SmartZoom is a threatening software that might look worthwhile; but in reality, it's an unwanted program that can provide you troubles. SmartZoom will never do the things which it supposed to do. Shockingly, it perhaps even causes failures and magnifies the quantity of current OS failures. Truly, SmartZoom might only affect your PC.
Apart from the mutual lessening of system's performance, SmartZoom as well induces the drop of computer's defense grade. Right after the installment, SmartZoom will fastly flood your PC with various hype. The work of SmartZoom will initiate the download and installation of other undesired utilities on user's PC, and the number of these soft will rise exponentially, until the computer barely won't launch.
While user clicks on any commercial, man practically invites the thousands of adware to infect the computer. This takes place, because virus modifies the options of user's system, to help the new viruses to infect the OS easy and fast. Later on, it gives man tons of links to the corrupted web-pages, and the man will click though at some of them. But this is not even all of SmartZoom's features! Except that, SmartZoom restlessly saves all data about man's doing, and transmits it to Internet-scammers. It might be not really serious information, as the catalogue of search queries, but if you'll use any account, using the infested computer, it will, probably be lost. Any passwords, which were typed from the laptop, with live SmartZoom, must be switched as quickly as possible. Now you realize, that SmartZoom isn't simply an annoying soft - it's an extreme risk to cause the serious issues!
There's the last question: will man truly permit these troubles to emerge, or not? Customer must not to await and hope, that the malware will be merciful and won't ruin the PC. The correct, and the one reasonable technique is to remove SmartZoom once and for all!
SpyHunter is a software with superb abilities that will support customer to uninstall a dangerous software just like SmartZoom. SpyHunter will certainly safeguard your OS from adware assault and in addition detect and erase trojans. If you'd like a software that will be able terminate SmartZoom or other harmful utility, you're heading the right way.
SpyHunter is a unique tool for its high level of shield from any perilous application which can do significant harm to your system. SpyHunter may easily be used along with other antivirus. By using a friendly program interface, this anti-virus program is easy to launch and to execute. It absolutely will shield customer's notebook against all dubious virus attacks and potentially dangerous programs. Ensure that you update SpyHunter's virus definitions and you'll get a 100 % protection from harmful utilities. Virtually all antivirus lately instantly kick off by themselves and do scan for the programs before they run, download or install. This will help to slow up the peril of any malware will penetrate user's PC.
Choose SmartZoom and press button "Remove from Opera"
Though, that SmartZoom is very perilous, and can call a lot of problems to the man, its distribution is legal. This is so, for the reason, that SmartZoom is not installed by itself, it is obligatorily to confirm the installation. Frequently, the box to confirm the installation is putted amid the multiplicity of different windows, which arise, in time, when you install some kind of soft. Users hate to read the installation prompts, and they try to rapidly skip all these menus by checking "ok" everywhere, and not looking. Similar tactic let adware infect lots of devices every year. If customer wants to strengthen the system's defense, he has to be more watchful.
SmartZoom could probably look beneficial and invaluable, but on the other hand, it can compromise your system security mainly because professing to be beneficial is any one of its duties. Under no circumstances be trustful to its treachery and do not be misguided by any one of its adverts as this malware is highly intrusive and harmful. It will rapidly start ruining the computer, and if he won't take immediate actions this undesired soft will carry on to bring him problems. Thereby, do a great favor to yourself, and get rid of the SmartZoom as quickly as possible. You will not be sorry for acting like this, because straight after the uninstall, the mutual level of productiveness will momentarily increase. So, secure yourself and your PC!
You can't make use of programs from anonymous websites. In most cases, these programmers generally attach adware or viruses to their software. In case you still need to apply such a software - keep an eye out watch closely on the installation process.
It's unwanted to visit the web-sites with improper articles and other content. In many instances, the viruses get into a personal computer from internet sites, that present sexually graphic material, merchandise "for adults", or websites which you could download and install any type of unlicensed software.
File haring sites and Torrent sites are very risky, because when you are downloading a file, you have no guarantee of its accuracy. Whatever you're wanting to download, you can get various unnecessary files, or a risk of infection by a number of viruses and malware. You'll understand it only if you'll unpack or install the program.
Do not instantly open mail messages from mysterious users. Such messages can consist of the large array of undesired software, which range from adware and hijackers, with the more extreme forms of destructive program.
And above all, really do not forget the anti-virus software program. Your anti-viral software will definitely shield your system from multiple hazards, and will definitely find the virus, which you might not notice.


text:
On the Weather in Penelope Fitzgerald's The Gate of Angels (1990)
Posted on February 26, 2014 by banff1972 under Uncategorized
One of the projects I'm working on during my sabbatical is an essay on the English writer Penelope Fitzgerald (1916-2000), so I'm haphazardly and happily reading and re-reading her novels.
I recently finished The Gate of Angels, which was new to me. It's delightful, like everything by Fitzgerald I've read. One of my aims in the essay is to describe that delightfulness as precisely as possible.
"Angels" in the title is overdetermined. It's the fictional Cambridge college St. Angelicus, the conventional description of nurses, and even the metaphysical, religious, spiritual entities that we might think of first. St. Angelicus is devoted to the study of science, which, in 1912, the year of the book's setting, means primarily the study of the nature of matter, particularly atomic and sub-atomic matter. Fred Fairley holds a Junior Fellowship at Angels. Contrary to the instructions of his position, which is that like all Angels' Fellows he must remain a bachelor, Fairly has fallen in love with a woman he has literally crashed into, Daisy Saunders, a (former) nurse trainee. There are complications to this love, even beyond the risks to his career. He does not, for example, know Daisy's name, or indeed almost anything about her. And after a single night that he spends next to her, in half-consciousness, in a makeshift ward where the two are brought after a traffic accident he doesn't even know where she is. The careering of these and other characters is an analogue for the movements of sub-atomic particles. But Fitzgerald's novel is never schematic, not even in its treatment of the relation between science and faith. In so many ways the book could be tedious or heavy, but it is always light, quicksilver, and yet so careful.
But I don't want to go into the book at length here. I want instead to share a reflection prompted by its terrific first paragraph:
How could the wind be so strong, so far inland, that cyclists coming into town in the late afternoon looked more like sailors in peril? This was on the way into Cambridge, up Mill Road past the cemetery and the workhouse. On the open ground to the left the willow-trees had been blown, driven and cracked until their branches gave way and lay about the drenched grass, jerking convulsively and trailing cataracts of twigs. The cows had gone mad, tossing up the silvery weeping leaves which were suddenly, quite contrary to all their experience, everywhere within reach. Their horns were festooned with willow boughs. Not being able to see properly, they tripped and fell. Two or three of them were wallowing on their backs, idiotically, exhibiting vast pale bellies intended by nature to be always hidden. They were still munching. A scene of disorder, tree-tops on the earth, legs in the air, in a university city devoted to logic and reason.
You want to read more, of course. And you should! The book is terrific, so subtle and smart. Several important themes are introduced already in this vivid anecdote: danger, disorder, blindness. Even more than these, though, what most strikes me, especially as a way of understanding the novel's abrupt ending, is the suggestion of felix culpa, the good fortune that arises from bad. The trees are uprooted; but the cows are showered in delicacies. The cows are overturned; but still they munch away. Licensed by the repetition of the double l in "wallowing" and "bellies," I transpose the words and hear "bellowing." Fanciful, I know, especially when it's exactly fear and rage that is absent here. The world is turned upside down in these lines, but that might not be a bad thing.
Reading from the perspective of 2014—and here I finally approach my real subject—I don't know how much to attribute the delight and ease at the heart of this dangerous, even disastrous situation to the supposed innocence of the time of the book's setting or the time of its writing. Of course, to speak of innocence at all here is foolhardy. Fitzgerald's wit and irony make short work of the idea of the innocence or naivety of the past. (Gate of Angels had been preceded, two novels before, by one called, acerbically, Innocence.) But for readers today, at least this reader, it's hard not to read apocalyptically, at least when it comes to the weather. Writing in 1990, when discussions of climate change were beginning to gain broader currency, though nothing like the sort they have today, Fitzgerald might herself have been pointing to a climactic innocence that she already suspected we can only dream of, but I think it is the reader of today who is more likely to experience the pathos I'm referring to.
What I mean is that I was struck—reading this book in the week when much of England was under water, when the Thames barrier had been shut for days—by just how little there is to worry about in the weather of this passage. Yes, the tempest is dangerous to cyclists. But the plot of the novel will show that romance might arise from that very danger. (It is central to the plot of this novel that cycling is a dangerous but exciting way to travel.) Similarly with the cows: the weather's not fine, but the eating's good anyway. Only the suffering of the trees seems unredeemed.
The poignancy of the passage, for me, is its suggestion that this scene of disorder is only that, a scene, an interregnum. Everything is topsy-turvy, but it won't be forever, and besides, it's good for things to get topsy-turvy once in a while. That's not the feeling I have when I think about our "topsy-turvy" weather today. I think about the tip of the iceberg, about the end of all things, about the world I am leaving my daughter. I think, in other words, apocalyptic thoughts. And I just can't find any fortune in this particular fall.
More generally, I wonder whether scenes like this—and, even more powerfully, less ironic and pointed scenes of landscape and weather in older novels, say those by Eliot or Hardy or Lawrence—won't be the most estranging and most enticing parts of literature to future generations, assuming those brave new people will even have the means or desire to read them. Already I marvel at the safety of weather in literature of the past. Even when it's terrible, it's not the end of life as we know it. Again, I know there's something both morbid and defeatist in my assumption that bad things must lead to ruin. But I also think there's something even more perverse in denying that drastic change is happening.
Do these thoughts strike a chord with anyone else? Can others imagine that future readers will glory in the "weather porn" that is the English novel just as contemporary readers and viewers (Jane Austen, Downton) relish the nostalgia of servant labour?
An Unsuitable Job for a Woman–P.D. James (1972)
I have a testy history with P. D. James. I've read a few of her more recent books (most recently her Jane Austen-as-Golden-Age mystery A Death at Pemberley, which passed through me without leaving a trace), but never been able to warm to them, even if they're competent enough as mysteries. Mostly I can't get past how insufferable I find her hero, Adam Dalgliesh. I guess I don't care for thoughtful, poetic, dreamy detectives, especially when they bludgeon everyone around them with their rectitude and wisdom. (I abandoned Susan Hill's Simon Serrailer series for the same reason.)
But I've long been curious about this novel, precisely because it doesn't star Dalgliesh. Also, my friend Rohan Maitzen values it highly, as you can see here. So when I recently came across a lovely little British paperback edition, snug enough to fit in a pocket, I snapped it up.
An Unsuitable Job for a Woman is about Cordelia Gray, a young woman who inherits the Pryde Detective Agency ("We Take Pride in Our Work") when she comes into work one morning to find the corpse of her partner and mentor, Bernie Pryde. Unlucky Bernie—"in some undramatic but positive way life had turned against him" (how double-edged that "positive")—takes his own life after learning that he has cancer. It's hard to know how we should take Bernie. He has been drummed out of the force, which makes him seem disreputable. He takes Cordelia under his wing, acting as a somewhat bumbling, avuncular figure to her, which makes him seem sympathetic. But whether his failures are sinister or charming, the most important aspect of his character is that he retains a place in the male-dominated world Cordelia wrestles with throughout the book.
Cordelia's conflicted feelings about Bernie are encapsulated in her relationship to his gun. She admires the fortitude of his decision to slit his writs rather than to shoot himself, so that the gun hidden in his desk drawer might come to her rather than the police. Yet this gun—which Bernie taught Cordelia to fire, lessons deemed important enough to be presented in some of the book's few flashbacks—causes Cordelia no end of worry. You can read the book as a woman's quest to give the gun back to the patriarchy without being punished for having had it. In the end, the gun is no match for intelligence (hers in particular, women's in general). And yet it comes in handy on more than one occasion, whether or not it is fired. Neither Cordelia nor the novel simply dismisses its violence, power, and, perhaps, pleasures. And yet even as I write about the triumph of intelligence over force, which at some moments in the book seems the same as the triumph of women over men, I'm not so sure. I take one of the book's central questions to be: Is there a female justice that requires women to evade male law? And yet Cordelia and James alike value the law. Indeed, James's own ambivalences—it is by no means clear that she is progressive in her attitudes towards politics, gender, class, or indeed any other category—are a large part of what gives the book its power.
We don't know exactly why Bernie has had to leave the force—he tells Cordelia he was invalided out, but later on we learn that's not the whole story—but we do know that the person responsible for firing him was his superior, none other than then-Inspector, now-Superintendant Adam Dalgliesh. You might think Bernie would be embittered to the man, but, no, he regularly offers Cordelia bits of the master's wisdom, prompting her to wonder caustically (Cordelia is appealing for several reasons, one of which is that she's not always nice) "whether this paragon had actually existed or whether he had sprung impeccable and omnipotent from Bernie's brain."
At first I enjoyed what I thought was an amusing moment of self-criticism or at least self-deprecation on James's part here—a joke at Dalgliesh's and thus her own expense—but soon I was disappointed to see that Dalgliesh's wisdom, translated through Bernie's remembered instructions and teachings, accompanies Cordelia throughout her investigation of the case that falls in her lap in the days following Pryce's death. And in fact Dalgliesh himself makes a brief but important appearance at the end of the book in which he makes it clear that he knows both that Cordelia has perverted the workings of the law and that he is unable to do anything about it. That would seem to be a vindication of Cordelia's methods—she doesn't fool the great Dalgliesh but she does checkmate him—but the more important fact is that his recognition is required to validate her talent. (If he's impressed by her, she really must be impressive.) This turn of events had me wondering about the book's politics. Is the idea that a female detective can only work against the law? Or is it that the efforts of that detective are only meaningful in the paternalistic, all-knowing if not all-efficacious eyes of the (male) law? I would prefer the former to the latter, but then we'd need to read Dalgliesh's presence ironically and I don't see any indication that we're supposed to.
It's fitting that James's motives here are obscure, because the case Cordelia is called on to investigate is all about motive. Mark Callender, the son of the prominent research scientist Sir Ronald Callender, has killed himself just weeks after withdrawing from college. Sir Ronald wants to know why and hires Pryce to find out, ostensibly because of Pryce's one big success but actually because of Pryce's many failures. But by the time Sir Ronald's amanuensis/partner, the formidable Miss Leaming, arrives at the agency to offer him the job, Bernie has just been cremated and there's nothing for it but to take on Cordelia, who, after all, is herself most unpromising as a detective, being only 22 years old and a woman to boot, which means that she is in Callender's eyes quite promising. Of course Cordelia is much more competent than Bernie and she makes good headway with the case, which is genuinely suspenseful, and becomes even more interesting when its resolution moves first from "why?" to "who?" (it's hardly surprising that the suicide is really a murder), and then to the need to disguise the truth that Cordelia has so painstakingly and dangerously revealed.
At first I found it strange and unpersuasive that Cordelia should identify so strongly with Mark. (She moves into his cottage, wears his clothes, reads his books, etc.) But later I came to see her fascination as necessary for the book to explore one of its chief preoccupations. Contrary to what the title, and indeed many of my comments so far, might suggest, gender is not the only thing James is interested in. "Job" not "woman" is the most important word in the title. In other words, this is very much a book about class. Cordelia—who has had a fascinating upbringing that the book treats with admirable lightness, just enough to make some further parallels between her and Mark (which I won't go into here in case anyone actually plans to read this book and my discussion hasn't yet given everything away)—has not been to university. Asked by Mark's don which college she is at, she responds tersely, "None; I work."
That work, the investigation of Mark's death, takes her into the heart of Cambridge college life. The students and other young people she meets (Mark's friends, lovers, tutors, acquaintances) are presented perhaps not quite as hippies or members of the counter-culture (remember the book is from 1972), but certainly as opposed in values and life-style both to mainstream society and, more importantly, to Cordelia. Had James made her main character older, the book's depiction of youth culture would have been about struggle between the generations. (There's some of that going on in the Endevour films shown on PBS last year.) More interestingly, however, she pits one kind of young person against another. (On this view, the book is about Cordelia's struggle to claim Mark, who after all has left college, for her side, as it were.) Mark's friends are at once seductive and irritating to Cordelia, and, it would seem, to James.
But the book's class politics are just as complicated as its gender politics. Cordelia might have less money than many of the students she is investigating, but she has just as much if not more cultural knowledge than they do. (She knows the plots of Pinter plays, recognizes a Rubens from a distance, buys a second-hand volume of Keats on her day off.) Indeed, a surprising aspect of the book is the way it equates college life with middle-class, mass-culture vulgarity. Feeling belittled by Mark's friends she "comforted herself with the censorious reflection that they were as bitchy as guests at a suburban cocktail party… hotbeds of snobbery, spite and sexual innuendo." To be sure, the passage criticizes Cordelia a little here—the reflection is "censorious," after all—but I can't help but feel it agrees with her, and praises her besides for her self-knowledge. Mostly, her problem with college life is that people in it don't work very hard, don't finish what they start, don't follow procedure. There's a telling moment when Cordelia finishes a job in the garden Mark had left half-done, fork still in the soil, on his death, even though this means destroying evidence. The unfinished job is "unbearably irritating" to her. Cordelia's love of order and procedure fits uneasily with the idea we might want to have—and that the book sometimes gives us—that, as a woman, she is a renegade in her society. Instead, her values align with the legal and criminal system that she can never really be a part of (at the end of the day the police have to be called in). Nor does she fit in with the academic world that you would think would share her cultural values.
James is least interesting to me when she indulges in censoriousness, even if in the guise of criticizing it. That's when she feels fussy and joyless to me. (For whatever reason, this quality is encapsulated for me in her fatal attraction to the word "fawn" when describing clothes. No one ever wears brown, only fawn will do. This tic is everywhere in James's work.) Instead, it's when James stops praising Cordelia for her good opinions and lets her inhabit the strangeness of her position as one who doesn't fit in anywhere that things get really good. For this reason, the novel's best moment comes when Cordelia is rescued from a well in which she has become trapped and almost drowned. Her rescuer is a woman whose child had indeed drowned there years earlier. Cordelia's gratitude is breathtakingly perfunctory: mostly she hates the woman's sense of hysterical relief at the chance she has been given to do something she couldn't do years before. So Cordelia repudiates her, sends her away. No solidarity, female or otherwise, there. It's gripping stuff.
I see that James only returned once to Cordelia Gray, and that almost a decade later. I wonder why. Gray is a fascinating character, one I'd be happy to spend much more time with. Perhaps the spell of Dalgliesh (which is to say, of a certain kind of male authority, even superiority, all the stronger for appearing as it does in the guise of such a sensitive character) was simply too strong. Perhaps James's conservatism won the day. Whatever the reason, in An Unsuitable Job for a Woman James wrote something pretty great, something smart and suspenseful and, most interestingly, something hard to pigeonhole. I've got the sequel, if that's in fact what it is, on order from the library. I'll be curious to see what light it sheds on this intriguing, worthy novel.
Am I Reading this Book?
Below are some thoughts I put together last summer when I first started thinking about this blog. They have to do with what I'm reading at any given moment, and more grandiosely what it even means to say I'm reading something—topics which, for many, are doubtless completely straightforward but which, for me, take up an inordinate amount of psychic wherewithal. The specific examples from my nightstand have changed since last summer, but the questions they pose remain.
How do you know when you're reading a book?
A question with an obvious answer, surely. Because I'm reading it, that's how. But at any given time I've got plenty of books in various states of being read, such that the concept of "being read" starts to lose meaning. For example, right now I am definitely reading David Copperfield. I've been plugging away at it most days for two or three weeks, a decent chunk at a time. Unlike the first two times I tried to read it, when I stalled out at around page 100, I'm definitely reading this book—before long I'll be finished and then the answer to my initial question will be clear. Nope, all done.
I'm also reading a Donna Leon novel, kind of nibbling away at it around the edges, ten minutes here, fifteen minutes there. Pretty soon I'll finish that too.
But what about those books on my to-be-read pile? From one perspective (my wife's, say), most of the house is a TBR pile. I've got hundreds, maybe thousands of unread books, and unrealistic plans to get to all of them, eventually. In my experience a pretty sure-fire way to not read a book, or to not read it for a long time, is to put it on a shelf. It immediately ossifies, gets hard to even pick up. But I have a more defined TBR pile, though it's more a cluster on and around my nightstand than a discrete pile. There are books I have more or less vague plans to get to soon—volume one of Knausgaard's My Struggle, an Icelandic crime novel M recommended. But then there are the books—more troubling both psychologically and in terms of categorization—I actually have started reading. Take Rebecca, for example. I read the first half at the beginning of the summer, and, although I loved it, I eventually lost interest, thanks to my familiarity with the film. I still plan to finish it, though, so I guess I could plausibly be said to be reading it.
But am I reading the J. G. Ballard novel I read the first 30 pp of back in the spring? Or the book by Alan Bradley that's been stashed in the drawer of my bedside table for a couple of years? (I unaccountably left off after enjoying its first three-quarters—well, perhaps not unaccountably: I often don't finish books I've been reading on the way home from a trip. Somehow, the books can't make the transition from that world to my everyday one.) Or what about that new Michelle de Kretser novel that I dipped into the very evening it arrived from Amazon but was disappointed by, all the more so after loving her last one, the unjustly neglected The Lost Dog?
It appears that reading, for me, is closely tied up to finishing. I suppose that's why I'm so drawn to narrative (rather than poetry, say, or drama.) Plot propels me forward. All plots tend deathward, we learn in Don DeLillo's White Noise. And death is certainly relevant to this topic. Finishing a book means being able to get on to the next one, and the next one after that, and, eventually, the last one, on that day (happy? sad?) when I'll have read all the books.
Sometimes I can step back from my compulsions just long enough to get dispirited by them. And then I'm glad that my position as a member of what Roland Barthes once called "certain marginal categories of readers (children, old people, and professors)" requires me to re-read. Barthes explains that "those who fail to reread are obliged to read the same story everywhere," a line I never fail to remember when picking up yet another police procedural or when reading yet another middling review of contemporary so-called literary fiction in The New York Times.
It's also true, of course, that books put aside (but temporarily, thus still in the position of "being read") can be hard to return to. I really enjoyed the opening to that Ballard novel, but the details are hazy now. In fact, I've forgotten almost everything except an image of a couple driving a fast car on a dusty road in the South of France. Does that mean I'm not reading it?
Such thoughts make me wonder about the many books I have indeed read. Can I really be said to have read them, if I remember hardly anything about so many of them? (Sometimes, especially with crime fiction, I can't even remember whether I have read them at all—at least I can't overcome that uncanny feeling that a book feels awfully familiar, and I can't tell if it's because of the repetitions of the series or because I have in fact read it before.) These feelings become especially acute when it comes to the books I teach. I need to teach a book three or four times before I really feel comfortable with it, able to recall its incidents and details without difficulty and grasp clearly its shape or pattern. By the measures of memory and recall, I haven't read that many books at all.
Maybe it's necessary to have these half- or partially-read books, these ghostly companions. Maybe they are what power or give meaning to our "actual" reading. Or maybe this distinction between what I've actually read and what I haven't is spurious, even pernicious. Maybe the only thing that matters is simply reading, in the gerundive, infinitive sense—without completion, without cessation.
My nightstand looks quite different now. (Correction: it looks exactly the same, littered with splayed and stacked books. But the titles are all different.) I didn't finish Rebecca, or the Ballard, or the de Kretser. At some point, in a fit of literary housekeeping, I put them all back on my shelves. The Bradley is still tucked away in that drawer. I did finish David Copperfield, and that Donna Leon, and the Icelandic novel. And I just last week read the Knausgaard. (Post forthcoming here.) Those books are gone, replaced with some other ones I'm "reading." War & Peace, for example, which in a fit of determination I decided I would read on my sabbatical (I'm on p. 25). And Sarah Waters's Tipping the Velvet, which I adore but still for some unknown reason left off at p 100 several months ago. And Trollope's The Warden. And the second volume of Knausgaard.
What about you? What's beside your bed (or wherever you keep your pile)? Do these anxieties ring true for you, or is your relation to reading healthier than mine?
Necessary Errors–Caleb Crain (2013)
Posted on February 6, 2014 by banff1972 under Uncategorized
I haven't enjoyed a work of contemporary fiction this much in a long time. It's engrossing, funny, poignant, smart & beautiful. Crain writes for various publications, including The New Yorker, often on topics related to 19th century American literature and culture. He has an interesting blog. This is his first novel. I'm very curious what he'll do next.
Here's the opening paragraph:
It was October, and the leaves of the oaks around the language school had turned gold and were batting light into its tall windows. A young Irish woman was seated alone in the teacher's lounge. She had made herself a cup of tea on the range in the corner, and she was opening a tangerine on a paper napkin, with hungry carelessness.
The setting is not Ireland—after all, if it were, the young woman's nationality wouldn't need to be named—but Prague. The time, we'll learn, is almost a year after the Velvet Revolution. The young woman, Annie, is not our protagonist, as we might have expected. That claim goes to Jacob Putnam, introduced laconically in the next paragraph—"one of the American teachers walked in"—and interestingly unnamed for the next couple of pages. In addition to being American, Jacob has just graduated from Harvard and only recently come out, mostly to himself, as gay. Although it's not immediately apparent in the novel's initial interaction, Annie will become Jacob's close friend, a member of the group of young people, mostly foreigners, whom the novel follows. Jacob is always center stage, but the group is important, and one of the book's many nostalgic pleasures is remembering how people used to meet up and get together (or fail to do so) before we could contact everybody all the time. (Jacob rents a basement suite from a Czech family; the stratagems required to be able to use the family's phone is a minor, amusing subplot.)
Let's return to that opening paragraph. Referring to the school where Annie and Jacob and some of the other characters work, a bit desultorily, the novel, already in its first sentence, introduces the topics of communication and language. In so doing, it encourages us think about the book's own language. The paragraph is representative: here and elsewhere the prose is careful, quiet, syntactically straightforward. The novel is resolutely realist in its depictions. I hope I haven't made the style sound safe or uninteresting. Crain is not a flashy writer, but he is an elegant, thoughtful, and sometimes sneakily dazzling one.
Consider the marvelous touches apparent in the opening—the use of "batting," for example, odd not only because it anthropomorphizes the leaves, but also because of what it has the leaves do. We usually say that light shines through leaves. But here the leaves do the work—except it's gentle, playful work. (The best kind of work, or not work at all?) "Batting" is a funny word: it ought to be violent (most of the things you do with a bat are pretty forceful), but it actually signifies lightness and ease. Those are not qualities we would ascribe to the passage's final phrase—Annie opens the tangerine with "hungry carelessness." Whose description is this? The omniscient narrator's? Mostly there is no such thing; the narration usually hews closely to Jacob's perspective. (There are only a handful of moments when we know things he doesn't yet.) But how could this be Jacob's free indirect discourse when he hasn't yet entered the room or the novel? Is the description a moment of self-criticism on Annie's part? Wherever it comes from, the content of the phrase—suggesting abandon, need, urgency—is at odds with the controlled quality of the prose, and it gets at the sense the book's characters have of having been given the opportunity, by virtue of their privileged Western backgrounds, to live all they can, to devour new opportunity, to enjoy their relative ease in this beautiful city in which they can think endlessly about themselves, each other, art, love, life, etc. Yet even when the characters do things that are hungry or careless or both—when their innocence is disabused, when a lover takes up with another, when they argue, usually out of their depth, about politics—they do so gently, if not always kindly.
At least a few readers seem to agree that the book isn't like much else in American fiction today, and the decorum, for lack of a better word, of the book's characters and events—which is real, but which I fear might give the wrong impression of the book as precious or twee—might account for that response. I'm thinking of some of the blurbs on the jacket—though when one of those writers compares this book to Musil's Törless, a remarkable if disagreeable novel with which Crain's has absolutely nothing in common, I have to wonder—but also, more substantially, of Norman Rush's review in the NYRB. Rush has a lot of shrewd things to say, though I think his conviction that the novel is first and foremost about the idea of utopia says more about his own fiction than about Crain's.
Although I don't read very much American fiction, I'm inclined to agree the book seems unusual. For one thing, it's not about America, or, rather, it's about America in the way Henry James's novels of Americans abroad are. Which is another way to say that it's really quite a bit about America, but, more than James, even, it takes seriously the foreign surroundings in which the Americans abroad find themselves. I won't say too much about James here, partly because I don't actually know his work that well—enough about The Ambassadors to know that it's in the background here, a kind of intertext Crain gestures to—but mostly because the book is ahead of me. It references the Master, but suitably ironically: Jacob knows James only through an essay about a famous James's story that he read in college (never named, but clearly Sedgwick's "The Beast in the Closet").
We can see here how delicate and slippery the novel's presentation of its protagonist is: we are allowed to feel equal to, or possibly a little bit superior to, Jacob, in this moment and others. But we feel for him too. We aren't asked to look down on him. The book doesn't have a condescending bone in its body. At the end of the book, on the bus from Prague to Paris, Jacob luxuriates in the dramatic, rather selfish thought: "Now I know what it feels like to go into exile." He doesn't—his life has been nothing but privilege and safety. And yet the book doesn't just make fun of him; Jacob is losing something real here, the sense of possibility afforded him by his time abroad. This is what I mean when I say that the most central thing about this book is its generosity.
Maybe that generosity comes from its sense that books are central to life. In general, it's a book that loves books. Jacob finds out that he read the same children's book as a unrepentant Danish Communist with whom he otherwise has nothing in common: "Love for the book lay sudden between them, an awkward intimacy." Coming across a store filled with English-language books at British prices, Jacob "fell into a reverie of imaginary possession; he was visiting the books in his future library; they were prisoners he could not yet free." He even meets his Czech lover, the wry, sad, and life-affirming Milo, at a bookstore. (Milo gets a lot of good lines: when Jacob's pet hamster dies, just days after Jacob finds an exercise wheel for it, Milo suggests it be read "as a warning to Americans.") But books, as these lines suggest, lead to desire. Desire—sometimes for sex, but more often, in the hungry way of the opening passage, for experience—finds its way into every part of the text. Here are Jacob and his friend Melinda, who experiences perhaps more than anyone else in the book, sitting in a courtyard: "The grass at their feet fluttered, like a boy's hair being smoothed." Their conversation is just as poised between comfort and the erotic. Later, when Jacob's friend Carl, on a visit from the States, meets Melinda, his "silly talk" takes on more flourish than usual: "He seemed to be laying it out for Melinda's unacknowledged admiration, and perhaps comfort, like a coat over a puddle, to be taken for granted." I love that coat—to say nothing of that devastating "unacknowledged."
What does it mean for a book that seems to do everything so right, so elegantly, to be named after things that go wrong? What are necessary errors? Mistakes we can't help but make? False solutions that turn out to be solutions, such that we're glad we made them, can't see how we could have done otherwise? Crain's title is like his book: a bit opaque, prompting reflection, increasingly pleasing at least for those who find pleasure in mulling things over.
As I've said, Jacob and some of the others work as language teachers. Some of the book's necessary errors are linguistic, the kind that come up when one is learning another language, or when one lives between languages. Jacob is always telling his students what native English speakers typically say, which means he is put in the position, necessarily faintly ridiculous, of correcting others. One of the book's pleasures is its depiction of the happy distortions of non-native speakers. And that goes both directions. Crain gives us Jacob's hesitant Czech in a pleasingly formal English (which has something, I gather, to do with the Czech language, and something with Jacob's haltingness). The inadvertent poetry of the second-language speaker sometimes seems to infect the novel's own prose, like in the "batting" example from the beginning.
Maybe it's not surprising I loved the book: in many ways I'm its target audience. Although I'm neither American (yet) nor Harvard-educated nor gay, I was about the same age as the book's characters when the Wall came down, and I spent the year immediately afterward in Europe (though in Switzerland, so I didn't experience first hand that sense of dreamy possibility and anxiety Crain depicts so well). And I too wanted to write and didn't write much and relished the chance that living in a different place gave me to become a different person. But it does Crain's novel a disservice to talk of a "target audience." To be out of fashion or out of step with prevailing trends, if that's in fact was this book is, could of course also be a kind of branding. But I think the novel will appeal to all sorts of readers, especially those who have ever plunged into a foreign country or language. That's certainly a privileged position to be in, and maybe those not materially fortunate enough to have been able to do their growing up abroad, to say nothing of those who have been forced or chosen to live in a place not their home for a lifetime rather than an extended visit might find this novel a bit precious. But Crain's sure narrative touch means that the book is always just a little bit more critical of its characters than they are themselves (and they're hardly narcissists). The striking thing to me—what really separates the book in a good way from the cultural climate of the day, is that its criticism is so kind, so affectionate. Its irony is gently, not scathing, but it cuts all the more deeply for that.
My only visit to Prague was in 1992; the economic and political situation might have solidified a bit from the one depicted in the novel, but my (rather hazy) memory of the city, where I only stayed a few days, was of a place still between things. I remember entering a little grocery. Each aisle—there were only three or four, narrow, not exactly laden with goods, but not bare either—was patrolled by an employee. I reached up to take something from a shelf and received a stern rebuke. Apparently I wasn't to do that myself. The employee took down whatever it was and placed it in my basket. At the time, I could only think of this as at best bemusing and at worst as inefficient and hopeless. But thanks to Crain's lovely novel I'm reminded by how little my younger self knew, how clueless he was about the consequences of the changeover for Czechs and Slovaks, how spoiled and sheltered (complaisantly, vaguely bien-pensant liberal though it may have been) his perspective on life was—and yet also how open that younger self was to new experiences, how fearful and yet how brave, how in thrall to the idea that nobody here knows who I am supposed to be, and therefore how not entirely to be condemned from the position of hindsight by the putatively older and wiser self I am today.
This blog is intended to help me write more frequently, with luck more fluently. Most people who write, even those who write a lot, find it hard. At least, that's my hunch (hope?). I certainly do. Which is a problem for an academic, especially one who spends a lot of time teaching writing. I'm always telling students that writing doesn't come naturally or easily to people. It happens only as part of a lengthy (maybe interminable) process. So to write well you have to write a lot: start, revise, revisit, eliminate, stop, start again. As a young child, I never enjoyed writing much. I didn't dislike it, I just didn't think about it much one way or the other. I was always more of a reader. But when I was ten, I spent the summer with my family visiting our extended family in Switzerland and at my mother's prompting I kept a travel diary. I wrote entries for every day of our visit, even when I got behind a few times. The first entries were short, only two or three laconic lines about weather. But soon they became more and more elaborate. When I returned to school in Canada that fall, Language Arts became my favourite class, especially when we got to write stories. So the title of this blog pays homage to the place of my first writerly successes, if I can put it that way.
I don't intend for this blog to be particularly personal, at least for now. Instead I'll be using it as a place to reflect on the things I've been reading, whether for work, pleasure, or both. ("Reader" is still my primary marker of identity.) But I also believe that one's reading is intensely personal—aspirational, developmental, revelatory of one's (desired and actual) selves—so readers will be seeing into one of the most meaningful parts of my life.
As to the style or form of these entries, well, that too is up for grabs. My plan for now is to aim to create small pieces of literary criticism that are (I hope) intelligent and sophisticated but not academic. The goal would be something like the work I've done for Open Letters Monthly except shorter, more provisional, less structured. Essayistic, maybe, but not actual essays. I don't read much straightforward academic work, because I don't like much of it. (I suspect this is true of many academics.) These things are mostly written only because they have to be—for (meaningful) professional rewards—rather than because they need to be. Not always true, of course, but judging the work I've reviewed over the past several years, mostly true. But there are other models beyond the academy for intelligent criticism, and in a small way I want this blog to be a way for me to help me figure out how I might contribute to that effort.
Finally, I've always been envious of the community that springs up around the lit blogs I like best. I'd be so pleased if something similar developed here. So please comment!

redpajama_set_name: RedPajamaCommonCrawl


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NewsSouth AfricaGauteng
Wits University students sing and dance near gate 7 on empire road. Johannesburg/Braamfontien. 15/10/2015 picture: Nqobile Sithole
Wits prof: Underfunding is the issue
By TEBOGO MONAMA, KATE MORRISSEY AND PINKY MANI Oct 16, 2015
Johannesburg - Acting vice-chancellor and principal of Wits University Professor Andrew Crouch says that even if the university didn't increase fees, there would still be people unable to afford the current costs.
"Even if we increase the fees by zero percent across the board, some students will not be able to afford the fees. The core issue should be the underfunding of institutions," he told The Star on Thursday.
He is acting as the head of the university while vice-chancellor Adam Habib attends the national Higher Education Summit in Durban.
Wits students have since Wednesday embarked on protests over the planned 10.5 percent increase in study fees for the 2016 academic year.
They believe the high fees are a way of excluding poor students from attending the institution.
Habib 'not responding' to demands
#WitsFeesMustFall shuts down campus
Anger erupts at Wits over fees
Wits fees gripe 'legitimate', says Habib
Video: Wits students clash with cops
#WitsFeesMustFall protest pictures
Wits students slam demonstrations
Wits fees protest: The song
Wits cancelled Friday lectures owing to student protests over proposed hikes in fees.
The institution, however, said the medical school would remain open.
On Thursday morning opened tensely at Wits, with students blocking the university gates for the second day. This time, however, they faced off with police.
The police came to the rescue of the driver of a car after the students blocked the way as he was leaving campus. The police gave the students a two-minute warning to let the car go.
"I was worried for my life," the man said.
The students continued to dance and chant at the university's two main gates throughout the day.
One student held a sign that said "This undercover racism at Wits outsmarted the apartheid system". And someone had taped a sign to the gate that said "Education is not a debt sentence".
Crouch said: "We are not trying to exclude poor students. The university tries to assist where possible."
He said the university was able to stretch its National Student Financial Aid Scheme allocation to accommodate 800 more students.
Two-thirds of Wits students, he added, receive financial assistance. He said the university council was the only one that would decide whether to revisit the fee increase issue.
"The university council tries to moderate fee increases, but higher education is underfunded throughout the sector. There is pressure on finances and we need a larger subsidy from the state.
"We have to increase fees so we don't compromise the quality of education," Crouch said.
Their projections show they will get a 5 percent increase in their subsidy from government, he added. Crouch added that, as a cost-saving measure, the university had tried to cut back on subscriptions to international journals.
"We are looking at cost-cutting measures. With the journals, we are also finding that it is more expensive to buy the journals individually than in a general subscription. We are hamstrung by the dollar-rand exchange, but also, how far are we supposed to cut?"
He said while the institution was worried about the bad publicity due to the protests, only a small group of students were taking part in them. Crouch said only 300 of the 30 000 Wits students were taking part in the protests. He added that videos circulating online showing protesting students being attacked by police officers and other no-protesting students were one-sided.
"They (protesting students) aren't innocent. They are walking around campus with sticks. Why do they do that? They didn't allow staff and students to leave the campus. There are selective depictions and not the full story," he said.
Crouch said some non-protesting students had opened cases with the campus police.
* E-mail your opinion to [email protected] and we will consider it for publication or use our Facebook and Twitter pages to comment on our stories. See links below.


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The Hydrogel Technology, which has great dermal affinity, will allow Retinol 8 and the other actives to penetrate the skin, and provide up to 30 hours of moisturization keeping your skin hydrated and soft.


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Nicki Minaj »
Concore Entertainment Signs a Global Distribution Deal with Sony; 'The Takeover 2' Project Is On The Way
Eldorado2452 September 24, 2019 0
Concore Entertainment has signed a global distribution deal with Sony/Orchard and CEO Charve The Don says "I'm very excited about being a part of the Sony family, they have a great initiative proven system
Queen Latifah Chimes in on Nicki Minaj's Retirement, "She'll Be Back!" (Video)
MariaMyraine September 9, 2019 0
Last week, Nicki Minaj took to social media to announce her retirement; shocking all her fans! The announcement came in light of Nicki's personal wants – she wants to focus on starting a family!
Nicki Minaj Announces Her Retirement!
It appears as though Nicki Minaj is hanging up her mic. Earlier today, the "Queen" rapper shared an announcement on Twitter. Publicity stunt, or a genuine Tweet? We all have to wait for confirmation
Remy Ma Supports Nicki Minaj's Decision to Confront Joe Budden!
MariaMyraine August 20, 2019 0
All beef aside. Remy Ma is siding with her former Hip Hop nemesis, Nicki Minaj, in light of recent events. As you know, Joe Budden made some claims about Nicki on his podcast. Nicki
Nicki Minaj Remixes Pop Smoke's "Welcome To The Party"
Pop Smoke is the latest rapper from New York to build an underground record up this year, as his single "Welcome to the Party" has taken over the streets of the city. The song
Nicki Minaj Put Rick Ross On Blast!
In recent episode on Queen Radio, Nicki Minaj faced off with Joe Budden. So it was only right for The Joe Budden Podcast to play host to the Queen. During her recording on the
Things Got Heated Between Nicki Minaj & Joe Budden on Queen Radio!
Nicki Minaj recently celebrated the one-year anniversary of her top rated "Queen Radio" on Apple Music's Beats 1 yesterday. And had a special episode lined up with Joe Budden, Rory and Mal of "Joe
Megan Thee Stallion – Hot Girl Summer Ft. Nicki Minaj & Ty Dolla $ign
Oktane August 9, 2019 0
Houston's Megan Thee Stallion took over the season when she coined the phrase "Hot Girl Summer" setting social media on fire with females claiming their independence. Now she's back with the official anthem with


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Q: Почему кнопка не срабатывает? Всем привет!
есть код:
import sys
from PyQt5.QtWidgets import*
from PyQt5.QtGui import QFont
from PyQt5.QtCore import QTimer

app = QApplication(sys.argv)

#СОДАНИЕ ОКНА
root = QWidget()
root.resize(450, 250)
root.move(500, 300)
root.setWindowTitle('simple')

#ФУНКЦИЯ С ЛЭЙБЛОМ
def lab():
  newLabel = QLabel(root)
  newLabel.setText('Hellow Wrold')
  newLabel.move(10, 50)

#КНОПКА
button = QPushButton('Button', root)
button.move(10, 10)
#КЛИК НА КНОПКУ, ПОСЛЕ КОТОРОЙ БУДЕТ ВЫЗЫВАТЬСЯ ФУНКЦИЯ С ЛЭЙБЛОМ
button.clicked.connect(lab)

root.show()
sys.exit(app.exec())

но кнопка Button не работает (тоесть, когда я нажимаю на нее, функция lab не запускается), а главное если в функции lab прописать print('Hellow World') и вызвать код через консоль - то по нажатию на кнопку, в консоли выведется "Hello World"..
спасибо

A: В lab() последней строчкой добавьте newLabel.show().

redpajama_set_name: RedPajamaStackExchange


text:
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Home » Southwest Industry News for June 2021
SouthwestSouthwest Construction News
Southwest Industry News for June 2021
The state-of-the-art courthouse solves several challenges concerning security, technology and future growth.
Image courtesy Johnson Carlier
KEYWORDS Arizona / Courthouse / Mortenson Construction / Safety / school construction
Construction is complete on the Mohave County Superior Court in Kingman, Ariz. The four-story, 66,000-sq-ft building, built by Arizona's Johnson Carlier, is located east of the existing courthouse, which was built in 1915. The buildings are connected by an enclosed corridor, thus preserving the history of the old courthouse and making it part of a new complex that will offer improved security and state-of-the-art technology that will allow victims to view court proceedings in a secure area.
"This is a signature project for Johnson Carlier because of its place in the Kingman community and the many lives it will impact over time."
— Tom Harrison, SVP & Managing Director, Johnson Carlier
Crews began work on the $20-million facility in 2019. More than 1 million lb of structural steel and more than 128,000 lb of metal deck were used in construction. Other notable highlights include nearly 28,000 pieces of main structural members and parts, with nearly 35,000 linear ft of material.
AP Team Tops Out San Tan Valley Charter School
Adolfson & Peterson Construction recently topped out Ridgeview College Preparatory High School in San Tan Valley, Ariz.
The school is a tuition-free, nonprofit public charter high school that aims to help students get an early start on college, trade school or other career-focused learning.
AP began construction on the 37,000-sq-ft project in March, and completion is expected in early July. Designed by Carhuff & Cueva Architects, the campus will feature a regulation-size gymnasium, science labs and technology-enhanced classrooms. The school also includes indoor-outdoor spaces that will provide students with comfortable, flexible learning environments.
Mortenson, Trade Partners Achieve Key Safety Milestone
Image courtesy Mortenson
The Arizona office of Mortenson says that the firm and its trade partners have not had a recordable job-related illness or injury in the state for an entire year. Mortenson estimates this safety milestone was achieved by more than 1,000 team members and trade partners who performed more than 800,000 hours of work across 14 projects in the state. Mortenson crews reduced safety hazards through a variety of practices, including 5S, scheduling and planning, quality management and collaborative execution as well as by establishing comprehensive safety cultures on its projects. The firm's current projects include the Hyatt Place in Phoenix, the new Multi-Purpose Arena for Arizona State University and The Beam on Farmer (shown below in progress), both located in Tempe.
Southwest Industry News for January 2021
Southwest Industry News for March 2021
Best Practices for Post-Pandemic Safety: What Needs to Stay in Place
Top Design Firms
Design Firms Lean on Technology for Better Productivity, Profits During Pandemic
Top Contractors
Contracting Firms Expect Recovery to Improve During 2021
Tweets by @ENR_SW


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Third Period Collapse
Posted by Darren on Jan 20, 2012 03:00
This one hurts! After scoring near the end of the first, the Devils managed to hold off a struggling Bruins hockey club all the way up until the ever so fatal third period, where Boston came out of the woodworks and punched in three un-answered goals and an empty netter to stun New Jersey and walk away with two points with the help of a couple of missed calls and a bad call (in the eyes of Devils fans) on David Clarkson which, in turn, led to a Bruins powerplay goal allowing them to pull within 1 point of Conference leader New York Rangers.
Two total penalties in the game and a fight between Brad Mills and Gregory Campbell were all that were accounted for in regards to minors and majors. In the third period, it was the one penalty called on Devils winger David Clarkson at the 5:37 mark of the third is what wound up being the finisher ultimately in this evening's contest. Clarkson was called for hooking in the neutral zone.
With 90 ticks left on the clock in the first period, Petr Sykora lit the lamp above Bruins goalie Tim Thomas with his twelth goal of the season which was set up by current linemates Zubrus and Elias getting the secondary assist. Aside from Sykora's goal, dominant play by Jersey's 3rd and 4th lines were key in tonights game, despite the loss. Highlight player of the bottom two lines was by far Cam Janssen. Cam absolutly LEVELED Andrew Ference in the corner in the Boston zone. Janssen recorded 2 shots on net with 7:25 minutes worth of ice time and concluded the evening -1.
In a scoreless, and penalty-free second period, New Jersey continued to hold off Boston with all around fair and solid play. With a handful of opportunities for BOTH teams and a couple of shots ringing off of iron on both nets, the teams each recieved their fair share of luck for the evening. New Jersey out shot Boston 12-6.
The third period was all but sealed up. Boston applied pressure though early on in the period, scoring and tying the game one goal a piece 181 seconds in as a shot fired by Andrew Ference for his 3rd tally of the season. Ference's goal was assisted by Shawn Thornton and Gregory Campbell. Before the 10 minute mark, Boston would strike for two more goals to ultimatly put the game out of reach for the utterly silent New Jersey team who hadnt struck for a point of their own since the 1st period. A powerplay goal (yes, a powerplay goal scored on the Devils, the number one PK unit in the NHL) scored by the offensive powerhouse Nathan Horton assisted by David Krejci seven minutes and ten seconds in the third… 35 seconds later, Gregory Campbell gets his 5th of the year, and second point of the night (first on an assist on the Ference goal). Campbell now has 4 points in 3 games played against New Jersey this season. Shawn Thornton set up yet another goal this evening finishing the game with no goals, 2 assists, 2 points, +2 rating, and had 1 shot on net in ten and a half minutes of ice time.
The Devils seemed out of it. Tired, deflated, and out played through this point, despite the hot start out of the gate for the first 45 minutes of play. As we've learned before, to win the game, you need to dominate for the whole 60 minutes, as Winnipeg learned on Saturday night (read more here). New Jersey coach Pete DeBoer pulled Brodeur for the extra attacker with just under two minutes left in the third period as it left the Devils defenders scrambled. A block shot out in front helped keep the score 3-1, allowing New Jersey to set up a play down ice, which, inevitably, resulted in a Devils turnover which allowed Bruin Chris Kelly to get his 14th of the year on the empty net to make the game a three goal defecit. The score would remain the same. The Devils were dropped, late in the third, once again by the Bruins, at home, in the month of January.
The Player of the Game this evening comes from the opposition, tonight, Bruins goalie Tim Thomas is awarded as the Player of the Game this evening shutting 30 of 31 shots faced in 60 minutes of play this evening with a save percentage of .968% improving his overall season save percentage to .936, ranking 3rd in the league amongst goaltenders. Thomas' victory tonight was his 19th of the year and 180th of his career (459 behind Martin Brodeur, who was credited with the loss). Thomas' record improved to 19-9-0.
Saturday afternoon the Devils will play host to Atlantic Division rival Philadelphia in their third game at home and third against Philly this year. New Jersey is 1-1-0 in two matchups versus the Flyers being outscored 6-4 in those two meetings. The game will take place at 1:00p.m. Saturday, January 21st at Prudential Center. This will be the second to last game played before the NHL All-Star break in which Devils rookie defenseman Adam Larsson and Devils rookie forward Adam Henrique will participate in representing Jersey's Team.
Fan attempts to wrestle ball away from Adrian Gonzalez, later gets ejected (video)The Sports Daily
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Five biggest coaching gaffes from Week 1 in the NFLThe Sports Daily
Five Takeaways from Week 1Guru QB


Level* Please choose your level of ability 1: I have absolutely no snowboarding experience. 1+: I have snowboarded before and am learning how to slide. 2: I'm able to slide and to stop. On easy terrain I can already do some turns. 3: I'm a regular snowboarder and manage "blue" as well as some "red" slopes in a sliding position. 4: I'm almost a "racer"! I manage steep slopes and am working on turning over the front side. 5: I can turn and stop whenever I need to, I enjoy steep slopes and/or like to do tricks on the slope or in the park.
Level Please choose your level of ability 1: I have absolutely no snowboarding experience. 1+: I have snowboarded before and am learning how to slide. 2: I'm able to slide and to stop. On easy terrain I can already do some turns. 3: I'm a regular snowboarder and manage "blue" as well as some "red" slopes in a sliding position. 4: I'm almost a "racer"! I manage steep slopes and am working on turning over the front side. 5: I can turn and stop whenever I need to, I enjoy steep slopes and/or like to do tricks on the slope or in the park.


text:
WWE Responds To Wrestling Inc. Story About RAW Wrestlers Being Tested For The Mumps
By Doric Sam |October 20, 2017
The WWE has issued a response to WrestlingInc.com owner Raj Giri's exclusive story about the company testing members of the RAW roster for the mumps. In an email, a WWE official sent a link to a press release announcing major changes to Sunday's TLC pay-per-view and later sent this official statement:
"We have confirmed that three of our performers have been diagnosed with a viral infection. As a precautionary measure, we are ensuring in-ring performers and staff are tested and immunized in accordance with recommended medical guidelines."
As reported earlier, Kurt Angle will be replacing Roman Reigns in the main event, teaming with Seth Rollins and Dean Ambrose to face the team of Braun Strowman, The Miz, Sheamus and Cesaro, and Kane in a Tables, Ladders and Chairs match. AJ Styles will replace Bray Wyatt in a match against "The Demon" Finn Balor.
WWE had apparently originally tested some talent for viral meningitis, and discovered that the illness is believed to be the mumps. Mumps usually takes several days to a week to disappear, so it is unclear how long the infected superstars will be out of action. Since the infected superstars are part of the RAW roster, it is not yet known if SmackDown talent will also be tested for the virus.
Follow Wrestling Inc. on Facebook.
Kevin Owens Responds To Tweet On His Weight, WWE Survivor Series Creative News, Total Bellas Clips
Candice LaRae On Her Dream To Work Full-Time For WWE, Reflecting On The MYC, Wrestle Circus
AEW Announces Jon Moxley's Return


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The Peaceful South of Crete
Chora Sfakion Χώρα Σφακίων is located 75 km from Chania town on the island of Crete in Greece. Located in the region of Chania, it is the capital of the region of Sfakia, a unique and proud mountainous region and people of the island. The town is also known as Sfakia.
This is a small seaside village with a big history. The history includes insurrection against invaders, in most recent times the Venetians and the Turks, and then resistance during the second World War in what was known as the Battle of Crete.
Daskalogiannis - a famous Cretan resistance leader - was born in the village of Anopolis just 10 km from this village. He is one of the proudest sons of the Sfakian region.
Today the industries are fishing, shepherding, olive production and tourism. Travellers here tend to be the more adventurous hikers and independent travellers seeking authenticity. The modern Sfakian people pride themselves on their hospitality.
Chora Sfakion Beaches
There are many beautiful, almost untouched beaches near Chora Sfakion. There is a small town beach called Vrissi, while to the west a 20 minute walk along the coastal footpath arrives at Ilingas Beach with a taverna.
A walk track further west comes out at Sweetwater Beach also with a tavern. There are many taxi boats called Delfini daily visiting to this and other beaches. Nearby also are Amoudi, Filaki, Vatalos and Frangokastello beaches.
There are naturist beaches at Sweetwater, Filaki, at the Vritomartis resort beach and Mamaris beach.
Sweetwater Beach
Ferries of the South Coast
Anendyk Ferries travel along the south coast of Crete
Ferries leave here for the beaches of the south of Crete and the remote villages of Loutro, Sougia and Agia Roumeli, ending at Paleochora in the west of the island. Ferries also depart from here to Gavdos Island.
The company that runs the ferries is named Anendyk, they publish timetables online every year (see below), many visitors come through Sfakia village to take these ferries to one of the remote seaside villages, or walk along the south coast trail.
There are daily bus services from Chania town to Sfakia with KTEL, the local bus service, check the timetables as they differ in summer and winter and you will need to ensure your ferry links up with your bus.
Anendyk timetables - ferries from Chora Sfakion
Hiking in Mountains & Gorges
This region is dominated by the Lefka Ori - White Mountains and includes Samaria Gorge, Imbros Gorge, Aradena Gorge, Omalos Plateau and Askifou Plateau.
The nearest gorge to Sfakia is Imbros Gorge Φαράγγι Ίμπου Faragi Imbrou which begins at Imbros on the Askifou Plateau and ends after 11 km at Kommitades about 5 km from Sfakia. The walk is much less well known than Samaria, but just as beautiful and less strenuous.
Livikon Hotel - a small hotel right in the village, just a heartbeat away from the port. It is run by the local Dourountakis family; they will look after you. Views over the harbour, simple, friendly, clean and good value. There is a good taverna downstairs, which is the place for fresh seafood, try the octopus, and don't forget the local speciality - Sfakian pies with honey (they are like pancakes, see below).
Sofia's Lovely Rooms are close to buses, boats, shops and tavernas, cafes and harbourside dining. Find a friendly greeting, sea views and modern rooms.
No Problem Suite is luxurious and stylish with sea views and all conveniences. Perfect for your south coast summer holiday. Very central in Chora Sfakion.
Vritomartis Naturist Resort - is 2.5 km out of town with its own private beach and complete resort facilities, this is a very popular destination in Crete, as there are many naturist beaches dotted all over the south coast.
Σφακιανή Πίτα - Sfakian Pie - like a yummy pancake with local honey
Exploring Around Sfakia
The sea is the most beautiful and peaceful attraction of this region. The clear water and lack of industy make the waters perfect for wildlife and exploring. Local brothers Domulis and Lefteris Tsirintanis runs snorkelling and diving from Chora Sfakion Notos Mare Diving Centre. All the beaches and coves of the south can be explored with charter boats including Gavdos island, the most southerly point of Europe.
A must is a visit to the high village of Anopoli and the blissful bay of Loutro. Hiking is excellent here – the European Walking Track E4 passes through here.
Two hikes from Chora Sfakion to Loutro Village
Frangokastello Beaches
Just 15 km to the east along the coast is the beach side village of Frangokastello. It takes its name from the Venetian Castle built there in 1371, which is now in ruins.
Stories say that the castle was the site of a dramatic battle in 1828 between Cretans and Turks. Many were killed in this battle and now it is said that their ghosts rise up on the anniversary of the battle (late May to early June). The visions of the rows of soldiers are seen during the morning, at the time of the dew, so the apparitions are referred to as 'those of the dew' or drosoulites Δροσουλίτες.
Nearby villages for those wanting to explore inland and find the real character of the Cretan mountains include Anopoli, Aradena, Agios Ioannis, Asfendou, Askifou, Imbros and Kalikratis.
There are daily bus services from Chania to Sfakia with KTEL, the local bus service.
KTEL bus timetables from Chania to Chora Sfakion and return
Video Sfakia
Sfakians are also well known for their dancing skills...here you see traditional Cretan music and dance group performing in front of the Xenia Hotel in Chora Sfakion, with the beautiful Libyan Sea sparkling in the background...
There is a village in Chania called Roumata and this dance is from that village, it is named the 'Roumatiani Sousta'.
This video below shows the whole region of Sfakia including the village of Chora Sfakion, the gorges and mountains, seas and beaches of this beautiful rugged area.
Images Sfakia...
Ilingas Beach
Frangokastello Beach and Castle
Map of Villages of Crete
See the location of Chora Sfakion on the map of Crete...
When you book with our car rental partners - Rental Centre Crete - you are supporting a local company with excellent service and an easy online booking procedure. We are sure you will be well looked after by Harry and his team. Choose from hybrid or non-hybrid vehicles.


text:
On his birthday, BSF jawan dies in Pak firing, India strongly retaliates
A jawan of the Border Security Force (BSF) deployed in Samba sector of Jammu has died in firing by Pakistan. Around 4.15 pm today Pakistan targeted BSF troopers along the International Border. India strongly retaliated and heavy exchange of firing has been going on between the two sides in Samba and Hiranagar sectors.
The trooper, Head Constable RP Hazra, was from Murshidabad in West Bengal. He had been with the BSF for 27 years. It was RP Hazra's birthday today.
According to official figures, a total of 820 incidents of ceasefire violation by Pakistani troops were reported in 2017 as against 221 in the year before. Yesterday Army Chief General Bipin Rawat said an 'aggressive strategy' has to be maintained in dealing with ceasefire violations by Pakistan and indicated that the force has been responding effectively to such incidents.
General Bipin Rawat was responding to a question on the Army's strategy to deal with repeated ceasefire violations by Pakistan along the LoC in Jammu and Kashmir.
'They (Pakistan) are doing it (violating ceasefire), but we are responding to it, but an aggressive strategy has to be maintained ('Wo kar rahe hain, hum bhi kar rahe hain, lekin aggressive strategy to rakhni padegi na)," he told reporters, on the sidelines on an event.
Since the beginning of the year, the Army pursued an aggressive anti-terror policy in Jammu and Kashmir, at the same time, forcefully responding to all ceasefire violations by Pakistani troops along the Line of Control with a tit-for-tat approach.
Genaral Rawat said, India wants to live in peace, if 'two neighbours living in a colony, have an issue, one of them can choose to move house. But, as nations we can't do that'
BSF Jawan, Cease fire, India, Pakistan
Rajinikanth calls on Karunanidhi to seek blessings
Achari Murgh Recipe


text:
The One Ring Forums: Tolkien Topics: Movie Discussion: The Lord of the Rings:
**20FD - some thoughts on London's Science Museum LOTR exhibit
Greenwood Hobbit
**20FD - some thoughts on London's Science Museum LOTR exhibit Can't Post
It made a huge impression on me, so many things from the films to admire at close quarters and so much exquisite craftsmanship and detail. Hope my comments below bring back some memories for anyone who saw it.
LOTR Museum Exhibition
The entrance was dark, obscured by large posters, compared with the hall outside. From the shadows above hung down Elven banners, the White Tree of Gondor banner, the Rohan banner that ripped from the post when Eowyn was watching Aragorn�s arrival. They swayed slightly in the draught of all the movement below. The exhibition area was very dimly lit, all the lighting focussed on the exhibits to set them off to best advantage. Different lighting effects were projected down onto the floor in some areas; blue light through branches by Lorien exhibits, gold and brown patchy effect near the entrance, dappled light as through leafy trees, square grid effect by Moria display. This was very attractive and quite subtle. Throughout were placed panels of explanatory text and inset screens where people could watch short documentary excerpts � some from the dvd specials, some unique to the exhibition.
Costumes were displayed, beautifully illuminated behind curved glass screens set into the display panels, with a rear view also available from the other side of the panels.
The entrance area was dominated by the Dark Lord Sauron, towering ahead of visitors, spotlit with white and backlit with red, armour displaying incredible decorative detail not visible in the film.
Scale double Frodo (near mithril shirt, Sting, Red Book, Phial of Galadriel)
Arwen � Riding dress and requiem dress (near sword) graceful and wearable
Aragorn�s travelling outfit, looking authentically lived-in
Legolas (with bow, arrows, quiver, knives) simple and stylish
Theoden�s armour, incredibly finely detailed, with many horse motifs
Gandalf the Grey (real men do wear handbags�!) with Glamdring nearby
Saruman the White, (or slightly off-ivory, to be exact) with staff
Dwarf from Council of Elrond (Gimli�s costume being used in NZ)
Galadriel, beaded white dress, glittering slightly in the faint movements of air, lit in a Lorien-style pale aqua, and looking absolutely ethereal.
Elven, Rohirrim, Orc, Uruk-Hai and Southron armour and weapons
Ringwraith very dimly lit and oozing menace (with swords and crowns nearby)
Costume drawings, fabric swatches for Arwens� outfit.
Neat touches like mud on the hems of robes and soles of boots.
Boromir laid to rest in the Elven boat was there, looking scarily realistic.
Models of all sizes were there; maquettes in �Super Sculptey� of Treebeard, Uruk-Hai, Cave Troll; also an enormous Moria background with cave troll, and Moria Orc clinging to the wall. Lurtz snarled in all his menacing glory, red-lit and lurid. There was a bust of Treebeard, with incredibly lifelike eyes that seemed to look straight into your heart.
There was a cabinet of cluttered manuscripts from the library at Minas Tirith, and a collection of odds and ends from Orthanc, including the book open at the �shadow and flame� page, and a Palantir in its own little case.
There was a short staff and a telescope from Rivendell, and a bigature of the mill at Hobbiton, with turning mill wheel, which was used in the �scouring� sequence. Three months to make, three seconds on film.
Numerous weapons were on display. Apart from those mentioned above, there were the shards of Narsil, Uruk-Hai weapons, and Dwarf axes. There was a gruesome selection of what passed for ornamentation in the Orc and Uruk Hai style manual � teeth, bones, skulls, mercifully anonymous scraggy bits, etc. Harness and facepiece for the Ringwraith�s steed was on display too, as well as Theoden�s saddle. Three were rings � Narya, Nenya and Vilya, and the Ring of Barahir. The silver Elven circlets were beautiful and intricate, as well as belts, buckles etc. Three sizes of Elven brooch were displayed, coloured much more subtly than the �replicas� sold by Noble etc. Galadriel�s brooch with its lustrous mother-of-pearl centre looked stunning.
Two sizes of the famous pan-laden Gamgee backpack were shown, as well as pottery mugs large and small, and strips of fabric in different scales for Frodo�s and Merry�s braces. There was also a selection of well-worn hobbit feet behind a glass panel (fortunately � hate to think what they�d have smelt like!) and an example of Sam�s ear.
Original drawings by Alan Lee and John Howe were on display as well, which were fine and delicate.
The One Ring was in its own circular enclosure, very dim, with flame border around the wall, and the inscription projected and roving round the area. The Ring itself was suspended in a glass column looking as if it was in mid-plummet into the Cracks of Doom. Snatches of speech, quotes about the Ring, were playing in the background.
The overall effect was of stunning attention to detail, carefully designed and applied even when it could not have been visible on screen, and tremendous love and pride in the work, allied to first class craftsmanship. There was a real feeling of history about the whole exhibition. The costumes and armour were breath-taking; but it�s hard to single out any one thing when it was all so impressive.
Wow, thank you for the memories. [In reply to] Can't Post
Until reading this, I had completely forgotten about the exhibition. What year was it? I must have been 13/14ish years old at the time, but, for some bizarre reason, I had forgotten how brilliant it was. Thank you for bringing back all these memories.
These are that details that I specifically remember:
There was a bust of Treebeard, with incredibly lifelike eyes that seemed to look straight into your heart.
And this one, really made an impression on me at the time. Out of everything, it just looked so real. It really was Boromire laid to rest:
There was also a photo opportunity (at the start) using some version of forced-perspective (or was it just a green screen?) so you and friend could sit on a wagon and recreate the scene through the Shire as Gandalf and Frodo.
(This post was edited by dernwyn on Apr 28 2019, 7:30pm)
Oh Danielb, best laugh of the day! Thank you! [In reply to] Can't Post
Did you see the typo in the last line of your post? Yes, Cheshire Cat and I did the 'sitting in the wagon' perspective photo opportunity - great fun. Glad you enjoyed the memories. It was a sensational exhibition. I can't remember which year it was, but I was still working (managed to visit it twice while in London for work purposes) so I think it would have been before summer 2004.
Oops! I'll get that typo fixed by a mod! [In reply to] Can't Post
In the last half hour, I have managed to dig out the photo of my sister and I on the wagon
Yes, I seem to remember that the Orthanc statue was missing when I was there and I'm sure there was some sort of sign saying it was being used for filming. So it must've been, at least, before the extended edition of The Return of the King was released.
On a somewhat related note, did you manage to also see the LOTR musical in 2007/2008?
Didn't see the musical, sadly [In reply to] Can't Post
though someone I worked with saw it and enjoyed it. I did however manage two visits to see/hear the music being performed live at the Royal Festival Hall, conducted by Howard Shore. That was quite something! Had my programme signed by the great man, too.
May 8 2019, 3:42am
Thank you so much for this [In reply to] Can't Post
I was able to visit this exhibit when it was in Indianapolis in 2005 along with a bunch of sib... Indy Moot! You have so much more detail of what was there than I remembered and the mood of the exhibit... which is just as important, imho. The low lighting not only created an ominous ambiance, it made it so much more intimate. Easier to block out the other people who were there. Just thinking about it here puts me right back there... moving through the different items and standing in front of those incredible costumes and props.
The way the Nazgul dagger was suspended above my head with the blade facing down in a Frodo POV, I remember how struck I was at the horror of that broken, pitted blade. It looked evil and violent. It still makes me shudder.
One of the most jarring props was Boromir lying in the Elven boat with that eerie glow beneath him, mud still on his boots and his hands folded on his chest holding his sword. Not to sound maudlin... I was shocked because he looked so much like my Dad who passed away in 1977 at 59yo.
I couldn't stop looking at Frodo's costume, the Red Book, phial.. I just love his green Shire cloak. The costumes were so intense for me. The detail, textures, beauty... just stunning. One of the things I found myself fixated on the most were Frodo's suspenders. The blend of different blue thread in a sort of herring bone pattern. They were beautiful and so delicate. Then to see them ragged from the Quest is so moving. And they were there next to Sam's pack. I could imagine them rattling with that unique mix of sounds that followed him like the tags on my dog's collar. That sound became a part of him.
There's an incredible sketch by Alan Lee of Bilbo sitting at a desk in the Rivendell Library that I just fell in love with. So much was there. I was overwhelmed being surrounded by what felt like magic to me.
In the 2 days we were there, I made it back to the exhibit as often as I could.
And I also made it to the LotR Musical when it was in Toronto in 2006. I loved it so much! It was incredible when gollum came out of an opening high on the wall to the left of the stage as if he was following Frodo and Sam. Being sneaky and spider-like as he crawled out onto the wall and then moved back in. So spooky! The same actors that play Frodo and Sam... and I believe gollum, too... were in the show you must have seen :)
Thank you for this. It's incredible to be back there again in my heart and memory :) *warm hug*
We have been there and back again.
TIME Google Calendar


I have written and presented on the reflective cycle or Socratic teaching and learning in various places. If you are interested in more of this topic, just go to my joanwink.com pages and use the Search button (bottom left).
In this WinkWorld, I will share a small piece of a new chapter in a book coming soon from Roman & Littlefield; our editors are Mayra Daniels and Kouider Moktari. I had the pleasure of writing this chapter with Kerry Britton, Dee Hawksworth, Tammy McMorrow, Debra Schneider, Chyllis Scott, Ruthie Wienk, and Dawn Wink. Our purpose was to share authentic stories of critically-grounded reflective teaching and learning from various elementary, secondary, and high education classrooms.
The specific pages of the citation will be added when the text is available. I will share on WinkWorld, when we receive it.
Wink, J., Britton K., Hawksworth, D., McMorrow, T., Schneider, D., Scott, C., Wienk, R., & Wink, D. (2015). Socrates returns to the classroom. In M. Daniels & K. Moktari (Eds.), Meeting the challenges of the changing demographics using assessment of instruction that makes a difference in EL's success (pp. ____-____). New York, NY: Roman & Littlefield.
In what follows is a little peek into our chapter on Socrates in the classroom.
Dear Readers, I bet you are wondering, Why Socrates? Socrates was a thinker, and his thoughts still matters today, as he gave us inquiry-based teaching and learning. Okay, I'll admit that he did not quite use the same words that we use today, but his legacy is the use of deeper and deeper questions to enhance learning.
Now, your second question will be, How do I do it? So, let's simply begin with an answer from Dee, who has taught in secondary schools for 22 years. She demonstrates one way of using Socratic Seminars with the teenagers in her class.
There you have it: The mystery is gone. Three simple steps. One little problem: It is not so easy to generate a question that will capture the fancy of teenagers, is it? In addition, it can take so much time to gather adequate source materials in order to have examples and/or quotes ready when needed. However, plunging in can be the toughest part. Oh, the courage it takes to teach passionately, meaningfully, and authentically in this age of teaching to the test.
Socratic teaching and learning has many names: Socratic Circles, Socratic Dialogues, Socratic Seminars, etc. Do not be confused. It is all inquiry-based teaching and learning; it uses questions to guide and empower learning. Almost always, new questions will emerge during the process. In this chapter, we will demonstrate various ways to initiate deeper learning. The reflective cycle, which is very Socratic, will be our primary guide.
Socrates, it is safe to say, was a rather strange man. He wandered the streets of Athens and asked questions of anyone who would listen. When they responded, he would answer with another question. Socrates had no wealth, and apparently no shoes, as he walked the streets barefoot. He was repelled by wealth, and was surrounded by men scrambling for power and money. His message was not always well-received, as he told all who listened that they were on the wrong track. Instead of material things, he said, they should be seeking justice. He had many enemies in positions of power, who did not like him, nor his ideas. In the end he was arrested and charged with ruining young minds; he was condemned as a heretic. His punishment—to drink hemlock, the poisonous plant. He drank the poisoned tea and died comforting his few friends. If you search online for images of him, you will often find him barefoot, with a woman in the background (his wife), the hemlock, and a chicken nearby. From the image of the chicken, we learn about his honor and integrity, as before drinking the hemlock, he paid off an existing debt with his chicken (Weate, 1998).


text:
Lake District mysteries
Edwards, Martin, 1955 Martin Edwards Edwards, Martin
1) The coffin trail: Lake District Mysteries Series, Book 1
Edwards, Martin, 1955-
Fiction Edwards
2004. 1st U.S. ed. Poisoned Pen Press, 286 p. ; 23 cm. English
2011 OverDrive Sourcebooks English
"...a beautifully-evoked sense of the Lake District and an interesting and diverse group of characters. Martin Edwards got plenty of kudos for his Harry Devlin series, and he should get even more for this one. His DCI Hannah Scarlett is a fine creation." —Peter Robinson, New York Times bestselling author
Oxford historian and TV personality Daniel Kind and his new lover, Miranda, both want to escape to a new life. On impulse
2) The Cipher Garden: Lake District Mysteries Series, Book 2
Martin Edwards
"Nearly every page yields new revelations in this delectable village caper." —Publishers Weekly
Warren Howe is surprised by a hooded visitor while working in a garden in Old Sawrey, a lovely village in England's Lake District. Soon it is Warren who is dead—murdered with his own scythe. The police identify several suspects but lack the evidence to make an arrest.
Years later, an anonymous tip sparks the interest
3) The arsenic labyrinth: Lake District Mysteries Series, Book 3
c2007. 1st U.S. ed. Poisoned Pen Press, 294 p. ; 23 cm. English
"Fans of this increasingly popular series will be in line for this one, and it should be recommended to readers of such similar British authors as Peter Robinson and Sally Spencer." —Booklist
After ten years, Guy—a drifter with a taste for deception—has returned to Coniston in England's Lake District. Local journalist Tony di Venuto is campaigning to revive interest in the disappearance of Emma Bestwick, and Guy knows
4) The serpent pool
Bellevue - Adult Fiction
2010. 1st ed. Poisoned Pen Press, 274 p. ; 22 cm. English
Seven years ago, Bethany Friend was found drowned in mere inches of water in the lonely Serpent Pool in England's Lake District. Was it suicide or murder? Now, determined to win justice for Bethany's dying mother, SCI Hannah Scarlett of the Cold Case Squad re-opens the case.-- Publisher's description.
5) The hanging wood
2011. First edition. Poisoned Pen Press, 266 pages ; 23 cm. English
Twenty years ago, a teenage boy, Callum Hinds, went missing in England's Lake District. His uncle was suspected of having done the boy harm and interviewed by the police. When he committed suicide close to his cottage in the Hanging Wood, everyone assumed it was a sign of guilt. But the body of the boy was never found. Now his sister, Orla Payne, who never believed in their uncle's guilt, has returned to the Lakes ... She wants to find the truth about...
6) The frozen shroud: Lake District Mysteries Series, Book 6
Book, eAudiobook, eBook
c2013. Poisoned Pen Press, 278 p. cm. English
2013 OverDrive Blackstone Publishing English
"Edwards does an impressive job of linking the three murders across the long years." —Kirkus Reviews
On Halloween, just before the First World War, a young woman's corpse was found with a makeshift shroud frozen to her battered face. Her ghost—the Faceless Woman—is said to walk through Ravenbank each Halloween. Just five years ago, Katya Moss was killed, her face also covered to hide her injuries. The seemingly related
7) The dungeon house	, Lake District mysteries 7.
The library does not own any copies of this title.


text:
package client

import (
	"context"
	"testing"

	"github.com/m3db/m3/src/dbnode/generated/thrift/rpc"
	"github.com/m3db/m3/src/x/pool"

	"github.com/stretchr/testify/require"
)

func TestAggregateOpPool(t *testing.T) {
	p := newAggregateOpPool(pool.NewObjectPoolOptions().SetSize(1))
	p.Init()

	op := p.Get()
	require.Equal(t, p, op.pool)
	p.Put(op)
}

func TestAggregateOp(t *testing.T) {
	p := newAggregateOpPool(pool.NewObjectPoolOptions().SetSize(1))
	p.Init()
	op := p.Get()

	var (
		inter interface{}
		err   error
		count int
	)

	fn := func(i interface{}, e error) {
		require.Equal(t, 0, count)
		require.Equal(t, inter, i)
		require.Equal(t, err, e)
		count++
	}
	op.update(context.Background(), rpc.AggregateQueryRawRequest{}, fn)
	op.CompletionFn()(inter, err)
	require.Equal(t, 1, count)
}

func TestAggregateOpPoolInteraction(t *testing.T) {
	p := newAggregateOpPool(pool.NewObjectPoolOptions().SetSize(1))
	p.Init()
	op := p.Get()

	testPool := &testAggregateOpPool{t, op, false}
	op.pool = testPool

	op.incRef()
	op.decRef()
	require.True(t, testPool.called)
	require.Nil(t, op.completionFn)
	require.Equal(t, aggregateOpRequestZeroed, op.request)
}

type testAggregateOpPool struct {
	t          *testing.T
	expectedOp *aggregateOp
	called     bool
}

var _ aggregateOpPool = &testAggregateOpPool{}

func (p *testAggregateOpPool) Put(o *aggregateOp) {
	require.False(p.t, p.called)
	p.called = true
	require.Equal(p.t, p.expectedOp, o)
}

func (p *testAggregateOpPool) Init()             { panic("not implemented") }
func (p *testAggregateOpPool) Get() *aggregateOp { panic("not implemented") }

redpajama_set_name: RedPajamaGithub