredly.
"Hey, Mikoto-chan," she says, warmly, looking her over. She does see the sadness--she sees... Well, her general state.
"Thanks," she says to the nurse, and looks over to Mikoto, gesturing her over to a chair beside her hospital bed. All the machines beep and sound about as normal, everything is calm; her window has the curtains drawn open. The TV is off.
"...Nice to see you. I bet you've been busy, huh?"
Mikoto looks over the wires, the clip, and there's such concern in her eyes. She makes her way to the chair, and rests Miroku's case beside it, sitting down heavily - which might further betray her lingering pain.
... or maybe the guilt just weighs that much.
But to Yumi, Mikoto smiles, because Mikoto is so honestly glad to see Yumi again. She shakes her head, to the question, braids swinging. "Not really. Just resting. But, Mai..."
Mikoto frowns, briefly. But Mai is coddling her so much. But Mai won't let her do anything. But Mai is treating her like her little brother, and it wounds her so much more deeply than sword or lance ever did.
"... won't let me out," Mikoto finishes, after a moment. "So I haven't been able to visit... sorry, Yumi."
She looks her over, again, yellow eyes assessing her openly. "... Yumi's doing better?" Mikoto isn't sure, but it seems like a reasonable assumption.
Yumi's still got the oxygen hookup, so there is that much. ...But she can see Miroku's case, which Mikoto of course has again, see how heavy she sets it down... And, well, Mikoto's nice to see. She's a friend, and she's cute.
"Mm?" Then Mikoto explains--and Yumi gives a sympathetic look. "...I know the feeling," she admits. "When people just... Assume you can't do anything, don't let you so much as try. It sucks."
"Don't worry about it," Yumi says, and does a reasonably convincing job of it. "I've been sleeping a lot anyway."
Not quite true, but... well, also true. She has.
Yumi nods, "Yeah, I'm doing better. ...You don't have to worry, okay?" She... doesn't look a lot better, of course. And then she wrinkles her nose. "...Okay, I can't hear that you've been locked up and not be a little honest. I'm a little better but still not great. They don't know when I'll be strong enough to leave again."
Setsuna was nice enough to deliver Miroku's case back to Mikoto, before she left hosptial! She's very grateful.
Mikoto looks so frustrated, as Yumi enumerates the feeling so perfectly. She puffs out her cheeks, lets out a suffering breath. Mai's treating her like such a little kid... it's the worst feeling.
But then Yumi tells her not to worry, only to immediately afterwards admit reasons she might want to worry a little bit. Concern replaces frustration wholesale in the face of Yumi's honesty - this tiny berserker is quite clearly upset by the idea that Yumi doesn't even have a timeline to escape. "Yumi!" The word is dismayed.
She shakes her head, fiercely. "Yumi'll be okay!" Mikoto sounds like she's trying to convince herself more than she's trying to convince Yumi. "Just takes time, right?"
The alternative - that Yumi won't be okay, that Yumi has burnt herself at both ends and now there's nothing left - it's too terrible to imagine. Too terrible, entirely. But after her initial panic, Mikoto realises how scary it must be, to not know when she's leaving. Remembers her own time here.
"... is Yumi okay?" Mikoto asks, uncertainly.
Yumi is sometimes a little too honest for her own good--not always, but sometimes. This might be one of those. ...She at least indeed does get that same frustration--and... recognizes the worry, too, for that matter. "It's--"
Mikoto did see her have a coughing fit last time she got to see her. ...But Mikoto is... Mikoto, about it, and Yumi smiles weakly at her, leaning back into the pillow she's propped up against. Her blanket is a nice neon green. ...How they got that particular shade probably begins and ends with 'hospital donor'.
...But Mikoto asks more uncertainly, and Yumi winces, at that, glancing to the side. "I..."
"...It usually just takes time," she settles on. "When I was little, I used to get stuck here for months at a time. It's... Well, not that long ago, I guess. But I feel like I've been getting better..."
She sounds a mix of emotions there--wistful, hopeful, but also... uncertain.
"There's not a lot I can do. But..." She turns her head back, "I don't plan to go anywhere, okay? I'll... I'll be fine."
Mikoto watches, carefully, as Yumi answers. There is such sorrow, such worry in those eyes. "Time," she echoes, nodding. "... yeah."
To be stuck in hospital for months... it makes her heart ache, and Mikoto cannot hide it. But she tries not to say it, because she knows Yumi doesn't like it when people worry.
It's just written on her silent face.
And so is the shock, when Mikoto realises what Yumi means by not going anywhere. She hisses in a startled breath. "Yumi..."
Was she that worried, that it would be on her mind? That she was worried she was going to... die? What a terrible thought.
Mikoto shakes her head, again, against the thought. "... I didn't," Mikoto says, after a moment, and it is a tacit admission that she was scared for herself, too. "So Yumi won't, either. Yumi's strong too!"
Yumi can hardly look at all that worry, frankly; after a few moments she glances down again, folding her hands and fidgeting with her thumbs. She sees enough of it--but she hears it too, in the silence. "Yeah, it's..."
But then Mikoto realizes it--and Yumi hears that startlement, and wonders for a moment about what she said. "I, um--" Mikoto speaks up. Mikoto--
Yumi looks up. "...Yeah you got pretty close, huh...? You really gave it your all." She smiles slightly, and nods. "I like to think so. Hey--" Yumi unlaces her hands and extends the clipped one over Mikoto's way--she can't really reach the other girl, so Mikoto might have to move closer to take it, if she chooses.
"I don't regret helping or anything. It's nice... I mean that, you know? But um... Yeah, I just--I've got someone bringing me my schoolwork, and... Well, here I am, you know?"
She bites her lip. "...My dad was sick, too. All his life, just like me. ...Anyway I just have a lot on my mind. It's nice to see you, you know?"
It's Mikoto's turn to look down, as Yumi mentions how close she'd gotten to death. She nods, silently. Because she got distracted... by that one boy...
she made mai suffer
She sees the hand reaching out, and Mikoto takes it in hers, looking back up to Yumi. There's still that shade of sorrow over her, but she smiles, as Yumi tells her she doesn't regret helping. "Yeah. Me too."
It's a multi-purpose answer - she doesn't regret fighting, she's had to deal with catching up on schoolwork, and she was in hospital and now she is right here beside Yumi. After all, Yumi's said she doesn't mind Mikoto being so economical with her words.
She tilts her head, though, as Yumi speaks about her father.
"... never really knew mine," Mikoto admits, awkwardly. Her parents were two people who left her life early, for all she was surrounded by other family. She blinks, curiosity entering her gaze. "What's Yumi's like?"
But alongside that curiosity, there's a warm smile, as Mikoto squeezes Yumi's hand lightly. It's nice to see her, too.
Yumi's hand is a little bony, a little chilly. But she curls her fingers in Mikoto's and smiles at her anyway. Maybe she can do a little to pierce through that shadow, right?
Mikoto says me too... and Yumi sort of gets it. Each piece comes in in its own time and then she laughs a little. "...That's cool, right? You can answer them all at once. Nice."
Mikoto's admission--well, Yumi was already feeling a little awkward. "...Sorry," she says. But the question... Yumi opens her mouth and closes it, glances for the window, as she thinks about him. There's a little pain in her expression--but fondness, too.
"...He was funny," Yumi says. "And nice to talk to. ...When I was afraid, when things seemed bleak, or even when I'd done something wrong... He was nice to talk to. Nice to have around. I used to phone him like clockwork, you know? I lived in the dorms, and I'd tell him all about it..."
She speaks distantly, obviously remembering. ...And then she doesn't say anything for a little while.
She almost hides the sniffle as she closes her eyes, takes a moment to get ahold of herself.
Mikoto grins, just for a moment. "Yup!" The terrible power to answer many questions all at once... this is the might which Mikoto Minagi brings to bear. This is her true power.
It carves a little corner of that shadow away, just for a moment.
But then, it seems like Mikoto's own innocent question brings it back, because Mikoto can see the pain in her eyes. She smooths her thumb over Yumi's hand - she must have learned that trick from someone.
She's speaking in past tense, and Mikoto's eyes cloud with sorrow as she realises.
"... Yumi's father sounds really nice," Mikoto says, once Yumi falls silent. "I'm glad Yumi had good father."
She falls silent, too, looking down at their hands. She heard the sniffle, and she frowns. She didn't mean to make Yumi sad.
So Mikoto speaks up again, on a different subject. "Eri and Kasagami are -" - not okay, neither of them, and Mikoto pauses rather than lie again - "- alive. Saw them in school. Eri's in high school now!" She sounds so enthused by that idea, so proud that Eri has survived this far. "Saw Setsuna too, but Setsuna came here, so... must've visited Yumi too, right?"
And a mighty power it is...
Yumi'll take the moment she gets. ...She takes the thumb over her hand, too, drawing a long, deep breath that... wheezes, Mikoto can hear. It was an innocent question, sure. And still...
Yumi at least appreciates not being called out on her display; sometimes she has a need for a certain amount of what she might call dignity. ...Sometimes she just doesn't want people to see her cry. ...One person makes it habit. Others... Well.
"Yeah. Me too," Yumi says softly.
But the other subject comes up and...
"Oh good." The relief is plain. "...I, um... Yeah, she and Kasagami have both visited. I was worried abou Eri, though. I still haven't seen her... She must be busy." For some reason, talking about Eri makes Yumi glance down at her sketchbook. "Yeah, it's cool that Eri-chan's in high school now. It's nice."
A glance over at Mikoto and another smile. "...Anything fun going on?"
Mikoto holds Yumi's hand, and doesn't look up to her until she brings up their fellow Shepherds. Mikoto is sometimes an incredibly dense creature - but guilt keeps her head bowed, guilt over making Yumi so sad, and it inadvertently helps.
"Eri's tough," Mikoto assures Yumi, once more sidestepping the question of Eri being okay. The question of her being busy, though, earns a frown from Mikoto. "... seems like Eri's pushing herself hard."
Mikoto doesn't know exactly what she's been doing, because Mikoto has been useless and broken, but Mikoto remembers a girl who fell asleep so quickly - the same girl who never falls asleep quickly.
So she feels pretty confident, saying Eri's been busy.
Mikoto smiles, when Yumi asks. "Mai's making lots of good food!" She even made ramen from scratch! And... and that's the only answer she has, to the question of fun things going on, but at least Mikoto sounds enthused. ... almost a little too enthused.
Rather than go on about how there's no much fun about her situation, she tilts her head, at the sketchbook. "Yumi draws?"
Yumi doesn't even hold it against her--but guilt is often like that, isn't it? The grayhaired girl instead looks over at Mikoto again and notices it--Eri's tough. Not Eri's fine, not an explanation. "...She's tough," Yumi agrees, "But.." She's pushing herself hard, huh? "That's what I'm worried about. I wish I could see her..."
"Oh, yeah?" Yumi asks about the food. "I'm kinda jealous. I'm not much of a cook..." A hmm. "What kind of food does she make? Lots of stuff, right? Tell me about it." Yumi can appreciate food. ....And she can appreciate something that seems to make Mikoto light up that much. It definitely sounds nice. But--
"Mm? Yeah," Yumi answers. "...Well, I paint, really. But when I'm laid up like this it's a good time to draw a little..." She bites her lip. "Maybe you can tell me what you think of something." Yumi pulls her sketchbook over and opens it, flipping through to the most recent page, and shows it to Mikoto.
It's a pencil drawing, unfinished, greatly detailed. Not all of the lines are in place yet, but it's recognizeable as a very realistic Eri, just head and shoulders in perspective. Eri isn't looking at the observer but somewhere else, and her expression is... heavy. As if she carries a great deal. There's a lot of detail, in it.
"...I'm kinda going from memory, but... Well, I can't stop thinking, so..."
Mikoto nods, to Yumi's worry. She's worried, too, but - it feels like if she says that, she'll be acting just like Mai, again. Mai, who worries and worries...
So she doesn't say anything.
But aside from worrying, Mai also makes so much good food, and Mikoto brightens as she thinks of it. "Mai makes the best ramen! There's so much in it! So many flavours! And they all go so good together! It's perfect, Yumi! I love Mai's ramen! It's -" Mikoto's breath catches for a moment, as she looks away. too good for someone like her
"... it's really good," Mikoto smiles again. "And - and Mai makes other stuff too. Mai's teriyaki is amazing! And, Mai's tempura is really amazing, and -" - she just lists off foods for a while. It's a long list. Mai can apparently cook a lot of different things, and Mikoto is almost desperately enthusiastic about all of them.
But she does, eventually, stop, perhaps not because she's run out of foods to talk about but simply because she's realised she's been talking for an awfully long time. She focuses on Yumi's sketchbook, instead, and nods when Yumi asks for her opinion. She doesn't really get art, but she's glad to help!
Mikoto's eyes shine with recognition, when she sees it. "Wow, looks just like Eri..." Right down to the weight on her shoulders. "Yumi's good."
Mikoto glances to her. She's said she's had a lot on her mind before. Maybe she wants to talk about it. "What's Yumi thinking about?"
Poor Mikoto.
Watching Mikoto brighten and talk about all this food is nice. Someone might expect Yumi to get bored about it, to mind, but she just watches her friend with a small smile, nodding in places and punctuating with 'Oh!' and 'Really?' now and then, imagining a little bit being out near all that food just by virtue of how Mikoto mentions all of it. A whole big table of way more than she can even pretend to eat.
...Mikoto stops eventually, and then--well, there's her sketchbook there. "Thanks," she says. "It's sort of a way to..." She trails off. "I dunno," with a small, self-deprecating laugh. But--the question of... what's she thinking about.
"...How Eri's doing," Yumi answers. "What what happened means for the... war. What she's thinking... What we're going to do next." Still 'we' of course. "Other stuff, but a lot of it keeps coming back to that."
She pauses. "...That girl who died. My part in it all..."
"How Eri's doing."
It's a way to do something Yumi doesn't know, and Mikoto accepts that effortlessly, because it must be important to her in some way, and maybe she just doesn't have the words for it. That's okay. Mikoto doesn't have the words for things sometimes, too. Words have always been a foreign world, to Mikoto Minagi, who lives in instinct and sensation.
Perhaps that's why she's so enthusiastic about food.
She nods, as Yumi shares her thoughts. Eri, Eri, Eri - it all comes back to Eri, and Mikoto understands, deep in her heart, because so many of her thoughts have been just the same. So much time, spent worrying about how to help that sad, worn girl.
So few answers.
"... Eri's not giving up," Mikoto says, finally. "But... Eri wants Chevaliers to be allowed sadness. Know that much." She'd been instructed to let them have all their negative emotions.
She frowns, glancing down. Yumi's part in it...
... so many girls who weren't made for this. It's almost frustrating, but Mikoto hurts for her, too.
Mikoto takes a breath. "Yumi can be sad, too. Takes... lots of training to deal with death. It's not, easy. Or simple. It's, brutal, and not kind or good. It's okay, if Yumi's struggling. Death is..." She pauses, again. "... supposed to be sad."
She doesn't look at Yumi at all. It's supposed to be sad, but Mikoto isn't sad. Mikoto is vengefully glad that her enemy will no longer cause trouble for her most important people. Mikoto is satisfied that their enemy is defeated. Mikoto is proud of Eri for killing her. That little hint of sorrow she felt, seeing Mami's corpse... all it does is throw the reaction she must have in sharp relief.
Because she cannot be sad that an enemy is dead.
But Yumi and Eri - they're not like her. They weren't made for this. They must be so sad, and that makes Mikoto feel sad, too.
"Eri..." The word is just her name, for a long moment, sad and quiet. "... Eri's trying, really hard... and..." Mikoto's voice grows despairing, "and I can't help, Yumi. I'm still, broken."
Yumi, too, sometimes reaches the limit of words--obviously, like she just did. ...That's part of what she can channel into her art; what she can't say, she can paint, she can show, she can put on canvas and let that be her statement. She's done it many times. But now...
Yes, it comes back to her.
"...Mm," Yumi says, and nods. "Okay." Anybody would allow that much, right? But--
Yumi looks back up to Mikoto, blinks, as she's allowed. As--Mikoto doesn't look at her. As Mikoto explains.
As--
"...I don't think..." She bites her lip. "...It is sad. But I... I'm barely thinking about that girl. I didnt' know her. I know... She had people who will miss her. Maybe a family. And I know that's awful. But I can hardly think about it for worrying about how Eri feels. How..."
She shakes her head. "...I get it. Not being able to do something. It sucks. It really... sucks. I..."
She should look into that girl. She knows not even saying her name is just insulating her from it. But...
"...I dunno, I think about death kind of a lot. My dad died of the same thing I have. Will I even last as long as he did? I don't know. But you..." She bites her lip. "You've had that training, huh...? Somehow. You have."
Mikoto had to try and paint during one of her classes. And there was one assignment which simply did not go well at all - the one about family. The teacher took her aside to talk about her life because why would she make such dark and disturbing images on her canvas? Mikoto said something about how she thought they were learning about Matisse, and it was easy to assume she'd just misinterpreted his darker works.
Mikoto stuck to subjects from her life in Ohtori after that, and everyone thought her imagination was incredibly fanciful but at least she didn't get any more probing questions.
... needless to say, she doesn't paint any more.
She shakes her head, looking up to Yumi. "Yumi will," she says, of her father. "Yumi's strong. And, it's okay. I don't give many thoughts to the enemy either." Not even 'Mami', just 'the enemy'. "But Eri... thinking about Eri a lot. Just like Yumi. Don't think about death so much, normally, but I'm," she tears the word from her throat, "worried about Eri."
Just like Mai.
"Because I love Eri," Mikoto hastens to add, because she is not like Mai, and she will declare her affection openly and often.
Her gaze lowers, again. "... 'cause... yeah. I have. If I could've... I would've done it, so Eri didn't have to be so sad... but, was distracted." Her lip curls in momentary anger as she thinks of him. Endo didn't even have the decency to die. But her expression soon falls back to pensive sorrow. "... so Eri did. And I'm proud of Eri, 'cause enemies must be defeated, but... I keep thinking... what's that do to someone who hasn't spent their life preparing? What happens, when - when someone who was just - normal has to... kill?"
Mikoto swallows, against a lump in her throat. "I don't want Eri to be destroyed by that weight, Yumi. I'd do anything to help Eri now."
Yumi might appreciate that story. ...For her part, she's been painting since she was a kid; all the rumors aside, it's really half the reason she goes to Infinity.
Mikoto sounds so sure about Yumi herself, and Yumi isn't in the mood to argue in favor of her impending demise, so she just nods along. Mikoto... The way she puts it. The enemy. But--"...Yeah," Yumi says. "I love Eri, too."
And she's worried about her, too.
"...Mm..."
The young witch doesn't know what happened with Mikoto or Endo, or really the details of that fight. But she can hear Mikoto's pride, pride that surprises her--a question that surprises her... No, Mikoto has more to her than many believe, many imagine.
"...I think Eri'd still be sad," Yumi says, softly. She doesn't explain. "Hey." She squeezes Mikoto's hand, bringing hers closer again--it's a weak gesture, little strength in Yumi's fingers, but it's there. "I don't know how it'll affect her. I... I've seen death, like that, a couple of times. I don't... I don't like it. But Eri..."
She bites her lip. "You can be there for her, at least. Right? You can spend time with her. Check on her. It might not seem like a lot, but..."
"You can do that."
Mikoto smiles, as Yumi says she loves Eri, too. It's a wan thing, brief, but it's there. Mikoto is glad to hear that other people love Eri, too. Eri deserves all the love in the world.
Especially now, when Eri feels so disgusting.
There is pride, there, and anger, and they are just as brief, such harsh sharp things on a girl who has always been so kind. Surely there's a story to it, but Mikoto doesn't tell. She's too focused on Eri.
Would Eri still be sad, if she had that training? Would she still cry at night, all alone, after killing someone who was so important in her life? Her gaze darkens, teeth grit, staring down at their hands. The edges of those thoughts are obsidian-sharp and dangerous and she cannot, cannot -
Mikoto's hand is pliable, easy to move, and Mikoto glances up at her and smiles again in acknowledgement of the support, her thoughts forgotten. Someone else might protest that Yumi is too sick to be providing this sort of help, but Mikoto isn't going to stop Yumi from doing what she can, knowing what she does about Yumi's inner thoughts.
"Yeah," Mikoto says, after a moment. "... yeah. Even like this, I can... make sure Eri rests. So long as Eri comes, that... must mean Eri needs me, right?" She doesn't realise at all how insensitive those words might seem. "Even though I can't... protect Eri at all... I can listen, right?"
She nods, firmly. And pauses, for a moment, looking to Yumi anew, because there's something in that reassuring statement which she's only just caught.
"... Yumi's seen death before?" Mikoto frowns. "... is Yumi okay?"
It's enough. Yumi can see it.
...Yumi spots that look from Mikoto too, but--when Mikoto smiles again, they seem to be gone. Maybe someone else might protest that about Yumi, but she wouldn't appreciate it very much. It's just moving her hand, how bad is that? How big a deal is that?
...She doesn't say anything about Eri coming to Mikoto and not to her. Yumi knows discretion sometimes.
"Mm-hm," Yumi agrees. "Even if you can't protect her, you can help--and you can help her protect herself by getting enough rest. You can still do something." 'You', of course, is the operative word at the moment, though Yumi doesn't look bitter, doesn't look sad about that much. But--that question...
"I--" Yumi opens her mouth, closes it, shakes her head. "I-it's fine. It was... These men with guns came and... Well, I got taped to a chair. I couldn't do anything. ...But I saw, on the cameras. I saw Kozue... saw Pluto. Saw them--take--I mean--y-you know..." She can't quite say it, even.
"I-it's fine. I just mean I've seen people die." It... doesn't sound that fine.
"Yeah..." Mikoto bites at her lip, as she considers, a heaviness to her tone which suggests she's been thinking about how to help Eri a lot. But everything she could do - she'd need to be better for it. And...
... and she's not sure it's what Eri wants, even if it's the right thing to do.
But those are difficult questions, and Mikoto doesn't air them. Instead, she fields difficult questions to Yumi, and Mikoto's frown deepens as she speaks. There's a flash of recognition, as she mentions Kozue and Pluto.
Setsuna is her beloved friend. Kozue...
... Kozue is an enemy, and she can't have any feelings for her...
But why were they together? "What did Kozue do?" Mikoto asks, automatically, instinctively, without thinking about Yumi's distress at all. It is a sharp, suspicious thing, and those emotions cannot cover over the deeper concern for Kozue's activities, the meaning that girl still has to her.
She realises her mistake a moment later, glancing away. "... sorry." She halts over her words, and they feel so inadequate. "Yumi, doesn't, gotta talk about it."
Yumi thinks Mikoto's that type--to think about it a lot. To think about her friend, who she loves, a lot. It's not that strange, really. It makes sense. ...But they are difficult questions, as.... are...
It's sharp, and suspicious, and Yumi actually flinches with the suddenness of it, her hand twitching against Mikoto's as she looks to her friend in surprise. "A-ah--Um--"
Mikoto apologizes, and Yumi looks more worried than she did before. "N-no, I was... I was being vague, I'm sorry. It's my fault. I shouldn't have just... Y-you know. I'm sorry."
She seems smaller than she did a moment ago, for some reason.
"She--she saved Tsuru-san. By... T-there were these men, with guns, and she... s-she..." Yumi glances away, and looks... queasy. "S-she practically c-cut his head in... h-half..."
Now she looks like she's going to be ill in a much more immediate sense.
The shock and regret are writ immediately on Mikoto's face, looking up as Yumi flinches and stammers. "I--"
I'm not going to hurt you, Yumi, I'd never hurt you, Yumi, don't be frightened, Yumi, I didn't mean to scare you, Yumi, I just didn't think before I spoke, Yumi, this is my fault, Yumi, please, Yumi --
But Mikoto's shallowing breath doesn't give her any of those words, even as her lips shape Yumi's name. She is frozen by the crushing guilt of Yumi's reaction, frozen as Yumi gives her just what she asked for, in a way she never, ever wanted.
Her gaze is fixed on Yumi; she cannot look away. Mikoto swallows, against the lump in her throat.
Mikoto doesn't speak for a long time. She tries - she tries - but her mind is a mess of associations, and the crushing, terrible guilt that she has made Yumi relive something so horrible to her. Her mouth opens, closes, like one of those fish she so effortlessly snatches from the water and brings to Mai to fillet.
But it's Yumi she's cut open, now, and there is not a thing she can do to fix it.
"I'm sorry," she rasps, eventually, against a throat dried by open-lipped breath.
Yumi doesn't see that reaction at first, as she's very much avoiding looking at anything in particular. She of course can't hear the words that aren't spoken--but after a moment she does start to look back at Mikoto again after a few moments, sees her looking at her; she's nervous, of course, and nauseous, and the little beeping of the machine betrays that her heart is beating faster than it was before, makes clear something that she could otherwise want to keep to herself.
But Mikoto apologizes, and Yumi looks up to her again, hesitating... and sighs.
"...No, it's..." She shakes her head.
"I um..." She bites her lip, hard. "I don't like... to think about it. I didn't..."
She can't quite come up with any of the right words, now, not even enough to babble. "Don't worry about me, okay?"
Mikoto should have known, should have thought it through, shouldn't have said the first thing which came to her mind like she always does -
But she did. And now Yumi is upset, and it's all her fault. She says not to worry about her, but Mikoto can do nothing but. Everything is the panic of Yumi Ohzora.
"Didn't," Mikoto struggles, still, finding the words, "mean, hurting Yumi..."
But she did. Because she is such a harsh, sharp thing, and she cuts and cuts, even when she doesn't mean to, even towards someone she never meant to wound. She is frightening and terrible, and she cannot even control herself.
If she hadn't still been occupied with Kozue...
Yumi is right here, Yumi is in front of her, Yumi is her dear friend who she loves and she has hurt her, and Mikoto is stricken by the knowledge.
Is it Mikoto's fault? It's easy for her to think so.
"It's--You didn't, I..." That's not quite true, but it's near true, something she's trying to get at as she looks over at Mikoto again. Mikoto, who is beating herself up and worrying and clearly--
"I just... I-I get surprised. When people get sharp. It's--It's fine, you know? You didn't mean it, no big deal. I just, um..."
The images, nonetheless, are in her mind now, and Yumi closes her eyes but finds that that only makes them clearer.
"I-I'm not... feeling... so great." She bites her lip.
"Don't..." She looks at Mikoto and worries, too. "...Don't..." She hesitates, and leans her head back into the pillow. "Don't... go, okay?"
Sorrow clouds Mikoto's gaze - both figuratively and literally, as her eyes dampen. She finally, finally makes herself look away. She can't bear to see Yumi's pain any more, can't bear to see what she's wrought.
She swallows, again, but the lump won't go away. Squeezes Yumi's hand, gently, so gently. "Won't, leave Yumi alone." She doesn't know why Yumi would want to stay with someone like her, but she cannot deny such an honest plea. Being alone, after all...
... it's the worst thing.
Mikoto still doesn't look at Yumi, as she tries to take deeper, steadying breaths. Tries to order her tumultuous thoughts. "Yumi's... not my enemy. I'd, never hurt Yumi. I want to protect..." ... but instead, all she's done is bring her pain. "Didn't... realise, I was, scary. Not to Yumi. I, didn't mean to..."
It's well that she doesn't have one of those clips on her fingers, hooking her up to those terrifying beep-beep machines.
She shakes her head. "... only sharp 'cause... Kozue's my enemy now." And there's regret there which isn't entirely because of Yumi. "Only sharp to enemies."
It feels so hard to breathe, but she tries her hardest. "Yumi... gonna be okay?"
"...Thanks..."
Yumi takes another small breath, tries to do some of the same things Mikoto is doing--and hears her... explain. It feels wrong, for Mikoto to be apologizing to her like this. It's not her fault. But--
"...You don't scare me," Yumi says, and hopes she can get that across. "I mean, you're my friend."
She hesitates, there, and then looks surprised--and a little sad. "...Oh..." She nods, after a moment. "An enemy, huh..."
Mikoto asks, and Yumi puts on a small smile. Her heart is still beating faster than it should; she doesn't look... great. "I'll... be fine. I just... Have to..." Her breath wheezes a little.
"I'm just tired. Just--"
The image, again.
"Just not feeling great. Don't worry."
Mikoto nods, shakily, when Yumi says she doesn't scare her. It's difficult to believe, but she tries to. Yumi wouldn't lie to her, after all.
"Yeah," she says, of Kozue. Explains her sharpness with two heavy words: "Wasn't always."
But she doesn't explain, because she's worried about Yumi. Mikoto looks up to her, again, with all that guilt and sorrow and eyes a little too misty, as Yumi insists she's all right. "Yumi..."
Mikoto takes another deep breath. "It's okay, if Yumi's upset. Yumi, it was upsetting." She may not know the details, but she knows enough, much of it communicated in the beep-beeps and her wheezing breath.
She squeezes her hand, again, so gently. "If Yumi wants to rest, I'll stay right here, okay?"
That much is true--or, mostly true? It's not Mikoto that scared her, exactly...
"...Mm." Yumi... likes Kozue. She doesn't want her to be an enemy--certainly not hers. But then... Does she get to pick that? Can she even think in terms of enemies like that? People aren't...
"...Okay," Yumi says to Mikoto, and manages a little smile. "Thanks. I'm... It's not you, okay? It's just... it. Thinking."
"...Okay." Yumi squeezes Mikoto's hand. "The chair's not bad, right?"
"I..." She sighs. "At least til the nurse gets here. I'll... have to call her over." She has the button. ...She doesn't press it just yet.
Mikoto can't like Kozue. Kozue is her enemy, and she must destroy her. Even if...
She smiles, back, to Yumi, and it is small and fragile, but it is there. "Okay." It isn't her. She has to try and believe that.
The chair is utterly inconsequential. Mikoto would sit anywhere, if Yumi needed her. So she nods. "Yeah. But if Yumi wants me to rest with you, I can."
She's small. She could probably fit. Her side might protest, but Mikoto isn't worried about that. Neither is she worried by the impropriety of offering; that doesn't even occur to her.
Mikoto glances back, towards the door, wrinkling her nose at the mention of the nurse. "There to make Yumi better, right?" She concedes, after a moment. "So, good to call."
The chair is easy to talk about. It's simple, even. And it is a nice chair. ...But it's not the important thing, no.
Maybe Mikoto would fit--Yumi blinks, at the request, understands it after a moment. "Ah..." She shakes her head. "That's okay. Thanks, but... I um... I need the space a little, right now. I don't want to..."
She gestures, vaguely, and then says, "Right there's okay. A-and I've got a couch too." Over on the other part of the room. She keeps Mikoto's hand, as she gets out the button, and finally presses it.
"Yeah. Yeah, you're right. ...Thanks."
She closes her eyes, and sighs.
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Q: Laravel Auth::guard('api')->user() returning null I am creating REST API with laravel 5.6. For that I am using the default laravel api_token method for authentication.
I made a get user profile api like this
public function getUserProfile(){
        if( Auth::guard('api')->check() ){
            $user = Auth::guard('api')->user();
            return response()->json([
                'data' => $user->toArray(),
                'success' => true
            ]);
        }else{
            return response()->json(['errors' =>  array('status' => 401, 'detail' => 'Authentication error.'),'success' => false], 200);
        }
    }

Route is like this:-
Route::get('getuser', 'Api\Auth\LoginController@getUserProfile');

This is working perfectly on my localhost.But when I put it to a server subdomain it returing unauthenticated every time.
Basically the authentication failure everytime.If anyone have any suggestion that will be very help full for me.
Thanks a lot in advance.

A: try this code in your api routes file (api.php)
Route::group(['middleware' => ['auth:api',]], function () {
Route::get('getuser', 'Api\Auth\LoginController@getUserProfile');
});


Contributed by the Computers and Information Division of ASME for publication in the JOURNAL OF COMPUTING AND INFORMATION SCIENCE IN ENGINEERING. Manuscript received September 7, 2012; final manuscript received June 2, 2015; published online August 3, 2015. Editor: Bahram Ravani.
Ontology measurement is an important challenge in the field of knowledge management in order to manage the development of ontology based systems and reduce the risk of project failure. Effective ontology measurement is the precondition on which the meaningful and useful ontology evaluation can be made. We propose a framework to normalize representation of ontologies for their stable measurement, where the semantic enriched representation model (SERM) is proposed as the unique representation for ontologies. By the normalization framework, we provide a four-step procedure to extract ontology entities and calculate measures based on SERM model. Both the theoretical analysis and the experimental results show that our framework is effective and useful to perform stable ontology measurement. It is suitable to measure more expressive ontologies. This framework enables users to perform automatic ontology measurement without much expertise knowledge about ontology programming and reasoning.
Gomez-Perez, M. , Fernandez-Lopez, M. , and Corcho, O. , 2004, Ontological Engineering: With Examples From the Areas of Knowledge Management, E-Commerce and the Semantic Web, Springer, London.
Alexiev, V. , Breu, M. , Brujin, J. , Fensel, D. , Lara, R. , and Lausen, H. , 2005, Information Integration With Ontologies: Experiences From an Industrial Showcase, Wiley, Chichester, UK.
Ding, L. , Finin, T. , Joshi, A. , Pan, R. , Cost, R. S. , Peng, Y. , Reddivari, P. , Doshi, V. , and Sachs, J. , 2004, "Swoogle: A Search and Metadata Engine for the Semantic Web," 13th ACM Conference on Information and Knowledge Management (CIKM), Graz, Austria, Sept. 4–6, pp. 652–659.
Gangemi, C. , Catenaccia, M. , Ciaramita, J. , and Lehmann, J. , 2006, "Qood Grid: A Metaontology Based Framework for Ontology Evaluation and Selection," 15th International World Wide Web Conference (WWW2006) Workshop: Evaluation of Ontologies for the Web (EON2006), Edinburgh, UK, May 22.
Tartir, S. , Arpinar, I. , Moore, M. , Sheth, A. P. , and Aleman-Meza, B. , 2005, "OntoQA: Metric-Based Ontology Quality Analysis," IEEE Workshop on Knowledge Acquisition From Distributed, Autonomous, Semantically Heterogeneous Data and Knowledge Sources, Houston, TX, Nov. 27.
Ma, Y. , 2010, "Towards Stable Semantic Ontology Measurement," Ninth International Semantic Web Conference (ISWC2010), Shanghai, Nov. 7–11, Posters and Demos, pp. 21–24.
Ensan, F. , and Du, W. , 2010, "A Metric Suite for Evaluating Cohesion and Coupling in Modular Ontologies," Conference on Modular Ontologies (WoMO 2010), Toronto, Canada, May 11.
Rudolph, S. , Krotzsch, M. , and Hitzler, P. , 2008, "Description Logic Reasoning With Decision Diagrams: Compiling SHIQ to Disjunctive Datalog," International Semantic Web Conference (ISWC2008), Karlsruhe, Germany, Oct. 26–30, pp. 435–450.
Motik, B. , 2006, "Reasoning in Description Logics Using Resolution and Deductive Databases," Ph.D. thesis, University of Karlsruhe, Karlsruhe, Germany.
Ma Y, Wang C, Jin B. A Framework to Normalize Ontology Representation for Stable Measurement. ASME. J. Comput. Inf. Sci. Eng. 2015;15(4):041001-041001-7. doi:10.1115/1.4031011.


Note: I received an ARC copy of The Croning.
It's rare that I read a book and think to myself, I could never have written this. Call it hubris, pride if you will. It just doesn't happen.
I could never have written Laird Barron's The Croning, and I consider that the ultimate compliment.
I'm a naturally optimistic guy, and it shows in my writing. I like keeping hope alive, and so even when I write horror, it tends to have a hopeful tone. The Croning is not hopeful. It is not sunny. It's dark man, way dark.
Don and Michelle are what I suppose might be the typical academic couple. He's a geologist who spends most of his time doing boring things with rocks, while Michelle is a globe-trotting anthropologist, searching to the ends of the earth for lost civilizations and ancient, hidden knowledge of world's beyond our knowing. Michelle's curiosity threatens to kill the cat, however, as she and Don find themselves in a world of nameless cults that worship the god known by many names, though his friends call him Old Leach.
So that's the prosaic description. It's inaccurate. Don't believe it. In fact, ignore it all together. The book descends into beautifully written insanity from the first page, and it never lets up. Barron writes like Hemmingway might have if he weren't so boring. (Though I did like For Whom The Bell Tolls, but I digress). The Croning isn't a novel; it's an amusement park ride. You read the first sentence and the bottom falls out. Good luck holding on to the end.
But if you survive, you will have experienced something special. A twisting and spiraling descent into madness, The Croning is the kind of book that burrows into your brain and has you jumping at shadows. Laird Barron has managed to create a universe as black and uncaring as any since H.P. Lovecraft. Not for the faint of heart, but if you can bear to step out of the light, The Croning will teach you why all men fear the darkness.