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Central Congregational
Join the Ranks!
October 31, 2015 November 18, 2015 Gail Masinda Leave a comment
Combining my interest in history with performing on a magnificent organ seemed like a great idea, so when Mike Hobbs, from the Civil War Round Table, asked me to provide a program for them I quickly agreed. I had absolutely no idea, however, how this event would grow…and grow…and grow over the next days and weeks. What started out as a simple program for a local group has become a much larger event with TV, radio, print and social media coverage.
Click here to watch a KWQC TV Channel 6 segment from "Fran Riley Features…" about the concert. After watching the video, scroll to find a gallery of photos they took while on location.
During the taping of that segment, John was in the church balcony and took a few photos of his own, shown below. (Thanks to my daughter Lisa for the great title to the program!)
Thanks to everyone who helped spread the word: Fran Riley and Channel 6 KWQC, the Galesburg Register-Mail (click here to see the article), WGIL and Terry Cavanaugh, and all my friends and family (love those Facebook shares!).
The Light of the World Is Jesus
July 30, 2015 Gail Masinda Leave a comment
Philip P. Bliss (1838-1876) was one of the five children born to John and Lydia Bliss. Their log home, typical of the early settlers of northern Pennsylvania, was filled with love and Christian teaching, but formal education was scarce. Early in life, Philip developed a passion for learning and for music, and took advantage of whatever opportunities came his way. He became a teacher at age 18 and about that same time began his first formal music studies. His musical gifts, including a strong baritone voice, developed quickly and by 1860 he was teaching music.
In 1864, Root & Cady, of Chicago, Illinois, published a song by Bliss. The payment he requested and received for the song was a flute. Bliss soon became friends with George F. Root, composer of many Civil War songs, including "The Battle Cry of Freedom," and several hymns. During the next years, Bliss worked for the publisher and with Root, leading singing conventions, teaching and giving concerts.
In 1869, a meeting took place which would change gospel music forever. Bliss described it as follows: "One Sunday evening, my wife and I went out for a walk, before going to church… we came upon the open air meeting. I was at once attracted by the earnestness of the speaker, who, I was told, was [Dwight L.] Moody, and, waiting until he closed with an earnest appeal for all to follow him to the theater, we decided we would go, and fell in with the crowd, and spent the evening in his meeting there. That night Mr. Moody was without his usual leader for the singing, and the music was rather weak. From the audience, I helped what I could on the hymns, and attracted Moody's attention. At the close of the meeting, he was at the door shaking hands with all who passed out, and as I came to him he had my name and history in about two minutes, and a promise that when I was in Chicago, Sunday evenings, I would come and help in the singing at the theater meetings. This was the commencement of our acquaintance."
In July, 1870, Mr. Bliss became leader of the choir of the First Congregational Church of Chicago, and shortly afterwards, the Superintendent of the Sabbath school. He continued to hold both of these positions for about three years, resigning only when his work as a singing evangelist took more of his attention. In November of 1876, Mr. and Mrs. Bliss went to Peoria, Illinois, for a series of meetings and services with long-time friends and colleagues. By mid-December, Mr. and Mrs. Bliss returned home to New England to spend Christmas with their sons, Philip playing the part of Santa Claus. Plans were to return to Chicago for services with Moody, then on to England. Bliss never made it back to Chicago. On December 29, 1876, with the children safely at home, Mr. and Mrs. Bliss were in a train accident that took their earthly lives.
Bliss wrote many of the songs that Dwight Moody and Ira Sankey used during the great 1870s revival in England. "The Light of the World is Jesus" w as written for such a revival meeting and was first sung by Sankey. Bliss biographer Major D. W. Whittle said, "It came to him together, words and music, one morning while passing through the hall to his room, and was at once written out." The text is based on John 8:12.
Then spake Jesus again unto them, saying, I am the light of the world: he that followeth me shall not walk in darkness, but shall have the light of life. John 8:12 KJV
The whole world was lost
In the darkness of sin,
The Light of the world is Jesus!
Like sunshine at noonday,
His glory shone in.
Come to the light, 'tis shining for thee;
Sweetly the light has dawned upon me.
Once I was blind, but now I can see:
No darkness have we
Who in Jesus abide;
We walk in the light
When we follow our Guide!
Ye dwellers in darkness
With sin blinded eyes,
Go, wash, at His bidding,
And light will arise.
No need of the sunlight
In Heaven we're told;
The Lamb is the Light
In the city of gold,
July 9, 2015 Gail Masinda Leave a comment
In 1923, Thomas O. Chisholm wrote a poem about God's faithfulness to us, based on the scripture found in Lamentations 3:22-23.
It is of the Lord's mercies that we are not consumed, because his compassions fail not.
They are new every morning: great is thy faithfulness.
Unlike many hymns that are inspired by a specific event, Chisholm didn't need a crisis to fully realize God's faithfulness because he recognized it throughout his life.
Chisholm sent the hymn to a musician friend, William Runyan, to have it to music. Runyan said, "This particular poem held such an appeal that I prayed most earnestly that my tune might carry its message in a worthy way, and the subsequent history of its use indicates that God answered prayer."
Let us begin every morning in the joy and assurance of God's faithfulness and love.
Called As Partners in Christ's Service
April 29, 2015 April 29, 2015 Gail Masinda 2 Comments
There are things in my life that remind me of the people in my life. It could be a recipe, a style of shoes, a particular color, most anything really. Often, it is a song. In some of the churches I have served, the pastor selects the hymns to be sung by the congregation. Pastors, just like everyone else, have favorite songs. A few years ago, I had the honor of serving with a pastor named Joe. He selected this song a lot, and now every time I play it, I am reminded of our service together. Joe and the the text of the song have the same message: we, as children of God, are to work together to be the love that God is. Joe chose well.
Jane Parker Huber (1926-2008), daughter of Presbyterian missionaries living in China, wrote the text for this hymn. It, along with other hymns she wrote, can be found in the 1990 Presbyterian Hymnal, the Chalice Hymnal, the Covenant Hymnal and more.
Huber wrote texts to be used with familiar tunes. For this hymn, the tune BEECHER was used. John Zundel (1815-1882), composed the tune in 1870 to be used with the hymn "Love Divine, All Loves Excelling". Although the hymntune is sometimes called ZUNDEL after the composer, Zundel named it BEECHER after his pastor, Henry Ward Beecher. Beecher was the pastor of Plymouth Congregational Church in Brooklyn, New York, and Zundel was the organist.
Henry Ward Beecher was part of an outspoken family well-known for their abolitionist views and advocacy of social reform. A sister, Harriet Beecher Stowe, wrote Uncle Tom's Cabin. A brother, Edward Beecher, was also a preacher. Dr. Edward Beecher was the first pastor of First Congregational Church in Galesburg, Illinois, a town active in the Underground Railroad.
The First Congregational Church was the first brick church built in Galesburg, and quickly became known simply as "the Brick Church" and much later as "Beecher Chapel." When the tall spire that soared over the town was destroyed by a tornado in 1858, Henry Ward Beecher went on a speaking tour throughout Illinois to help raise funds to repair the church pastored by his brother Edward. Among the members of the church was Mary Ann "Mother" Bickerdyke. It was the preaching she heard in the Brick Church the led her to leave the comfort of her home in Galesburg and begin serving the wounded soldiers of the Civil War, saving literally thousands of lives.
In 1895, First Congregational and its mother church, known locally as "Old First Church," recombined to form Central Congregational Church. As a result of this union, an exceptionally fine Richardsonian Romanesque church was built in 1898. It is listed on the National Register of Historic Places and is, without a doubt, one of the most significant landmarks in Galesburg. One of the beautiful stained glass windows at Central is dedicated to the memory of Dr. Edward Beecher.
Detail of stained glass window in the South Room, Central Congregational Church, Galesburg, Illinois, memorial to Dr. Edward Beecher
We, indeed, have all been "called as partners in Christ's service." Jane Huber, John Zundel, Henry Ward Beecher, Edward Beecher, my friend Pastor Joe and countless others have certainly effectively served as partners in Christ by informing my faith journey. Now when we sing "Called As Partners in Christ's Service" I am reminded that this partnership spans years as well as miles. I think of Pastor Joe and his love of God, and of the Beecher family and their influence on America and in my hometown, Galesburg. I pray for the church where I now serve as Director of Music/Organist, Central Congregational Church.
When Morning Gilds the Skies
March 30, 2015 Gail Masinda Leave a comment
In Psalm 34:1, David proclaims, " I will extol the LORD at all times; his praise will always be on my lips." (NIV) To praise God morning, noon and night, and by everyone, everywhere, is exactly what the author of When Morning Gilds the Skies had in mind. The original German text of fourteen stanzas first appeared in print in 1828. Although we do not know the author of the German text, we have Edward Caswall (1814-1878) to thank for the translation and skillful poetic setting of the words in a way that makes them ideal for a hymn. In 1854, Caswall published six stanzas, and in 1858 he added eight more. The text of five (sometimes four) verses that appears in most modern hymnals comes from various sections of Caswall's translation.
Joseph Barnby (1838-1896) composed the tune LAUDES DOMINI specifically for Caswall's text. Tune and text were first published together in 1868. The tune name, translated as "the praises of the Lord," reinforces the theme of the text. An interesting feature of the hymn-tune is the longer note values added to emphasize the concluding phrase, "May Jesus Christ be praised!
1 When morning gilds the sky,
our hearts awaking cry:
May Jesus Christ be praised!
in all our work and prayer
we ask his loving care:
2 To God, the Word on high,
the hosts of angels cry:
Let mortals too up raise
their voices in hymns of praise:
3 Let earth's wide circle round
in joyful notes resound:
Let air and sea and sky
from depth to height reply:
4 Be this, when day is past,
of all our thoughts the last:
The night becomes as day
when from the heart we say:
5 Then let us join to sing
to Christ, our loving King:
Be this the eternal song
through all the ages long:
Agnus Dei (Georges Bizet)
March 24, 2015 March 24, 2015 Gail Masinda 1 Comment
Talk of recycling or repurposing often includes tires, newspapers, pallets, books (shudder!), cooking oil and plastic bottles. What does that have to do with music? Of all man-made things, music is surely towards the top of the list of things that have been recycled. A few notes, a phrase, a theme or entire song may show up again and again, sometimes with but more often without acknowledgment of the source. This recycling did not begin with the internet. It has likely been around as long as there has been music.
In 1872, French composer Georges Bizet wrote music for a play called "L'Arlesienne." The songs served the general purpose as a film score does today, and were written for chorus and small orchestra. Some of the tunes were original, but some were recycled from folk music. Neither the music score nor the play were well-received. Bizet recycled some of the music into an orchestral suite of four movements, which came to be known as "L'Arlesienne Suite No.1." From this suite came the song "March of the Kings," a theme Bizet himself recycled from history.
After Bizet's death, Ernest Guiraud arranged and published "L'Arlesienne Suite No. 2," recycling more of Bizet's themes, some but not all from "L'Arlesienne." The recycling continued when sometime later, Guiraud took the second movement (Intermezzo), added the sacred Latin text of Agnus Dei to it, and published the song independent of the suite.
The following video features a 1913 audio recording of Enrico Caruso. While I prefer the full orchestral version to the piano and sparse instrumentation used in this recording, having the piano score as part of the video as well as Caruso's historic interpretation is wonderful.
People, Look East
December 11, 2014 Gail Masinda Leave a comment
As a church musician, I've heard the complaint that the songs of Advent don't seem as joyful as Christmas songs. I'll agree that some of them can feel a little heavy. After all, Advent is a time of reflection and preparation, and reflections and preparations don't always come easily or lightly. Then along comes People, Look East, with its lively rhythm and words that bounce with joy and eager anticipation.
The author of the text, Eleanor Farjeon (1881-1965) is best known for her children's stories. In addition to this hymn, she also penned Morning Has Broken, often associated with the recording by Cat Stevens. The music came later, written by Christopher Steel.
The instruction to "look east" is reminiscent of the Magi's visit to see the Christ Child. They made their journey when they looked east and saw the star.
Now after Jesus was born in Bethlehem of Judea in the days of Herod the king, behold, wise men from the East came to Jerusalem, saying, "Where is He who has been born King of the Jews? For we have seen His star in the East and have come to worship Him." -Matthew 2:1-2 (NKJV)
When we talk about facing east, we are usually talking about east on the compass, the direction of the rising sun, symbolic of the coming of Christ. For centuries, church have been constructed with the altar in the eastern part of the building. When churches were built in locations that did not permit that orientation, the end of the building containing the altar is referred to as liturgical east, or the "east end" regardless of the actual direction. Whether literally or symbolically, when the Church faces east to pray, it does so in anticipation of the coming of the Lord.
The first verse of the hymn puts it this way:
"People, look east. The time is near
Of the crowning of the year.
Make your house fair as you are able,
Trim the hearth and set the table.
People, look east and sing today:
Love, the guest, is on the way."
In Revelation 3:20 we read, "Behold, I stand at the door and knock. If anyone hears My voice and opens the door, I will come in to him and dine with him, and he with Me." Jesus does not force His way in. He waits for your invitation. In this Advent season I pray you open the door of your heart to His divine love.
Comfort, Comfort Ye My People
December 3, 2014 December 20, 2014 Gail Masinda Leave a comment
The hymn, Comfort, Comfort Ye My People, has been around for hundreds of years, but it may not be as familiar as some hymns of the same age. Why? Maybe because we only sing it once a year, during Advent. Maybe because some congregations do not observe Advent. Maybe, sadly, because some congregations no longer sing hymns.
French Renaissance composer Louis Bourgeois (1510-1561) wrote the tune GENEVAN 42, also known as FREU DICH SEHR, to accompany the text of Psalm 42. In 1547, Bourgeois moved to Geneva and became the choirmaster for John Calvin. His responsibilities included compiling, composing, and arranging music for the Genevan Psalter. There was much controversy surrounding Bourgeois and his work. He learned what we are still learning today – change does not come easily. He was jailed in 1561 for making alterations to popular hymn tunes "without a license." After his release, he left Geneva, eventually moving to Paris where he died in 1561.
Bourgeois is credited with many of the tunes in the Genevan Psalter, a source for music in both the Reformed Church and the church in America. Of all his compositions, perhaps the most famous is OLD 100th, which many protestant churches sing weekly as the tune for the Doxology.
The text of this hymn is a paraphrase of Isaiah 40:1-5, in which the prophet looks forward to the coming of Christ. More specifically, the coming of the forerunner of Christ, John the Baptist, is foretold. German hymn writer Johann Gottfried, better known by the Latin version of his name, Johannes Olearius, versified the biblical text into a hymn in 1641 in honor of Saint John the Baptist day. In addition to being a hymn writer of over 300 hymns, Olearius was at one time a court chaplain, a professor of philosophy, and the author of a commentary on the entire Bible.
Olearius's text was translated into English by Catherine Winkworth (1827-1878) and published in her Chorale Book for England (1863). For a time, Winkworth lived in Dresden, Germany, and there developed an interest in German hymnody. She is known for her well-crafted English translations of German hymns including Praise to the Lord, the Almighty and Now Thank We All Our God. In addition to her translation work, as a pioneer in promoting women's rights, Winkworth did much to encourage higher education for women.
The text of this hymn was meant to show the promise of better days ahead with the coming of the Messiah. After the opening words of "Comfort, comfort ye my people," the remaining text describes how to impart that comfort. This is not "comfort" in the sense of being "comfortable." It is more like the comfort that a parent gives a misbehaving child after the consequences of his actions have been administered. God's comfort is more than empathy. It removes the cause of the discomfort through healing.
"Comfort, comfort now my people;
tell of peace!" So says our God.
"Comfort those who sit in darkness
mourning under sorrow's load.
To my people now proclaim
that my pardon waits for them!
Tell them that their sins I cover,
and their warfare now is over."
For the herald's voice is crying
in the desert far and near,
calling us to true repentance,
since the reign of God is here.
O, that warning cry obey!
Now prepare for God a way.
Let the valleys rise in meeting
and the hills bow down in greeting.
Straight shall be what long was crooked,
and the rougher places plain.
Let your hearts be true and humble,
as befits God's holy reign.
For the glory of the Lord
now on earth is shed abroad,
and all flesh shall see the token
that God's word is never broken
We Gather Together
November 13, 2014 Gail Masinda Leave a comment
Think of the main dish on the menu for Thanksgiving. You probably thought of turkey. Think of a hymn about Thanksgiving. You probably thought of We Gather Together. Did you know that the words "thanks" and "thanksgiving" do not appear in the hymn? Although it is a song of praise for the blessings God gives, it certainly wasn't written about the American Thanksgiving holiday. The hymn is actually much older than the holiday we celebrate each November.
Here's a little Dutch history for you. Back in the mid-1500s, Charles V, Holy Roman Emperor, and his son, the King of Spain, Phillip II, were determined to wipe Protestantism out of the lands they ruled. When a few Dutch Protestants rebelled by destroying some Catholic statues, the King responded by sending the Duke of Alba to restore order. The Duke's solution was to order the execution of those who rebelled along with those who helped the rebels. It should not be a surprise to learn that the response to the executions was more rebellion. Likewise, it should not be a surprise that the Duke's response to the rebellions was more executions. It was a vicious little circle.
Heavy taxes and other issues resulted in one big, chaotic mess. Thousands of citizens of Antwerp were executed or fled into exile. Peace did not return to the Netherlands until Spain's military strength declined near the end of the century.
Dutch author Adrianus Valerius wrote the poem "We Gather Together" (probably in 1597) in response to the troubled past with a look to a brighter future. The opening words, which give the poem its name, are a clear reminder of the time when they were forbidden to gather for worship.
The poem first appeared in print in 1620s in a collection of Dutch patriotic songs, "Nederlandtsch Gedencklanck." In 1877, Edward Kremser discovered it, translated it into Latin, and published it in Vienna. The tune usually associated with this hymn is based on a Dutch folk song, and is named KREMSER in his honor. The 1894 English text, by Theodore Baker, is not an exact translation of the original text, but still retains much of the original Dutch defiance.
We Gather Together first appeared in an American hymnal in 1903. It was the first hymn selected by the Dutch Reformed Church when, in 1937, they began singing hymns along with traditional psalms in their worship services. During World Wars I and II, Americans embraced the hymn as they could relate their fight for freedom from oppression.
The Pilgrims responsible for the traditional first Thanksgiving were escaping religious persecution. As we sit down to our turkey dinners and give thanks for all that has been given us, let us also give thanks for the freedom we enjoy to gather and to worship.
We gather together to ask the Lord's blessing;
He chastens and hastens His will to make known.
The wicked oppressing now cease from distressing.
Sing praises to His Name; He forgets not His own.
Beside us to guide us, our God with us joining,
Ordaining, maintaining His kingdom divine;
So from the beginning the fight we were winning;
Thou, Lord, were at our side, all glory be Thine!
We all do extol Thee, Thou Leader triumphant,
And pray that Thou still our Defender will be.
Let Thy congregation escape tribulation;
Thy Name be ever praised! O Lord, make us free!
Eternal Father, Strong to Save
November 6, 2014 Gail Masinda Leave a comment
I'm nervous around water. Not the water-in-the-sink kind of water, but the it's-over-my-head-and-I-can't-swim kind of water. Water makes a lot of people nervous. Storms make a lot of people nervous. Storms on the water can be downright terrifying. Have you ever had any storms in your life? Those can be terrifying, too.
William Whiting was the headmaster of the Winchester College Choristers' School in England. In 1860, a student confided to Whiting that he was afraid of the ocean voyage he would soon be taking to America. From a childhood on the coasts of England and a near tragedy at sea, Whiting's faith in the God who ruled the oceans had grown strong. He wrote the hymn poem Eternal Father, Strong to Save to "anchor the faith" of his student.
Whiting found inspiration for his hymn in the words of King David.
Some went out on the sea in ships; they were merchants on the mighty waters. They saw the works of the Lord, his wonderful deeds in the deep. For he spoke and stirred up a tempest that lifted high the waves. They mounted up to the heavens and went down to the depths; in their peril their courage melted away. They reeled and staggered like drunkards; they were at their wits' end. Then they cried out to the Lord in their trouble, and he brought them out of their distress. He stilled the storm to a whisper; the waves of the sea were hushed. They were glad when it grew calm, and he guided them to their desired haven. Let them give thanks to the Lord for his unfailing love and his wonderful deeds for mankind. (Psalm 107:23-31NIV)
Whiting's hymn became widespread throughout England. Through the years, some verses of the hymn were modified and others added as the song was adopted by various branches of the armed services of the United States and the United Kingdom. The version found in many hymnals today is an 1869 revision by Whiting.
In 1861, Anglican clergyman and composer John B. Dykes composed the powerful tune MELITA to accompany Whiting's hymn. "Melita", now known as Malta, was a colony of the British Empire, and significantly, the site of a shipwreck of the Apostle Paul, described in Acts 27-28.
During World War II, the hymn was used at the funeral for almost all sailors buried at sea. If there was no band or recording available, it was sung a cappella by the crew or the words were read by the commanding officer. The song was used in services for Franklin D. Roosevelt, John F. Kennedy, Gerald Ford, Ronald Reagan and Walter Cronkite. It has been performed at memorials for the crews of USS Maine, USS Cole and many more. It was the last hymn sung at the funeral of Claude Choules, the last living fighter from WWI, at his funeral in 2011. It is sung at shipboard Sunday services on many vessels, and is said to be the last song sung during the Sunday Church Service on April 14, 1912, aboard the RMS Titanic, just hours before it sank.
Whether we are experiencing the storms of weather or the storms of life, there is no reason to fear. We serve the God who is greater than the forces in and of the earth.


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Making a Claim for a Football Injury
July 25, 2016 admin Football
Although football is supposed to be a fun, non-contact sport, injuries can happen. Most of the time these injuries are caused by unavoidable accidents, but injuries can occur because of negligent behaviour. Those footballers who have been injured by negligent behaviour may be eligible to make a claim for compensation.
Every player must accept that there are some risks when they are playing football. Scratch, cuts, bruises and sprains are all possible during the course of a normal game of football. However, more serious injuries should really only occur if proper care is not taken. Nonetheless, football injuries can include broken bones, internal bleeding, paralysis and even death.
For footballers who are considering making a claim for compensation, it is important to be able to understand why an injury occurred. Understanding the sequence of events that led to an injury is an important part of the claims process. A qualified solicitor may be able to help to identify the party or parties that are liable for the injury. Although this may be clear cut in some cases, it may not be immediately obvious in others.
Common Causes of Football Injury Claims
Injuries which occur during the course of the game often occur because of reckless or inappropriate conduct. Many of the rules of the game have been developed to protect players, so failing to abide by these rules can put other players at risk. In some circumstances, deliberately reckless play may be considered to be a criminal matter. Compensation may still be awarded in criminal cases, but it is possible that the perpetrators could also face criminal sanctions.
Other injuries may be caused by the conditions of the sports facilities. An uneven pitch or holes on the playing surface can become a serious trip hazard for players. Other potential hazards include the presence of foreign objects on the pitch, such as glass, stones or syringes. It is even possible for players and spectators to suffer chemical burns or other injuries if inappropriate chemicals are used on or left on the pitch. It is the responsibility of the owner of the ground to make sure that the area is safe for users.
Equipment manufacturers also bear responsibility towards their service users. Even items that seem as inconsequential as football boots or the football itself can cause injury if they do not meet the expected standard. For example, poorly made football boots can become a trip hazard or they may put unnecessary strain onto the player's feet. Some claimants have been able to show that their feet and legs have been irreparably damaged due to poor quality boots that hurt their feet rather than protecting them. The manufacturers may be considered liable for any football injuries which are suffered in these circumstances.
The last major strand of liability is that which is associated with coaching and teaching of the sport. Inappropriate teaching methods can put people at risk of being injured. Putting additional strains on the body in this way can actually cause progressive damage which only manifests itself later in life. Liability can be difficult to prove in these cases, but it is possible to build a case if enough evidence is gathered.
Those who suspect that they have these types of injuries should contact a qualified solicitor as soon as possible, so that the solicitor can begin to gather evidence. Poor teaching practices can also put players in immediate danger.
If you have suffered any type of football injury that was not you fault, you may want to consider making a claim for compensation. It is often possible to speak to a qualified solicitor for free, so that you can discuss your case and find out whether you may have a valid claim. The solicitor will listen to your story and then help you to ascertain what your claim could be worth.
If the claim is valid, they will help you to collect evidence that is pertinent to your case. Once enough evidence has been collected, they will notify the liable party that a claim is being made against them. The liable party will then have the opportunity to address your claim. They may settle, challenge or make a counteroffer.
For more information on football injury claims a good article can be found here. They also have a live chat if you have questions you need answering.
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In this episode, Dr. Cristie Columbus from Texas A&M shares advanced interviewing tips on everything from attire and etiquette to nonverbal communication and thank you notes.
Time flies when you're having fun, and we're certainly having a lot of fun getting ready for another interview season! Last year, we released an episode called Nail The Interview to help all the EM Studs out there prepare. Here it is again, re-released for your listening pleasure. Oh, and to help you on interviews.
Attention all EM applicants for the 2018 Match!
Beginning this year, all students applying to Emergency Medicine will need to complete an online video interview as part of the ERAS application. This was actually piloted last year, and it is now being rolled out to a broader group of applicants.
For more information about the SVI, we invited back Dr. Atul Grover, Executive VP of the AAMC.
Lots more information available on the AAMC Standardized Video Interview website, including a must-read, The AAMC Standardized Video Interview: Essentials for the ERAS® 2018 Season.
How Prevalent Are Potentially Illegal Questions During Residency Interviews?
Word on the street is that the AAMC is piloting a brand new video interview process. So how will that affect your application, interview offers, and overall match success??
In an effort to improve the transition to residency process, the AAMC has developed the Standardized Video Interview as an innovative tool to enable applicants to share a more holistic picture of themselves, beyond academic metrics, to add breadth and depth to their application, as well as to provide residency program directors with additional information to assess applicants. The pilot use of this tool is being conducted as a research study, designed to test the potential of this tool as an addition to the other tools currently available to applicants and program directors during the residency selection process. From June 27 – August 30, applicants to ACGME-accredited emergency medicine residency programs who volunteer for the study will be asked to respond to six questions on two ACGME competencies: professionalism, and interpersonal and communication skills. Although the interviews will be rated and scored, the information will be used for research-purposes only. Neither videos nor scores will be shared with residency programs. Residency programs will not know if an applicant has participated in the study. At the conclusion of the interview, applicants will be asked to complete a short survey.
If you're still intrigued/paranoid after reading the paragraph above, listen to our latest podcast episode, featuring an interview with the executive vice president of the Association of American Medical Colleges, Dr. Atul Grover. More information is also available on the AAMC's SVI Research Study website including FAQ.


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Most Fraternities Are Banning Hard Alcohol in Response to a Series of Drinking-Related Deaths
Most fraternities in the US will no longer allow hard alcohol unless it is served by a licensed, third-party vendor under new rules announced by a national governing association.
The North-American Interfraternity Conference, the national umbrella organization for fraternities, said the decision was reached "in a near unanimous vote." More than 6,100 chapters on 800 campuses will be affected by the new rule, which must be adopted by September 2019. In practical terms, the new policy means that in the vast majority of frat houses across the US, no one will be allowed to pour themselves a glass of tequila, whiskey, or vodka.
NIC's new policy follows a series of alcohol-related deaths in fraternities, and renewed national interest in the dangerous, and sometimes deadly, drinking behavior within Greek life. According to the NIC, "nearly all hazing and over-consumption deaths in the past two years have involved students consuming high-percentage alcohol beverages" — nearly 90% of fraternity house residents are under the age of 21.
"At their core, fraternities are about brotherhood, personal development and providing a community of support," Judson Horras, CEO and president of the NIC, said in a statement. "Alcohol abuse and its serious consequences endanger this very purpose."
The ban on hard alcohol has slowly gained popularity for self-imposed reform efforts by Greek organizations since Purdue University banned hard liquor among fraternities in 2015. Other frats followed, including those at the University of Kansas, Indiana University, and the University of Missouri.
Purdue University's Interfraternity Council president, Seth Gutwein, said Tuesday that doing so has resulted in "a positive shift" at the school.
"Our IFC and member fraternities eliminated hard alcohol from facilities and events on our campus several years ago and have seen a positive shift in our culture when it comes to the health and safety of our members and guests," Gutwein said.
The fraternity world has been reeling from high-profile scandals, prompting the launch of reform efforts amid fears that universities would crack down harder on chapters that break the rules.
Pressure ramped up last year following a series of hazing and drinking-related deaths of fraternity members and pledges at Penn State University and Louisiana State University. Meanwhile, tensions have been high at some campuses, such as West Virginia University, where the school president has threatened more severe restrictions on Greek life if changes don't come soon.


text:
Mammoth és un cràter de l'asteroide de la família Coronis del cinturó principal, (243) Ida, situat amb el sistema de coordenades planetocèntriques a -18.3 ° de latitud nord i 180.3 ° de longitud est. Fa un diàmetre de 10.2 km. El nom va ser fet oficial per la UAI el 1997  i fa referència a la Cova Mammoth, la caverna de pedra calcària més llarga coneguda a la Terra (Estats Units d'Amèrica).

Referències

Cràters de (243) Ida

redpajama_set_name: RedPajamaWikipedia


text:
Location is Everything
Monmouth University's location offers the best of both worlds. Less than one mile from the Atlantic Ocean and only one hour from New York City and Philadelphia, there is no lack of cultural and recreational opportunities – but it's also a location that directly impacts and enhances learning experiences every day.
Vibrant learning. Discover more than clear ocean waters at the beach through the Urban Coast Institute, a major in Marine and Environmental Biology and Policy, internships with the New Jersey Division of Fish and Wildlife, or our Sailing Club. Monmouth is the eastern seaboard's first GRAMMY Museum affiliate.
Historic campus. Woodrow Wilson Hall is a National Historic Landmark. Walt Withey Chapel was imported from Europe and was once part of a 16th century Tudor Abbey. Guggenheim Cottage, a wing of the library, is listed in the National Register of Historic Places. At Monmouth, you learn in an environment that's as historic as it is cutting edge.
Big city life. New York City. Philadelphia. Some of the most energizing and exciting cities in the world, just a short ride from campus. Group excursions and class trips to theaters. Fortune 500 companies, Federal Bureau of Investigation, Fox News – and internship opportunities at the Penn Museum of Archaeology and Anthropology, JPMorgan Chase, MTV, or the Philadelphia Zoo are all convenient to Monmouth.
Crossroads of culture. Closer to campus than the big cities are intimate, unique cultural experiences. Asbury Park's legendary music scene and growing LGBT community. Red Bank's theater and dining hub. Long Branch's redeveloped, eye-catching waterfront with recreational and upscale shopping offerings – all are just outside Monmouth's gates.
Stunning location. Leaders arise from Monmouth's 168-acre campus full of wide green lawns and historic yet state-of-the-art facilities. Beyond the gates, the sun-splashed beaches of the Jersey Shore are waiting – and West Long Branch, a city of about 10,000 people, has the shops and restaurants that make this the perfect place to learn and live.
At Monmouth, the possibilities are endless. And our location can lead you to opportunities anywhere in the world.
Experience our 168-acre campus and surroundings through a 360-degree tour that puts you in the center of labs, classrooms, Division I athletics, and campus life.
Get to Know the Garden State
The GRAMMY Museum Affiliation
About Monmouth
Mission Statement of Monmouth University
Monmouth's History
History of Wilson Hall
Dr. Martin Luther King, Jr., at Monmouth University
Middle States Commission
Self-Study Timeline
Licensure Pass Rates
NCAA Accreditation
Faces of Monmouth
Monmouth University Professors Receive Prestigious Fulbright Award
One of the Best New Jersey Universities
Conferences Services and Special Events
Wilson Hall
Self Guided Tour of Wilson Hall
Guggenheim Mansion
Get to Know the Garden State!
Schedule a Visit to Monmouth University
Monmouth University Polling Institute
Kislak Real Estate Institute
Urban Coast Institute
Institute for Health and Wellness
Monmouth Magazine
Social Media Registration Form
Show Your Monmouth Pride!
History of Guggenheim Cottage


text:
Steenwerk (officieel: Steenwerck) is een gemeente in Noord-Frankrijk (Noorderdepartement, arrondissement Duinkerke), in Frans-Vlaanderen en de Franse Westhoek. De gemeente ligt in Frans-Vlaanderen in de streek het Leiedal. De Leie stroomt langs de zuidgrens van de gemeente en dwars door het stadje loopt de Grote Beke, die uitmondt in de Leie. Steenwerk grenst aan de gemeenten Belle, Niepkerke, Erkegem, Sailly-sur-la-Lys, Stegers en Zoeterstee. De gemeente telt ruim 3.400 inwoners.

In het gemeente ligt ook nog het gehucht Croix du Bac.

Geschiedenis
Steenwerk werd gesticht door de Franken en is gebouwd op een Romeinse site. Steenwerk werd voor de eerste keer vermeld in 1160 als Steinwerc. Nadien werd de naam nog geciteerd op verschillende schrijfwijzen:  in 1182 als Estenwerck, in 1260 als Stuuinwercke, in 1331 als Steinwerck en in 1332 als Steenwerc. In die tijd was er ook een  redelijke handel in Steenwerk langs de Grote Beke, van Sint-Janskappel naar de Leie. Deze beek was gekanaliseerd was en voorzien van sluizen en was bevaarbaar met platbodems. Textielwevers leverden hun laken in het centrum van het stadje wat toen langs de Leie naar Armentiers werd gebracht om verder verhandeld te worden. Er was ook een redelijke handel met Belle. Tijdens de Eerste Wereldoorlog werd Steenwerk helemaal  verwoest. Dit lot trof ook de Sint-Jan-de-Doperkerk die in 1923 na de verwoesting van de oude kerk werd herbouwd. De oorspronkelijke kerk werd al vermeld in de twaalfde eeuw.

Een ander verwoest bouwwerk betreft het Kasteel Vanuxem, waar een dokter van die naam woonde. Tijdens de Eerste Wereldoorlog was het in gebruik bij de Britse spionagedienst.

Bezienswaardigheden
 De Sint-Jan-de-Doperkerk (Église Saint-Jean-Baptiste) uit 1923
 De Onze-Lieve-Vrouw van Zeven Smartenkerk  (Église Notre-Dame des Sept Douleurs), uit de negentiende eeuw in het gehucht Croix du Bac.
 Het beschermde "Vlaemsche Huus", in neogotische  stijl dat gebouwd werd  aan het einde van de negentiende eeuw (rond 1890) naar ontwerp van Étienne Timmery, in opdracht van Pierre Dutry, die van Brugge hield.
 Het gemeentehuis uit het jaar 1856
 Het Musée de la Vie Rurale
 Het museum Ferme des Orgues, een museum voor mechanische muziekinstrumenten, aan Rue de l'Hollebecque 2.
 Het Monument voor de gesneuvelden
 het Deutscher Soldatenfriedhof Steenwerck, waar 2048 Duitse gesneuvelden uit de Eerste Wereldoorlog rusten
 de drie Britse militaire begraafplaatsen:
 Croix-du-Bac British Cemetery
 Le Grand Beaumart British Cemetery
 Trois Arbres Cemetery
 Ook de gemeentelijke Begraafplaats van Steenwerk liggen enkele militaire graven.

Natuur en landschap
Steenwerk is laaggelegen, op een hoogte van 13 tot 19 meter, in de vallei van de Leie. Door het grondgebied van de gemeente stroomt een beek die op de Katsberg ontspringt en na 18,6 km in de Leie uitmondt. De beek staat bekend als Grote Beke, maar in Frankrijk meerdere benamingen bezit, zoals Grande Becque en Serpentine Becque.

Cultuur
Het dorp is in het bezit van een reus, genaamd Totor, 5,70 meter hoog en met een gewicht van ongeveer 100 kilogram.

Demografie
Onderstaande figuur toont het verloop van het inwonertal (bron: INSEE-tellingen).

Verkeer

Door het midden van het grondgebied van Steenwerk passeert hogesnelheidslijn voor de TGV tussen Rijsel en Calais en aan de noordkant loopt spoorwegverbinding voor normale treinen richting Duinkerke en Rijsel wordt; welke verzorgd wordt door het openbaar vervoersnetwerk TER Nord-Pas-de-Calais. Deze laatste spoorlijn stopt ook bij de buursteden, Belle, Armentiers en Hazebroek. In de gemeente ligt het spoorwegstation Steenwerck.

Ten noorden van het dorp loopt de snelweg A25/E42, weliswaar zonder op- en afrit op het grondgebied van de gemeente.

Nabijgelegen kernen
Niepkerke (Nieppe), Belle, Nieuwkerke, Croix du Bac, Estaires, Le Doulieu

Externe link
 Website van de gemeente Steenwerk


text:
Q: Cannot find a proper Huffman algorithm I am currently writing a code for Huffman encoder for 5 symbols, I have built the complete  tree (adding and sorting the symbols and storing the locations at each stage), but the problem is that I cannot get a relation between the locations of the symbols and the zeros and ones, so can any one help me in finding this relation to build the code words for each symbol?
A=[0.15 0.1 0.4 0.3 0.05];;
B = sort (A, 'descend');
[B,M1]=sort(B,'descend');
len= length (A);
Location = cell(1,len-2);
for n = 1:len-2
    T=B(len)+B(len-1);
    X=[len, len-1];
    B(X)=[];
    new_len=length(B);
    B(new_len+1)=T;
    [B,M]=sort(B,'descend');
    Location{n} = M ;
    len=length(B);

end

redpajama_set_name: RedPajamaStackExchange


text:
Jacques Plante Toronto Maple Leafs Hockey HOFer Autographed Postcard Photo JSA
Note that items with COAs come with individual COAs, sticker usually on back of item. I do not accept "Best Offer". Prices are reduced every 30 days until the item sells.
Thanks for understanding this policy! New items will be added the first of the month... Prices on existing items will be reduced at the end of each month. January 17, 1929 - February 27, 1986 was a Canadian professional ice hockey.
During a career lasting from 1947 to 1975, he was considered to be one of the most important innovators in hockey. He played for the Montreal Canadiens.
From 1953 to 1963; during his tenure, the team won the Stanley Cup. Six times, including five consecutive wins. In 2017 Plante was named one of the 100 Greatest NHL Players.
Plante retired in 1965 but was persuaded to return to the National Hockey League. To play for the expansion St. He was later traded to the Toronto Maple Leafs. In 1970 and to the Boston Bruins. He joined the World Hockey Association. As coach and general manager for the Quebec Nordiques. He then played goal for the Edmonton Oilers.
In 1974-75, ending his professional career with that team. Plante was the first NHL goaltender to wear a goaltender mask. In regulation play on a regular.
And tested many versions of the mask (including the forerunner of today's mask/helmet combination) with the assistance of other experts. Plante was the first NHL goaltender to regularly play the puck outside his crease. In support of his team's defencemen.
And he often instructed his teammates from behind the play. Plante was inducted into the Hockey Hall of Fame. In 1978, was chosen as the goaltender of the Canadiens' "dream team" in 1985, and was inducted into the Quebec Sports Pantheon in 1994. The Montreal Canadiens retired Plante's jersey, #1, the following year. Plante ranks seventh among NHL goalies for all-time career wins with 437. Additionally, I slip all autographed photos inside sturdy photo-protective sleeves. In most cases, using Jack Smalling's baseball address lists and other assorted address lists, I wrote to both active and retired baseball players, sending them letters, requests for signatures, and self-addressed-stamped envelopes. This is how I obtained thousands of autographs. I stand by every item I sell. All the old time autograph dealers know me and the professional authenticators will vouch for my reputation as well.
I do this on a part time basis, so sometimes emails take a day. PLEASE NOTE: Most items come with certificates of authenticity from outside companies (JSA and PSA predominantly; they are the best). Sincerely, Joe Binder, Downers Grove, Illinois. This item is in the category "Sports Mem, Cards & Fan Shop\Autographs-Original\Hockey-NHL\Photos".
The seller is "calabinder" and is located in this country: US. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech Republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, Korea, South, Indonesia, Taiwan, South Africa, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Philippines, Singapore, Switzerland, Norway, Saudi Arabia, United Arab Emirates, Qatar, Kuwait, Bahrain, Croatia, Republic of, Malaysia, Brazil, Chile, Colombia, Costa Rica, Panama, Trinidad and Tobago, Guatemala, Honduras, Jamaica, Antigua and Barbuda, Aruba, Belize, Dominica, Grenada, Saint Kitts-Nevis, Saint Lucia, Montserrat, Turks and Caicos Islands, Barbados, Bangladesh, Bermuda, Brunei Darussalam, Bolivia, Ecuador, Egypt, French Guiana, Guernsey, Gibraltar, Guadeloupe, Iceland, Jersey, Jordan, Cambodia, Cayman Islands, Liechtenstein, Sri Lanka, Luxembourg, Monaco, Macau, Martinique, Maldives, Nicaragua, Oman, Peru, Pakistan, Paraguay, Reunion, Vietnam, Uruguay.
Product: Photo
raredeckgamehockeypatchphotovintagereebokrookiepuckauthenticmitchmapleaustonsizegunssignedautographedmarnerusedtavaresjohnblueyoungcentennialautohighlightsleafstorontojerseyupperautographmatthewsmint2016-17


Every part of my nerdy heart is fluttering today because Harry Shearer is coming back to The Simpsons. A quick refresher: Harry Shearer, voice of Ned Flanders, Mr. Burns, Smithers, and Principal Skinner, announced seven weeks back that he wouldn't be back for the 27th season of The Simpsons, the first he wouldn't be involved with.
This, fairly obviously, scared every Simpsons fan because of how central Shearer was to the show. No, he does not voice any member of the Simpson family, but in terms of importance his four main characters represent some of the most iconic creations of the show as a whole. Other people could have done the voices but the show just wouldn't be the same. Shearer needed to be back.
I'm not entirely certain what the agreement was to bring him back in the fold, but if money was involved then I am more than willing to pitch in. This should not come as a surprise, given I dedicated almost two full weeks to The Simpsons Bracket last summer. The Simpsons is my second family, more or less. It could be much worse, I'm not that insane. But I love the show and want it to stay around as long as they want to. Today means this might be a possibility. Excellent.


text:
Q: AddpostFramecall back Function not Call in persistent bottom navigation bar I want to animate my list back and forth with scroll animation this FoodFragment call at the  persistent bottom navigation
import 'package:flutter/cupertino.dart';
import 'package:flutter/material.dart';
import 'package:ikwte/AppConstant/StaticData.dart';
import 'package:ikwte/AppConstant/ThemeColors.dart';
import 'package:ikwte/AppUtils/AppUtils.dart';
import 'package:ikwte/ProviderControllers/FoodController.dart';
import 'package:ikwte/Widgets/FragmentWidgets/FoodHelper.dart';
import 'package:ikwte/main.dart';
import 'package:provider/provider.dart';

class FoodFragment extends StatefulWidget {
  const FoodFragment({Key? key}) : super(key: key);

  @override
  State<FoodFragment> createState() => _FoodFragmentState();
}

class _FoodFragmentState extends State<FoodFragment> {
  ScrollController _scrollController = ScrollController();
  var themeColor = ThemeColors();
  var utils = AppUtils();
  var static = Statics();

  @override
  void initState() {
    // TODO: implement initState
    super.initState();
    WidgetsBinding.instance.addPostFrameCallback((timeStamp) {
        double minScrollExtent1 = _scrollController.position.minScrollExtent;
        double maxScrollExtent1 = _scrollController.position.maxScrollExtent;

        animateToMaxMin(maxScrollExtent1, minScrollExtent1, maxScrollExtent1, 1,
            _scrollController);
        print("Function Triggered");
      });
    print("InitState Triggered");
  }

  animateToMaxMin(double max, double min, double direction, int seconds,
      ScrollController scrollController) {
    scrollController
        .animateTo(direction,
            duration: Duration(seconds: seconds), curve: Curves.linear)
        .then((value) {
      direction = direction == max ? min : max;
      animateToMaxMin(max, min, direction, seconds, scrollController);
    });
  }

  @override
  Widget build(BuildContext context) {
    FoodHelper helper = FoodHelper(context, _scrollController);
    return RefreshIndicator(
      backgroundColor: themeColor.yellowColor,
      color: themeColor.blueColor,
      onRefresh: () async {
        await apisCall();
      },
      child: Scaffold(
        backgroundColor: themeColor.blueColor,
        body: Column(
          children: [
            utils.statusBar(context, color: themeColor.blueColor),
            Expanded(
              child: Container(
                  height: MediaQuery.of(context).size.height,
                  width: MediaQuery.of(context).size.width,
                  color: themeColor.blueColor,
                  child: SingleChildScrollView(
                    child: Column(
                      crossAxisAlignment: CrossAxisAlignment.start,
                      children: [
                        helper.appBar(),
                        helper.searchFieldText(),
                        helper.topListHeading(),
                        helper.topList(),
                        helper.whatAreYouLookingForHeading(),
                        helper.whatAreYouLookingForList(),
                        helper.collaborationsHeading(),
                        helper.collaborationList(),
                        helper.newInTownHeading(),
                        helper.newInTownList(),
                        helper.allRestaurantsHeading(),
                        helper.allRestaurantsList()
                      ],
                    ),
                  )),
            ),
            utils.bottomBar(context, color: themeColor.blueColor),
          ],
        ),
      ),
    );
  }

  apisCall() {
    navigatorkey.currentContext!
        .read<FoodController>()
        .getAllRestaurantsListApi();
    navigatorkey.currentContext!.read<FoodController>().getCategoryListApi();
    navigatorkey.currentContext!
        .read<FoodController>()
        .getTopRestaurantsListApi();
    navigatorkey.currentContext!
        .read<FoodController>()
        .getNewInTownRestaurantApi();
    navigatorkey.currentContext!.read<FoodController>().getSecretMenuApi();
  }
}

But the issue i am facing right now is AddpostFrameCallback Function is not calling on the  persistent bottom navigation  so my animation is not getting trigged i tried multiple Solutions but it didn't work for me .How can i reslove this issue


text:
Hērbad (also hīrbad, hērbed or ērvad) is a title given to Zoroastrian priests of minor orders.

In the present day, hērbad is the lowest rank in the Zoroastrian priesthood, and is granted following the basic navar ceremony that marks the beginning of theological training. Unlike a mobed or dastūr, a hērbad may not celebrate the yasna, the main service. He may however assist. A hērbad may also not officiate at a recitation of the Vendidad, which is reserved for priests of higher grade.

Amongst lay Zoroastrians, the three terms are used interchangeably. Unlike mobed but like dastūr, hērbad may be adopted as a professional title in a person's name.

History of term
Middle Persian 𐭧𐭩𐭫𐭯𐭲 harpat (Pahlavi 'yhlpt) derives from Avestan 𐬀𐬈𐬚𐬭𐬀𐬞𐬀𐬌𐬙𐬌 aethrapaiti, which the Avesta uses denote a priestly teacher whose students (aethrii) would be taught to recite the sacred texts. By the 2nd century CE, the term had come to refer to a clergyman who taught religious subjects, and the term appears to have commanded greater prestige than it does today. In the late 3rd century inscription at the Ka'ba-ye Zartosht, the high-priest Kartir refers to himself as hērbad.

There is some evidence that suggest that already by the 6th century, hērbads performed advanced theological tasks, including translations and interpretation of Avestan texts. The 10th century Denkard refers to the high-priest Tansar, who, in legend, is attributed with the collation of the Avesta, as hērbad.

Following the collapse of the Sassanid state in the 6th century, after which Zoroastrianism began to be supplanted by Islam, the increasingly impoverished Zoroastrian communities found it difficult to support a priesthood known only for their scholarship. By the 9th century, there was an active rivalry between these scholar-priests and ritual priests, with each group underbidding the other in their attempts to secure an income. For Zoroastrian laypersons, the distinction between the two groups was at best theoretical and by the 10th century, the term hērbad had lost most associations of scholarship and eventually came to refer to priests that had no theological authority. Beyond that distinction, the terms hērbad, mobad and dastūr were used interchangeably.

In the 16th century, the Rivayat epistles encouraged the Indian Zoroastrians to distinguish between priests capable of officiating at a Vendidad reading and the others. That led to the reinstatement of a hierarchy, with hērbads at the lowest rung on the ladder. Above them were the mobads, denoting priests who had completed their training. In India, the mobads have a dastur as their superior. This is effectively an administrative rank and denotes a director of a fire temple. A dastūr is also the highest religious instance for the community that worships at that temple.

References

 Herbad


Health and sickness are like the two ends of a seesaw. As one goes up, the other goes down. So health spares us from swings and slides of sickness and merry-go-rounds of misguided, dizzy doctors, who think that health is merely the absence of sickness. But health is more than the absence of sickness, just as life is more than the absence of death. Health is the shield between life and death.


Unbeknownst to me, Dana Guiscard of The Kennel had put in a good word for me among several of the minor merchants who frequently set up shop in The Bazaar. He had deemed me a reliable courier, trustworthy and dependable. The job opportunities had begun to appear shortly afterward. A trickle at first, a small job here and there, but as I began to earn the trust of more and more clients, the work became more steady. I only needed to loiter about the bazaar's main administrative office where the vendors often congregated before they set up for the trial and by mid-morning I would have a list of deliveries to make around the city. I wasn't always available, but the men knew when they saw me looming about on the outskirts of the center square, they knew that I was there to work.
"He's the quartermaster on the Gilded Goose," the rope maker Talion said to me as he handed over the rolled parchment. "Lanky fellow with glasses, hard to miss."
I nodded, tucking the slip of paper beside the two parcels already in the bag. Wasn't often that I had multiple deliveries to make at the same time, but one of the bazaar guards wanted me to deliver a letter to a Ceressa Reyes at the Sapphire Inn and Leon the chandler had a package of candles he wanted delivered to The Merchant Guild's main offices. A fortunate, although more complex day of couriering. I waved at Talion as I slung my backpack back onto my shoulders and headed out.
While I weaved through the bazaar aisles looking for the closest exit, I mentally prepared my delivery route in my head. The docks would be my last stop of the day, given that they were the furthest away from the bazaar, which left the Merchant's Guild and the Sapphire Inn. Drawing on my memory of the city's layout, I figured it best to hit the latter first. It was in the shadier part of the city and it was safer to move about the area when the sun was at its apex. Not that I had been bothered at all besides that first time working for The Kennels. The truth was I wasn't handling any expensive deliveries these days. Until I picked up some more wealthy clients, I probably wouldn't have to worry about being molested.
At the same time, better pay would be nice.
Once I was free from the winding stalls on the bazaar, I began to rely on the street signs posted on the larger intersections. Almund's growth had been organic instead of coordinated, so navigation wasn't always the easiest. Streets varied in size and would split off randomly, like the branches of a tree, without any premeditated organization involved. Before the Pirate Lords disappeared two arcs ago, travel had been much harder. Thankfully, the Merchant Guild had installed a lot of the street signs to aid in their own transportation and movement across the city. A selfish act that still aided a larger populace. I spotted a sign that would carry me south deeper into the city. Port Diablo, where the Gilded Goose was the southern most point of the city.
The transition into the slums of Almund was gradual. The buildings were made of a cheaper material and was ramshackle in parts, a marked contrast to the more affluent parts of the city. Even the street signs were tainted by their dark environment. Some had been painted over completely with red and brown hues that looked eerily natural. Others had inappropriate images carved into the wood; there was a subtle contest of wills when someone vandalized official structures with genitalia. Thankfully the graffiti wasn't widespread enough to completely ruin the street signs and I was able to make my way to the street on which The Scalvoris Sapphire resided.
I entered the main lobby via the staircase that opened street level. I pulled out the letter in my bag as I climbed the steps, glancing at the front of the folded slip. The woman's name was scratched across the front in a sloppy handwriting, which was fortunate; I still struggled when I needed to ask around for the recipient. If I continued in this profession, I definitely needed to design a procedure that made this easier for everyone involved.
A mustached receptionist greeted me as I moved up to the desk. "Welcome to the Sapphire. What's your business?" I held the letter up in response, the name Ceressa clearly visible. He nodded, looking back down at the book in front of me. "Cere, a letter!" he shouted, having lost interest in me once he realized I wasn't a paying customer.
Ceressa Reyes stepped around the corner,a vibrant blue dress covering her lithe frame. It wasn't often that someone caught my eye, but she really was pretty. And I think she saw my infatuation behind my eyes as well, given the grin she gave me as she snatched the letter out my hand with two fingers. "Thanks, cutie," she taunted, a twinkle in her eyes, as she disappeared as quickly as she came. The receptionist grunted nearby. I turned to leave, a red flush tainting my pale cheeks. I didn't enjoy this particular emotion, not one bit.
Outside again, I thought it best to practice a more brisk pace to my next location. The expectation was for couriers to be mobile, faster than the client in delivering the package. Although no one had complained about my speed yet, it was better to train myself a little bit before it was necessary for time-sensitive contracts. Thus, setting out at a jog, I made my way to my next destination, slowing down to a brisk walk whenever I came across a street sign.
Even with the measured jog, I felt my lungs rebelling against the exertion a few bits after I began. The necessary pains of physical advancement. I lengthened my strides, an advantage of my height, to make the most out of each one while trying as best as I could to regulate my breathing. It was a different than when he meditated, one to still my heart rate, not my thoughts. I felt a small change for the better, but by the time I reached The Merchant's Guild office in the city, I was still gasping for breath. A slick sheen of sweat covered my brow.
A guard stopped me on the front step of the building. "No entry unless you're a member of the guild," he said gruffly, hand resting on the short sword at his waist. Even when I retrieved the parcel and pointed to the front door, he shook his head no. "No entry, buddy."
I knew I could make a fuss if I wanted to, short sword or not. I didn't actually believe the man would use it since I myself was unarmed. I decided it wasn't worth the trouble, though, and gingerly set the package down right beside the front door, the side with scrawled tally of what was inside face up for everyone to see. Some people could not or did not want to be around when their deliveries were made, so the best he could do was drop it off in a visible location while handling it carefully. Other couriers might just chuck the packages, but that wasn't how I operated. Simple business etiquette demanded otherwise.
I opted for a brisk walk from The Merchant's Guild to Port Diablo since the two were so close together. It was a striking contrast, the past and the supposed future. Even in the bright daytime, I was cautious entering the harbor area. The memory of the old life lingered deep in the wood and stone of this city quarter and most avoided it unless they had pressing business there. But then, that was the entire city of Almund as well.
The Gilded Goose was currently in the process of unloading when I arrived in the central part of the docks. Stevedores rushed to and fro across the gangplank, which was being overseen by a blonde man. Rounded spectacles were perched over his nose as he read over a stack of papers, scribbling notes and numbers in the corner as each shipped past him by. He looked to be the person that Talion had wanted me to deliver to.
I lingered near the man until he finished a conversation with one of the dock officials before moving up beside him. The rolled parchment was the only introduction I needed. He took it without a second glance, scratching the seal away with his fingernail. A quick glance was all he needed before he rolled the sheet back up and tucked it into a shirt pocket. "A timely delivery," he said before turning back to his papers. That was the usual dismissal for a messenger like me.
I had made it halfway down the dock before the quartermaster called out to me again. "Courier," he said, "are you available for another delivery?"
I glanced at the sky. I still had several breaks of sunlight left, it seemed, so I nodded and returned to his side to receive my instructions. It wasn't the most glamorous life these days, but it helped to pay the bills. And right now, what more could I really ask for?
You know, I was expecting this to be pretty boring. I was wrong. Solid, as always!


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These will be short reviews for Vol.2 to Vol.5.
Ikuto x Amu? Still shipping, shipping so much!
There are also some parts with our prince, but eh, again, I don't ship them. I found him especially rude when he told Amu that. Come on, you don't say that to a girl.
We find out several things near the end (though it wasn't a surprise for me) and the volume ends on an exciting cliffhanger!
Volume 3: 4 stars. Ohhh, exciting stuff is happening in this one. Though I definitely, at least at first, disliked that teacher oh so much, but we saw another side to him, and I slowly start to like him. He deserves some happiness. While of course I think it is a bit extreme to go this way, I can see why he changed so much.
We also see more of Utau, and I was so happy to see her. She is one of my favourite characters and I want to see her more. Like Amu she can transform fully, and like Amu she has more than one egg. Plus she seems to have a bit more of a conscious than her fellow Easter peeps. She does want the embryo, but she doesn't want to do cheap shots to get it.
I feel sorry for those that lost their eggs, it must be terrible to either lose it or break it. So I am happy that Amu may just help out with this, she can change them back/fix them. Lots of dreams will be returned to their owners.
Of course there is more Ikuto x Amu, and I was just squeeing in delight, especially during that romantic scene at the park. It seems they are destined to get together. Amu the one who holds the lock, Ikuto the one who holds the key.
I loved that Amu found her resolve. She really gains a lot of strength and bravery in this one. She is going to go against Easter, she is going to save those X eggs. Go Amu!
Volume 4: 2 stars. Meh, this was definitely not my favourite volume, I was mostly frustrated and also a bit bored. I hated the new characters and I am definitely not looking forward to the rest of the volumes having these characters. Can't we get a new character that is better?
Also I am a bit confused as to why the new Queen can also transform. So far it seemed only Utau and Amu could transform, but now this annoying little insert some strong language can also transform? Urgh.
Plus add to that the fact that Amu made the same mistake she did when in the first volumes. Denying her true self. And thus her new egg… well… read for yourself. I was just pissed at Amu. You would think that after so long she would know that she shouldn't act like this.
But I had quite a laugh when she started doing that to Ikuto. I already knew what was going on, but it was so fun to see the Guardians' reactions to it.
The side-story was the best part and also the reason why this one didn't get a 1 star. I won't spoil anything, but finally this big thing is revealed. I remember it caused a lot of confusion for Amu though. Can't wait for her to figure/find it out.
And I hope that Amu will be honest about her new egg. And not keep it away from her friends, the Guardians, for too long.
Plus that twist about character, well then again, since I read the series and saw the series before, I knew about it, but it was still a well done twist.
Volume 5: 3.5 stars. Yay, some background on Yaya and her character egg. The first chapter was also really sweet, Yaya is a great sister, though I can imagine it may be tough at times when the parents don't have time for her. Though that all regressed with the next chapter. Oh Yaya, no girl, no.
Yay, Amu has told everyone! I was so happy that she did it. It took quite a while, but it is finally all out in the open.
Rima also gets a lot of attention, and while I am starting to warm up to her, I am still never going to truly like her unless she starts be more true to herself. Now she is often too high and mighty and I don't like that about her. She is much nicer and friendlier in her comedy mode.
Haha, I loved that date time with the Prince and Amu, but I loved it even more when Ikuto popped up. Hehe, Ikuto is a bit evil at times, but oh so cute!
The Ami-chapter was sweet, though I did think it was a bit irresponsible of Amu to leave her tiny sister alone in the house and go on a date.
And it all ends with another cliffhanger! Oh my! Though I would have thought the group would be a bit smarter considering everything about that CD screams Easter (the big cross, and plus you should recognise Utau's voice by now … Come on guys, she is still working for Easter, can't you guys see this might be a trap? Also it seems we have an extra special egg, I can't wait for that one to get more attention!


From the thunder of nationwide shield rifle perform squads to the applause of FDR's presidential crusade kickoff, Sea Girt flickers with a dynamic historical past that belies its mystique as a quiet beach lodge. within the position that used to be known as the summer time Capital of recent Jersey, a governor's parade may possibly ship a parachutist during the window and a beachside walk could lead on to an come upon with Woodrow Wilson or Frank Hague. Joe Bilby's thorough chronicle of this sq. mile of historical past is as joyous as a Jersey farmer plunging into the surf on Salt Water Day.
Tracing direction sixty six via Missouri represents one in every of America's favourite routines in nostalgia, yet a discerning look one of the roadside weeds finds the type of sordid historical past that does not look on postcards. besides classic vehicles and picnic baskets, direction sixty six was once a conduit buzzing with contraband and crackling with the gunplay of parents like Bonnie and Clyde, Jesse James and the younger brothers. It used to be additionally the popular byway of lynch mobs, murderous hitchhikers and mad scientists. cease in at locations just like the Devil's Elbow and the Steffleback Bordello in this journey during the extra treacherous twists of the mummy Road.
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initially the home of safe haven in Pittsburgh, the power used to be moved to a more healthy environment in 1876, taken over by way of the country, and switched over into an establishment for the incarceration of teen offenders. neighborhood mom and dad could threaten to ship their teenagers there in the event that they misbehaved. Morganza has lengthy been a draw for ancient researchers, city explorers, ghost hunters, and others to profit extra approximately those that lived and labored there. Morganza used to be simply pointed out by way of its management construction capped via a remarkable copper cupola, positioned prominently simply off Interstate seventy nine in Cecil Township. Its specific structure was once additionally featured within the 1991 movie The Silence of the Lambs. through the years, Morganza underwent a number of identify adjustments. status as a containment campus for antisocial youths for simply over ninety years, it later functioned as a facility to help the mentally handicapped until eventually its closure in 2000.
Idaho used to be the forty-third nation admitted to the Union, however it simply may lead the state in unusual tales and offbeat legends. writer and Idaho resident Andy Weeks fills this number of stories with tales starting from compelling and heartfelt to outlandish and weird. observe the boxcar that carried the alleged physique of John Wilkes sales space via Idaho. discover the id of girl Bluebeard, the unassuming dual Falls housewife who allegedly murdered 4 husbands. learn the way vehicles ended up on the backside of Lake Coeur d�Alene. study the grisly tale of Gobo Fango, a black Mormon sheepherder whose past due 1800s bloody dispute with a cattleman at the open variety proved deadly. those stories and so on convey to mild Idaho�s unruly prior in attention-grabbing detail.
After Redemption fills in a lacking bankruptcy within the background of African American lifestyles after freedom. It takes at the broadly missed interval among the top of Reconstruction and international warfare I to ascertain the sacred global of ex-slaves and their descendants dwelling within the area extra densely settled than the other by way of blacks dwelling during this period, the Mississippi and Arkansas Delta. Drawing on a wealthy variety of neighborhood memoirs, newspaper debts, photos, early blues track, and lately unearthed Works venture management documents, John Giggie demanding situations the normal view that this period marked the low aspect within the sleek evolution of African-American faith and tradition. Set opposed to a backdrop of escalating racial violence in a area extra densely populated by way of African americans than the other on the time, he illuminates how blacks tailored to the defining gains of the post-Reconstruction South-- together with the expansion of segregation, educate commute, client capitalism, and fraternal orders--and within the approach dramatically altered their religious rules and associations. Masterfully interpreting those disparate components, Giggie's learn situates the African-American event within the broadest context of southern, spiritual, and American historical past and sheds new mild at the complexity of black faith and its function in confronting Jim Crow.
because the Civil conflict raged, accomplice brigadier normal J.E.B. Stuart entrusted a mystery album to Laura Ratcliffe, a tender lady in Fairfax County, "as a token of his excessive appreciation of her patriotism, admiration of her virtues, and pledge of his lasting esteem." a faithful Southerner, Laura supplied a secure haven for insurgent forces, in addition to intelligence amassed from passing Union squaddies. Ratcliffe's publication comprises 4 poems and 40 undated signatures: twenty-six of accomplice officials and squaddies and fourteen of dependable accomplice civilians. In A Southern undercover agent in Northern Virginia, Charles V. Mauro uncovers the secret in the back of this album, determining who the warriors have been and after they can have signed its pages. the result's a desirable examine the covert lives and relationships of civilians and squaddies throughout the battle, stored hidden till now.
American independence was once at the line within the battle of 1812. inside of years, the British naval blockade of the US used to be strangling the U.S. economic system. The invasion of Washington D.C. through Wellington's "Invincibles" led to the burning of the Capitol and White condominium. below 3 weeks later, within the biggest meeting of fighters of the battle, Baltimore used to be attacked on September 12, 1814. opposed to all odds, one American heroically led the protection that kept his cherished urban. Upon listening to the inside track in London, the British executive determined to speedy negotiate an finish to the conflict. the United States used to be kept and Sam Smith grew to become an army hero for the second one time in his lifestyles. The megastar Spangled Banner was once eternally emblazoned on American hearts.
This is the tale of what can ensue "when loose males shall stand." Smith's lifetime of management is a daring instance of actual American patriotism and knowledge. Inspiring us all this day, this e-book is the authors' homage to the early American struggle for freedom and liberty, and the way one chief could make the entire distinction for the "land of the unfastened and the house of the brave."


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Guest Post: Four Corners by Sarah Donald
Many thanks to Sarah, who was at the Four Corners Script Development Workshop, an event for film students and trainers in London recently for screenwriters and producers. Take it away, Sarah!
Given the opportunity to write a review up for Bang2write I jumped at the opportunity! So let me explain about this unknown mystery world of Four Corners…
Every year the pitter patter of feet can be heard coming…but fear not! It's only young screenwriters, producers and (deep breath) directors!
From across Europe they come together for the annual feature film programme run across several countries in Europe to develop, finance and produce new films that will thrive and prosper in the European and international marketplace. To you and me, it's Four Corners. From intense workshops and one-on-one tutoring, it ensures that ideas can take flight and grab those developers and distributors! Funded by LSFMP and the European Union's MEDIA Programme, partnered with two highly prominent European films schools (Spain's ESCAC and the Nationals Film & Television Academy in Bulgaria) all rolled into 9 months of project development.
Now while you take a breath, let your mind handle the fact that not only are some of the teams pulled from around the UK, (from Bournemouth and London) add on Germany, Denmark, Czech Republic, Spain, Poland, Greece, and Bulgaria (breath) you've got yourself this year's mix of Four Corners candidates.
Going back to 2008 it all kicked off, the only difference being that the UK location changed from Bournemouth to London. Twelve groups are accepted on the programme. Each group consists of 2-3 people and each will contain at least one writer and one producer. Eight of the groups will come from the four main locations, while places for the remaining four groups (i.e., up to twelve people) are open to applications from other European film schools and countries. The four workshops then will take place in England, Spain, Bulgaria and Greece. As an additional yet equally exciting element there will be the possibility for project teams to produce a short teaser trailer for their film. Four Corners will be offering awards of up to €5000 each towards the production costs of the three best trailer proposals developed on the course (Incredible!).
A fly on the wall or eye in the sky (however a non participant may be called), I was lucky enough to be involved in the London events for the week. As a student at LSFMP I was brought on board for the London session to assist with interviews, sound assistant, and camera operator to capture all the sessions and pitching workshops. Already in full flight the students have already kickstart their idea, having a treatment underway and in discussion of their next step of development with their tutors, to name a few Christian Routh and Miguel Machalski (familiar face Chris Jones also acted as an extra tutor on his session day) before it was down to the nitty gritty of pitching.
In between group writing sessions and tutor time there were specialist sessions. The weekend was kick started with 'My Week of Marilyn' and a follow up session with Adrian Hodges, writer of the screenplay. To keep with the different and ever changing palette of the ground of students a documentary was next. 'The Bengali Detective' a documentary about a real detective, handling real cases, in the heart of one of India's biggest cities. Himesh Kar produced the documentary which premiered in Sundance 2011 where Fox Searchlight acquired the fiction remake rights (so keep your eyes peeled for a cinema near you). He shared his journey from on set explorer to discovering where his real passion lay and has since launched his own company Frequent Flyer Films.
Chris Jones talking about Social Media and how to use it to your advantage. Being people of the 21st century computers are the new way in which to contact the masses so use it to your advantage people! The next showing was of 'Deviation', which had the group on the edge with the psychotic thriller by JK Amalou. JK filled the room with the trials of trying to film around London not only in the tiny hours of the morning but also with Danny Dyer's ever following and loving fans. As the sessions and week came to an end the groups pitched their hearts out, received their feedback and are already typing to their fingers bones to finish their scripts for the next week in Bulgaria!
So for all the inspiring writers, directors, and producers out there if you can take anything away from these rambling words it is this. Be sensible about your work, feel the passion and creativity but know when you need to put aside that film for your soul to focus on that feature that is realistic right now. Write for you but don't underestimate the development part and find yourself a team that not only supports you and each other but the vision as well. So go creature Internet readers and don't think anything is impossible!
If you want to be involved or find out more about Four Corners here.
BIO: Sarah Donald – Screenwriter and Producer in training, chatter and traveling student. I have lived in a variety of countries, ramble on my blog and have tried to grab hold of every opportunity that comes my way. So onward and upward as they say!
And if you feel like it follow me on Twitter.
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Iowa State University Mfa Creative Writing – 846250
Scholarships expiring soon › Forums › General Scholarship discussion › Iowa State University Mfa Creative Writing – 846250
This topic has 0 replies, 1 voice, and was last updated 4 years, 11 months ago by excaromito.
excaromito
Iowa State University Mfa Creative Writing
MFA in Creative Writing and Environment Department of English three-year MFA program in Creative Writing and Environment emphasizes study in creative writing poetry, fiction, nonfiction, and drama that encourages writers to identify and explore in their stories and lyric impressions the complex influences of place, the natural world, and the environmental nbsp; MFA Coursework amp; Program of Study – Department of English – Iowa Faculty Department of English , Cook was a Professor of Creative Writing and Literature at Prescott College a private liberal arts college with an environmental and social justice mission where he Since 2004, he has been a member of the graduate faculty of Spalding University 39;s Brief-Residency MFA in Writing Program. Taylor Brorby MFA in Creative Writing and Environment in Creative Writing and Environment at Iowa State University. Taylor 39;s work has appeared in Rock, Paper, nbsp; Creative Writing and Environment – Graduate College – Iowa State three-year MFA program in Creative Writing and Environment cultivates in its students an interdisciplinary approach to research and writing. The program 39;s unique design allows writers to develop a heightened environmental imagination that finds expression in quality, publishable works of fiction, nbsp; How to Apply – Department of English – Iowa State University MFA CWE: 2-3 double-spaced pages (leave application field blank). Be sure to include information about the creative writing projects you have completed or are currently working on, as well as any publications, honors, or prizes for creative work. Please include any teacher-training you 39;ve had, as well as nbsp; Pearl Hogrefe Fellowship in Creative Writing Department of English University. However, the Fellowship is designed for students interested in studying creative writing in the MFA Program in Creative Writing and Environment. Hogrefe Fellows are required to maintain full-time graduate status and take a minimum nbsp; Current MFA Students – Department of English – Iowa State University in Creative Writing and the Environment from a platform of 24-years as an Episcopal priest, and involvement in prairie preservation and restoration efforts both rural and urban. Bascom holds literature and theology degrees from the University of Kansas; Seabury-Western Seminary nbsp; Iowa State University Poets amp; Writers Program. Program Established: 2006. Location: Ames, IA. Genre: Poetry, Fiction, Creative Nonfiction. Residency: Full. Duration: 3 Years. Incoming Class Size: 10. Application Deadline: January 5, 2018. Application Fee: 60. Website: creative–writing/mfa-program-in-creative–writing-and- nbsp; Iowa State University MFA Program in Creative Writing and Program in Creative Writing and Environment, Ames, IA. 572 likes. An interdisciplinary MFA program where writers explore the
Iowa Writers 39; Workshop – The University of Iowa
have come to Iowa City to work on their manuscripts and to exchange ideas about writing and reading with each other and with the faculty. Many of them have gone on to publish award-winning work after graduating. With the spirit of an arts colony and the benefits of the research nbsp; Graduate Program – Iowa Writers 39; Workshop – University of Iowa 39; Workshop is a two-year residency program which culminates in the submission of a creative thesis (a novel, a collection of stories, or a book of poetry) and the awarding of a Master of Fine Arts degree. The program typically admits up to fifty graduate students each year – approximately twenty-five each in nbsp; Master of Fine Arts in Spanish Creative Writing Department of requires 48 s. h. of graduate credit taken over four semesters in residence at The University of Iowa. The program also includes an outreach component. Work toward the degree culminates in a creative thesis, completed during the final semester in the program. Program in Creative Writing and Environment – Iowa State University Master of Fine Arts (MFA). Degrees Awarded. Master 39;s Degrees Not reported; Doctoral Degrees Not reported; First Professional Degrees Not reported; Other Advanced Degrees Not reported; Shows the number of degrees awarded for the last academic year that data was reported. The Top 25 Underrated Creative Writing MFA Programs (2011-2012 ISU 39;s unique focus on the environment (as well as interdisciplinary work and one-on-one mentoring) are stand-out features. Lots of full funding packages are available, there 39;s a creative writing doctoral program at the university along with the MFA meaning, by and large, a higher quality workshop nbsp; Iowa Writers 39; Workshop – Wikipedia , more commonly known as the Iowa Writers 39; Workshop, at the University of Iowa in Iowa City, Iowa, is a much-celebrated graduate-level creative writing program in the United States. Writer Lan Samantha Chang is its director. Graduates earn a Master of Fine Arts (MFA) degree in Creative nbsp; Where Great Writers are Made – The Atlantic Writers 39; Workshop can be found in a quaint wooden house at the north end of the University of Iowa campus. . The Texas English department offers a two-year M. A. in creative writing in poetry or fiction, and the Michener Center is a three-year M. F. A. program that requires its students to work in two of the four nbsp; Creative Writing – Portland State University Program offers MFA and BFA degrees in Fiction, Nonfiction, and Poetry. Located in the center of one of the MFA program alumni have written for publications ranging from Tin House and the New Yorker to The Believer and Iowa Review. But above all, our program is part of nbsp; M. F. A. in Creative Writing Department of English West Virginia They 39;ve also received fellowships such as the Olive B. O 39;Connor Fellowship at Colgate and the Emory University Creative Writing Fellowship, won national prizes such as the Iowa Award for Poetry and the AWP Prize for Nonfiction, and published books with Carnegie Mellon, Ohio University Press, Salmon nbsp; Creative Writing (MFA) Faculty Chatham University, Pittsburgh, PA at The University of Texas at Dallas, The University of Louisiana at Lafayette, Knox College and Iowa State University. She directs the MFA program in Creative Writing at Chatham University where she also teaches poetry and creative nonfiction. M. F. A. in Creative Writing Department of English West Virginia They 39;ve also received fellowships such as the Olive B. O 39;Connor Fellowship at Colgate and the Emory University Creative Writing Fellowship, won national prizes such as the Iowa Award for Poetry and the AWP Prize for Nonfiction, and published books with Carnegie Mellon, Ohio University Press, Salmon nbsp;
Creative Writing (MFA) Faculty Chatham University, Pittsburgh, PA
at The University of Texas at Dallas, The University of Louisiana at Lafayette, Knox College and Iowa State University. She directs the MFA program in Creative Writing at Chatham University where she also teaches poetry and creative nonfiction. Creative Writing – Department of English – Illinois State University program has a distinguished national reputation for encouraging alternative and hybrid forms of writing while emphasizing the study of theory and creative writing pedagogy. We are a program that respects and encourages innovation. Creative Writing Idaho State University offers access to high-quality education in more than 250 nbsp; Debra Marquart Stonecoast MFA in Creative Writing University of Program in Creative Writing amp; Environment at Iowa State University in Ames, Iowa. She serves as the Senior Editor of Flyway: Journal of Writing and Environment, and teaches in the Stonecoast Low-Residency MFA Program at nbsp; AWP: Conference Schedule – Association of Writers amp; Writing at the University of Georgia and a graduate of the MFA program in creative writing and environment at Iowa State University. Samuel Amadon is the author of Listener, The Hartford Book, and Like a Sea. How Iowa Flattened Literature – The Chronicle of Higher Education Through the University of Iowa, Engle received 10, 000 to travel in Asia and Europe to recruit young writers left-leaning intellectuals to send to the United States on fellowship. The Iowa Writers 39; Workshop emerged in the 1930s and powerfully influenced the creative–writing programs that followed. Jane Smiley The Writing University (1976), and PhD (1978) at the University of Iowa. In 1981, she went to work at Iowa State University, in Ames, where nbsp; Creative Writing – Bowling Green State University at Bowling Green State University emphasizes the studio fine arts element of its degree. The program offers a BFA and MFA. . Teaching assistantships are available for the MFA Program. Please see the Graduate College policies and procedures. Lucas Southworth – Faculty – Writing Department – Loyola University (2009) Iowa State University-Iowa, M. A. English, Specialization in Creative Writing (2005) Knox College-Illinois, B. A. English Literature (2001) nbsp;


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Family mourns man murdered during robbery, suspect on the loose
By Mayra Moreno
HOUSTON, Texas (KTRK) -- It was this time last week the family of 38-year-old Gabino Gomez Duarte gathered in a parking lot to be told he was shot and killed during a robbery.
"I heard about it on the news. It happens to other families, I just never thought it would happen to our family," said a relative. "Everyone's still affected by it, but were holding up."
The Harris County Sheriff's office released new surveillance images of the getaway vehicle and the suspects who are wanted for the capital murder of Duarte.
Investigators said that a black man ambushed Duarte and a physical altercation began where Duarte was shot and killed. The other suspect, a black woman, was driving a maroon and tan late model Ford expedition.
"I really just want the community to help us because their family might be next. We don't want anyone else to go through what they are going through right now," she said.
It has been especially painful for Duarte's mother who lives in Mexico.
"Not that long ago she lost another son," she said.
A second blow to this family. They describe Duarte as a hardworking man who provided for his two children.
"We just come to this country to work, to have a better living. For somebody like him to steal what we worked so hard for just breaks my heart," said the cousin.
The family is now gathering whatever money they can to send Duarte's body to Mexico. His mother wants to see him one last time before saying goodbye.
Anyone with information on these suspects or the vehicle is asked to call the Harris County Sheriff's Office or CrimeStoppers at 713-222-TIPS.
Follow Mayra Moreno on Facebook and Twitter.
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1 available auction result for Johann Karl SCHLIESSL.
On Artprice.com's Standardized Marketplace, you can buy or sell artworks by Johann Karl SCHLIESSL.
Updated on 21 Apr 2019: Johann Karl SCHLIESSL (?-1828) is an artist born in ? The oldest auction result ever registered on the website for an artwork by this artist is a drawing-watercolor sold in 2004, at Dorotheum, and the most recent auction result is a drawing-watercolor sold in 2004. Artprice.com's price levels for this artist are based on 1 auction results. Especially: drawing-watercolor.