Today we're having lunch in the surfing haven of Muizenberg along the Cape's fabulous peninsular. It's a sleepy, understated town with a huge, beautiful beach and sea with loads of waves to catch. Tiger's Milk is a trendy, much-needed addition to Muizenberg's restaurant scene.
It's a lovely spot, huge and flooded with light with quirky decor and a simple menu that includes hearty staples like ribs, burgers and steaks, plus a selection of lighter starters.
This is one of the best oyster dishes I've had in a very long time, amazingly fresh and served with pear, ginger, cucumber and Asian dipping sauce.
Tempura prawns came with spaghetti cucumber (which looks very pretty) and sweet chilli aioli.
A totally simple starter, buttered corn on the cob served with smoked chilli butter and coriander. Wonderfully sweet and juicy.
The calamari was served grilled with rocket, olives, chorizo, chipotle and aioli and had a real chilli bite.
Tiger's Milk prides itself on serving good steaks, so they had to be tasted. Unfortunately they were out of ribeye which was the table's first choice, so we went for sirloin instead.
I went for half a peri peri chicken – substantial and spicy – and the perfect excuse to use your fingers and savour the flavour.
I loved the stylish, contemporary interior, and these lights using decanters were a very clever touch.
And here's a view of beautiful Muizenberg beach from on high.
Tiger's Milk is on the corner of Beach and Sidmouth Roads in Muizenberg.


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Tulane Novel Tech Challenge Celebrates Innovative Student Finalists
The Tulane School of Science and Engineering's inaugural Novel Tech Challenge asked students to come up with a solution for a real-world problem and to build a prototype.
Organizers received applications from teams that have ideas to improve the environment, human health, education, and urban infrastructure through technology.
"Our graduates have been involved in start-up companies across the country," says Nicholas Altiero, dean of the School of Science and Engineering. "When I speak with them, they often wish they could have started that process and learned more about the culture of innovation while they were at Tulane. This challenge will give our students a venue to do that."
Student finalists will pitch their products in front of a live panel of Tulane alumni and industry professionals on April 15 at four o'clock. The challenge winner will receive a $5,000 grand prize.
"The work that undergraduates are doing is significant and very impressive," says John Christie, executive director of the Office of Technology Transfer and Intellectual Property Development at Tulane. "They are creating things that will make the world a better place."
A reception will immediately follow the announcement of the Burton D. Morgan Foundation Prize winner.
For more information or to RSVP, email Christiana Lederman at clederma@tulane.edu.

redpajama_set_name: RedPajamaCommonCrawl


Chichester trio TRAAMS have let us into their wonderfully loud world, and explained how latest LP Modern Dancing came to be.
Arriving back in August, the lead track "Succulent Thunder Anthem" was (and still is) a giddy, bone-gnawing take on rock. It made the prospect of Modern Dancing very exciting indeed.
The album, released last week, hasn't disappointed - we said "TRAAMS have managed to develop their own brand of cadence-clever punk music and on Modern Dancing, the end product oozes natural style and effortless ability."
2/3 of the band, vocalist/guitarist Stuart Hopkins and bassist Leigh Padley, explained the ins and outs of the record to Best Fit. Stream it below, and then check out what they had to say.
Not actually about Kevin Costner. The guitar part reminded me of a Ennio Morricone song that's on the Untouchable soundtrack, a film obviously starring Kevin Costner. This was one of the first songs we wrote for the record and we've been playing it live since early 2014. If memory serves me right I think we debuted it in Brussels* but I am probably wrong about that. Adam is normally the best at stuff like that but he straight up refuses to do interviews.
This song was originally written as a second part to opener "Costner" but we filled it out a bit and it grew a character of its own. We link them on the record and when we play them live. The working title for this song was "Mark E. Smith In The Desert" as we thought it sounded like that when we were first playing around with it. Don't really know what that's meant to mean but it made sense at the time.
We wanted this one to be just a bit of fun really. It's not big or clever, but we really enjoyed making a hard and fast pop song out of it so it had a place on the record.
For a brief time TRAAMS were a two-piece band, I (Padley) joined after one or two shows. During our first few rehearsal sessions the lads were showing me bits of material they had and Stu played me the "Sister" riff. We didn't really work on it but I had that bloody riff stuck in my head for years so I reworked it and reintroduced it to the band. Stu and Adam nailed it and it became a favourite of ours to play live.
We've had "Silver Lining" in some form or another for a while, we could just never finish it. It used to have this massive bombastic section at the end that sounded like Queen or something, it was pretty cheesy. When we decided to back off at the end instead, we came up with a new ending and that's probably my favourite section of the whole album. Especially the high bass notes Padley is playing at 2:55.
We wrote this between the two album recording sessions. It came really quick. Adam and I started playing almost simultaneously and it just clicked straight away. It's probably the slowest song we've ever written and also the most different to our other tracks. There's a nice fluidity to it I think.
This song was the one that transformed the most in the studio. We cut a lot of fat off it. We once ended a show with it when we first had it in the bank but it went on way too long. We kind of wanted to make an anthemic mix of Let's Wrestle and Interpol. I'm not entirely sure if we succeeded with it in that respect but we really liked the outcome and we will hopefully get it back into our live sets at some point. Adam and I (Padley) looped the bridge section over and over when we were writing it because wanted it to be as tight as possible. It's really rewarding to play that bit, kind of like how I imagine a Djent or Groove Metal musician may feel about nailing a cool bit. The working title for this one was "Succulent Thurrock Anthem".
This was another song we wrote in between the two recording sessions. It came together in about an hour as we played it through over and over. Similar to "Succulent Thunder Anthem" in that we wanted to make a fun slab of fast pop. I think it falls somewhere between The Undertones and Lullabies-era Queens Of The Stone Age.
Stu had the chorus for this ditty for a little while before we got a song out of it. I (Padley) really enjoy locking in with Adam on this one. It's quite a sturdy rocker but it's just a Fun-Punk-Funk song thingy.
I (Stu) didn't realise I'd written this song until Padley played me a recording of it. He'd recorded me playing through the door of our practise space whilst he was outside having a cigarette. We didn't change it. It's pretty much exactly the same as that original phone recording. He also had to work out the chords I was playing for me to do it again.
Another song that was shaken up a bit during the recording sessions. It was essentially a massive jam for a time but we knew there was a tidy little pop song in there somewhere. It was great building it knowing that we wanted it as the album closer, I think that helped us identify the bits that needed to stay and the bits that didn't. I think it's about being a bit of a piss head.
TRAAMS' second album Modern Dancing is out now on FatCat.


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Wedding sheet music for Recorder
Download Wedding sheet music for Recorder
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Bach: Anna Magdalena: No. 25: Bist du bei mir: Descant Recorder, Guitar
Bist du bei Mir, or If You are With Me, from A Little Notebook for Anna Magdalena Bach, attributed to Bach but part of an opera by Stolzel. Arranged as a duo for Descant Recorder and Guitar. Includes a part in D major, with guitar Capo II.
Bach: Anna Magdalena: No. 25: Bist du bei mir: Descant Recorder, Guitar: G ma
Bist du bei Mir, or If You are With Me, from A Little Notebook for Anna Magdalena Bach, attributed to Bach but part of an opera by Stolzel. Arranged as a duo for Descant Recorder and Guitar. D major.
Bach: Anna Magdalena: No. 25: Bist du bei mir: Descant Recorder, Piano
Bist du bei Mir, or If You are With Me, from A Little Notebook for Anna Magdalena Bach, attributed to Bach but part of an opera by Stolzel. Arranged for Descant Recorder and Piano.
Bach: BWV 1066, 6th mvt: Two Bourrees: Descant Recorder, Guitar
BWV 1066: Orchestral Suite No.1, 6th Mvt: Two Bourrees with major and minor key contrast, arranged as a duo for Descant Recorder and Guitar.
Bach: BWV 1067, 6th mvt: Minuet: Descant Recorder, Guitar
BWV 1067: Orchestral Suite No.2, 6th Mvt: a charming Minuet arranged for Descant Recorder and Guitar duo.
Bach: BWV 1068, 3rd mvt: 2 Gavottes: Descant Recorder, Piano
BWV 1068: Orchestral Suite No.3, 3rd Mvt: Two graceful and jolly Gavottes, arranged for Descant Recorder and Piano.
Bach: bwv 1068: Air on G: Descant Recorder and Guitar.
Air on G from 3rd Orchestral Suite. The Hamlet ad, also the inspiration for A Whiter Shade of Pale. Arranged for Descant Recorder and Guitar duo.
Bach: Goldberg Variations: No. 00 Aria: Descant Recorder, Guitar
Aria from the Goldberg Variations, including the written out ornamentation, a duo for Descant Recorder and Guitar.
Balfe: I Dreamt that I Dwelt in Marble Halls: Descant Recorder, Guitar
Marble Halls from Bohemian Girl, arranged for Descant Recorder and Guitar duo.
Bateson: If Love Be Blind: Recorder Quartet
If Love be Blind, an old English madrigal for descant, treble, tenor and bass recorders.
Beethoven: Op.27, No2: Sonata 14: Moonlight, 2nd mvt: Descant Recorder, Guitar,
Moonlight Sonata 2nd movement arranged for Descant Recorder and Guitar duo. This is a charming Allegretto and Trio. Beethoven described the sonata as quasi una fantasia: Almost a Fantasy.
Boccherini: Minuet and Trio: from String Quintet in E: Descant Recorder, Guitar
The Celebrated Minuet from the String Quintet, arranged for Descant Recorder and Guitar duo. This piece was made famous by its use in the 1955 film The Ladykillers.
Boccherini: Minuet and Trio: from String Quintet in E: Descant Recorder, Piano
The Celebrated Minuet from the String Quintet, arranged for Descant Recorder and Piano. This piece was made famous by its use in the 1955 film The Ladykillers.
Dandrieu: Gavotte en Rondeau
Gavotte en Rondeau for Descant Recorder and Guitar duo.
Dandrieu: Gavotte en Rondeau: Recorder and Piano
Gavotte en Rondeau for Descant Recorder and Piano.
Dandrieu: La Musete: Descant Recorder, Guitar
La Musete, a duo for Descant Recorder and Guitar.
Delibes: The Flower Duet: Lakme: 2 recorders and piano
Flower Duet from Lakme arranged for 2 Descant Recorders and piano. Also known as the music for an advert for a famous airline.
Granados: Danzas Espanolas No. 5: Andaluza Descant Recorder, Guitar.
No. 5 from Spanish Dances, the wonderful atmospheric Andaluza, a duo for Descant Recorder and Guitar.
Granados: Dedicatoria: Op.1 No.1: Descant Recorder, Guitar.
No. 1 from Cuentos de la juventud, or Scenes of Childhood, for Descant Recorder and Guitar duo.
Granados: Valses Poeticos: Op.10 No.1: Treble Recorder, Guitar
No. 1 from Valses Poeticos, or Poetic Waltzes, with a deceptively simple theme for Treble Recorder and Guitar duo.


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Engine computer problem delays first SLS launch
Work to replace a malfunctioning computer on one of the four engines in the SLS core stage will delay its first launch to at least March, NASA announced Dec. 17. NASA/Cory Huston
WASHINGTON — A malfunctioning computer in one of the four main engines of the Space Launch System will delay that vehicle's first launch to no earlier than March.
In a statement late Dec. 17, NASA announced that SLS engineers decided they needed to replace the controller for engine four in the core stage of the SLS. One of two redundant channels in the controller failed to power up consistently during tests of the integrated vehicle at the Kennedy Space Center.
That controller operated as expected during the core stage's Green Run test campaign at the Stennis Space Center that concluded with a full-duration static-fire test in March. An initial investigation failed to identify the root cause of the problem.
In the statement, NASA said they will replace the engine controller, "returning the rocket to full functionality and redundancy while continuing to investigate and identify a root cause."
NASA did not give a schedule for the work but ruled out a launch in the initial window of Feb. 12 to 27 that the agency announced in October. "NASA is developing a plan and updated schedule to replace the engine controller while continuing integrated testing and reviewing launch opportunities in March and April," NASA said in the announcement.
In October, NASA said the next launch opportunities after the February window run from March 12 to 27 and from April 8 to 23. The windows are governed by the performance of the SLS and mission constraints, such as having the Orion spacecraft splash down in daylight conditions.
Even before this latest issue, there were doubts that SLS would be ready when the first launch opportunity opened Feb. 12. Before the launch itself, NASA will roll SLS out to Launch Complex 39B for tests, including a wet dress rehearsal where the rocket is loaded with liquid hydrogen and liquid oxygen propellants and goes through a practice countdown that stops just before engine ignition.
Industry sources said that rollout needed to take place by the end of the December to keep preparations for a February launch on schedule. However, as of Dec. 10, NASA said the program was planning a rollout in mid-January.
In a discussion about the Artemis program during the U.S. Chamber of Commerce's Launch webinar Dec. 16, Annette Hasbrook, assistant manager for program integration for NASA's Orion program, said rollout for the wet dress rehearsal is scheduled for "early next year." That panel discussion did not mention the engine controller issue and said Artemis 1 was scheduled for launch in February.
Civil	ArtemisNASASLS


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Scooby-Doo's original title was "Mystery Five"
Scooby-Doo, Where Are You!, the iconic American animated mystery comedy television series produced by Hanna-Barbera, was originally titled Mystery Five, and later Who's S-S-Scared?
It wasn't the only change the series suffered from script to screen: the most significant was the downplaying of the musical group angle borrowed from The Archie Show.
Buffy wanted to be Sabrina, the teenage witch
A Colombian baby was named Netflix
PeopleTVWorld
The man who green-lighted "Lost" lost his job
"Money Heist" is the most-watched non-English series in the history of Netflix
The first human killing seen live on TV was that of Kennedy' assassin
HistoryTV


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redpajama_set_name: RedPajamaGithub


It's Party Time over at Wendy Poplars today! Being the topic of my favorite season, I had to join in.
1. How do you most like to entertain during the summer (pool party, picnic, cookout, etc.)? - Or if your situation doesn't allow for entertaining right now, what do you look forward to being able to host?
I like to entertain with cocktails on our back porch, and have friends over to grill out. I feel like entertaining in the summer is way more casual than the rest of the year. Coming from Florida, not having immediate access to a pool here is very difficult for me. We do have a roof top and indoor pool at our gym, but the best part of a pool party is having a Pineapple-tini in hand, which would be weird at the gym.
I am looking forward to my sororities alumnae group's Summer Soiree and Picnic on the National Mall coming up. That will be so much fun!
2. Do you have a favorite summertime dessert?
My favorite summertime dessert is ice cream! It's actually my favorite anytime dessert.
Every summer growing up I would look forward to my church's ice cream fellowship. It would be after a Sunday evening service and we would all go to the fellowship hall where there were tables and tables of homemade ice cream. Amazing!
Now that I think of it, I have a ice cream maker. You know the kind where you have the ice and salt in the bucket, and you spin spin spin the container with the cream and sugar.
Thank goodness it's electric, although it needs to be made outside because the sides sweat, and well, that's just how you do it. I believe it's in my parent's garage in Florida. I will have to be sure to bring that back to DC when we are visiting in a few weeks. I also gave an inside electric model to Lacey at one of her Bridal Showers.
I feel relieved to know that there will be two ice cream makers in my vicinity this summer. PTL!
3.What is your best outdoor summer date idea?
Well, my best outdoor summer date was the night that Josh proposed. The fourth of July is my favorite holiday. Josh had taken me on a beach trip to San Marco Island, just off the coast of Naples to spend the weekend. We stayed at the beautiful Marriott resort, it was the perfect mix of old time Florida with all the modern amenities.
The next morning Josh had rented us a private beach cabana. They brought us bottled water by the bucket and all the magazines I could possibly want to read - it was pretty awesome.
After dinner we went out to the beach to watch the fireworks. We could hear the music from the band playing at the resort and were dancing in the sand. Josh was spinning me around and as I turned he got down on one knee and asked me for my hand. It was perfect.
When we got back to our room there were chocolate covered strawberries and champagne waiting for us.
It was the best summertime date ever!
I think the best way to decorate outside during the summer is with plants and flowers. Showcase natures beauty! I also like to decorate for Memorial Day, Flag Day and the Fourth of July with lots and lots of red, white and blue!
5. What will we find you wearing most in the summertime?
Hi Sarah Beth! My church used to have an ice cream social every summer too! Good times.- Your "greatest summertime date" sure tops the list! What a sweet, romantic proposal. Sounds like a keeper to me :-) Love your dresses too... Thanks for joining in the party!
hey girlie....i just became your newest follower. your blog is adorable and i can't wait to get to know you better!


After experiencing many creative jobs, Fred never forgot his big heart for nature and finally found his dream of being a wildlife photographer. He is passionate about Africa and continues to learn every day. He hopes to regain a certain amount of freedom to make a job out of his passion in this lifetime (hopefully enabling him one day quit his day job). Visit his Facebook page or website now.
A young leopard tries out his hunting skills on a Cape turtle dove.


Sure, you know a few things off the top of your head that you'll put on your holiday grocery list. But do you know what would really take your shopping list to the next level? Groceries handpicked by experts, that's what.
We had two James Beard Foundation nominees — chef Jeremy Fox and baker Lisa Ludwinski — plus, celebrated experts from Whole Foods Market tell us their favorite things to get at Whole Foods Market. Now, we're sharing their top picks so you, too, can shop like a chef and have the best of the best of the best at your holiday dinner. From a butter that makes all baked goods better to survival snacks, consider this the expert-approved list of must-haves.
Alan Morgan is the Global Senior Coordinator of Culinary Development for Whole Foods Market.
Jeremy Fox is Executive Chef and co-owner of Santa Monica's Rustic Canyon and author of "On Vegetables: Modern Recipes for the Home Kitchen." He created our vegan holiday feast.
Kite Hill Jalapeño Cream Cheese Style Spread and Rudi's Everything Bagels. This is Jeremy's go-to duo for a quick breakfast or snack during the holiday rush.
Martinelli's Unfiltered Apple Juice, Lakewood Biodynamic Organic Pure Cranberry Juice and 365 Everyday Value Organic Cinnamon Sticks. The secret's out. He reaches for these three favorites when recreating his father-in-law's signature wassail, a hot mulled cider.
Theo Weening is the Global Meat Buyer for Whole Foods Market. He's also a third-generation butcher.
Cathy is the award-winning Global Cheese Buyer for Whole Foods Market.
Lisa Ludwinski is founder and head baker of Detroit's Sister Pie. She also dreamed up the Cranberry Crumble Pie on our holiday menu.


The smiling frog that started as a meme was adopted by white supremacists in the lead up to the US federal election.
Etsy – the online marketplace for all things twee and homemade – is clamping down on items featuring Pepe the Frog.
The smiling cartoon frog was adopted by neo-Nazis and "alt-right" extremists in the lead-up to Donald Trump's victory in the US federal election. In September, the Anti-Defamation League added the frog to its online hate symbols database.
The use of Pepe by Donald Trump supporters even prompted Hillary Clinton's staff to write an explainer for her followers during the election campaign.
"In recent months, Pepe's been almost entirely co-opted by the white supremacists who call themselves the 'alt-right.' They've decided to take back Pepe by adding swastikas and other symbols of anti-semitism and white supremacy," it reads.
An Etsy storeholder who had two of her printed Pepe the Frog badges removed from her store told BuzzFeed News she had noticed that her listing was still visible, but customers weren't able to click on it.
"I've seen a lot about white supremacists taking the meme and branding it as their own over the past few months," she said. "I kinda have no desire to [contact Etsy about it] though because I was discontinuing the badges for the same reason."
A spokesperson for Etsy told BuzzFeed News it was making a distinction between use of the generic meme, or use of it as an image that "promotes, supports, or glorifies hatred toward protected groups." Those that fall into the latter category are prohibited.


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COVENTRY, ENGLAND - DECEMBER 08: Margaret Keenan, 90, is the first patient in the United Kingdom to receive the Pfizer/BioNtech covid-19 vaccine at University Hospital, Coventry, administered by nurse May Parsons, at the start of the largest ever immunisation programme in the UK's history on December 8, 2020 in Coventry, United Kingdom. More than 50 hospitals across England were designated as covid-19 vaccine hubs, the first stage of what will be a lengthy vaccination campaign. NHS staff, over-80s, and care home residents will be among the first to receive the Pfizer/BioNTech vaccine, which recently received emergency approval from the country's health authorities. (Photo: Getty)
COVID-19 Vaccine Delivery Delays Already Being Reported By 12 States
by Mia GrahamDecember 18, 2020, 6:58 pmDecember 18, 2020, 6:58 pmDecember 18, 2020, 6:58 pmDaily Digest, Home Featured, News, News Feed >
On Saturday, the first doses of the coronavirus vaccine began to be shipped to multiple states in order to distribute it to front-line healthcare workers, who are at highest risk of COVID infection.
Twelve states are already reporting that they will not receive the amount of the Pfizer vaccine that they were supposed to. Iowa and Missouri might receive 30% less than expected, Kansas will receive 37% less, and Illinois might receive 50% less. Maryland, Florida and Oregon are already seeing delays in the vaccine's delivery, and Nebraska will not get the vaccine until at least the "last week of December," according to Gov. Pete Ricketts (R).
Floridian Gov. Ron DeSantis (R) said on Tuesday that the 450,000 doses the state was supposed to receive, which are now "on hold," blaming Pfizer for the delay. Pfizer released a statement on Thursday claiming that they had "successfully shipped all 2.9 million doses," to the locations the federal government requested they send them.
50 Best Photos Of The Year 2020
"We have millions more doses sitting in our warehouse but, as of right now, we have not received any shipment instructions for additional doses," said Pfizer.
COVID-19 COVID-19 vaccine Ron DeSantis
Click here for the 50 Best Photos Of The Year 2020 Slideshow
Article by Mia Graham


Use yoga, movement, breath, and relaxation to assist with your healing and restoration! Your session can be customized to meet you precisely where you're at on your life's journey. If you are going through a stressful time, pre and post surgery, relationship turbulence, anxiety, or are an athlete or such who needs to rejuvenate your body and/or empower your performance, a good dose of Yoga Therapy could be just what you need!


This week's Deeper Unplugged joins the crew in Glacier Bay, Alaska as a major winter storm bears down. As tent poles begin to break and snow levels bury their tents, all they can do is wait it out. Ryland Bell comments, "[the snow is] overhead high above the tents and–as you can hear–it's only getting stronger.


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HomeLocal NewsSportsTate and Davis seal win at Kentucky
Tate and Davis seal win at Kentucky
Photo courtesy of University of Arkansas.
LEXINGTON, Ky. – Down one with 14 seconds left, Arkansas freshman Davonte Davis went coast-to-coast and attempted a layup. The shot missed but graduate senior Jalen Tate got the offensive rebound and was fouled with 4.3 seconds left. Tate sank both free throws and Davis stole the ball on the ensuing possession with two seconds left to seal an 81-80 Razorback win over Kentucky Tuesday night at Rupp Arena.
Arkansas (15-5, 7-4 SEC) has won five straight league games for the first time since Feb. 2017. The Hogs also snapped an eight-game losing streak to the Wildcats (5-13, 4-7 SEC).
Arkansas was up 12 (72-60) after a pair of free throws by Jaylin Williams with 6:11 to play. The Wildcats went on a 20-7 run – thanks to a pair of 3-pointers by Olivier Sarr and a triple by Brandon Boston with 28 seconds left – to fight back and take the lead, 80-79, on a 3-pointer by Davion Mintz with 14 seconds left to set up the exciting finish.
Tate, who was 5-of-5 at the free throw line, led Arkansas with 15 points while Moses Moody had 14 points and seven rebounds. Jaylin Williams, who was 5-of-6 at the charity stripe, also had seven boards.
Arkansas stays on the road to face #10 Missouri on Saturday (Feb. 13). Tipoff is set for 3:00 pm (CT) on either ESPN2 or ESPNU.
FIRST HALF: Arkansas 36 – Kentucky 35
Kentucky made 4 of its first 5 3-ponters to lead 21-15 at the second media timeout (11:26).
JD Notae gave Arkansas its first lead with 3-pointer at 9:50. Notae 3-pointer at 6:59 tied the game at 25-25.
A Davonte Davis 3-pointer at 2:45 gave Arkansas a 34-33 lead. Davis hit a layup with 48 seconds left to give Arkansas a 36-35 lead, which was the halftime score.
Kentucky was 11-of-17 at the free throw line compared to Arkansas being just 3-of-6.
JD Notae led Arkansas with eight points and Connor Vanover added seven.
SECOND HALF: Arkansas 45 – Kentucky 45
Moses Moody opened the second half with a 3-pointer. However, Kentucky answered with a 7-2 run to go up one, 42-41.
Arkansas used an 11-0 run, capped by a Jalen Tate 3-point plat, to lead 52-42.
Early in the second half, Arkansas made 5-of-7 shots and Kentucky was just 2-of-10 as the Razorbacks led 58-49 at the second media timeout (11:42).
Up five, Arkansas went on a 7-0 run to lead by 12, 72-60, before Kentucky got to within six. Justin Smith answered with a layup at 9:05 and the teams traded 3's the next three trips to make the score 65-60 with 7:53 left.
UK went on an 8-0 run to get to with four before Jaylin Williams had an offensive put-back. Kentucky answered with a basket, but Jaen Tate came right back with a layup to put the Hogs back up six (76-70).
Olivier Sarr sank a 3-pointer from the top of the key with 2:14 to get UK to within three (76-73). After two Razorback free throws, Brandon Boston hit a 3-pointer with 28 ticks left to make it a one-point game in Arkansas' favor (78-77).
Moses Moody and Jalen Tate each scored 11 second-half points and Moody had five of his seven rebounds in the period.
Arkansas was 15-of-17 from the free throw line in the second half while Kentucky was just 5-of-8.
Kentucky was 10-of-17 from 3-point range in the second half (just 5-of-12 from inside the arc in the period).
Arkansas snapped an eight-game losing streak to the Wildcats. The last win for the Hogs versus UK was 71-67 on overtime on Feb. 27, 2014, in Lexington.
Arkansas trails 12-33 in the all-time series versus Kentucky and is just 4-15 in Lexington.
Arkansas was won five straight SEC games for the first time since the 2016-17 season. From Feb. 11-25, Arkansas won at LSU, at South Carolina, vs Ole Miss, vs Texas A&M and at Auburn. Arkansas' most recent, longest winning streak was seven straight SEC games in 2014015.
Arkansas' starting lineup was Jalen Tate (G) – Davonte Davis (G) – Moses Moody (G) – Justin Smith (F) – Connor Vanover (F) for the second consecutive game.
Kentucky won the opening tip. Arkansas is 7-3 when its opponent wins the tip.
Brandon Boston Jr., scored the game's first points, a 3-pointer at 19:46. Arkansas is 5-2 this season when the opponent scores first. Jalen Tate scored Arkansas' first points, a layup at 18:02.
Desi Sills was the first sub for Arkansas.
Arkansas is 13-1 this season when leading at the half, 15-0 when leading with five minutes left and 15-0 when leading with two minutes left.
This was just the second, single-digit win for the Razorbacks this season. The other was a 75-73 home win over Auburn (Jan. 20).
Arkansas is 4-0 when scoring between 80-89 points and 9-0 when scoring at least 80.
Justin Smith finished with nine points, one point shy of 1,000 for his career. He added three assists and two steals.
Connor Vanover had 12 points, making 2-of-4 from 3-point range, with two blocked shots. He was 2-of-2 at the free throw line. He is 19-of-19 from the stripe this season.
Moses Moody tied a season high by making four 3-pointers. He led the team in rebounds for the sixth time this season.
Jaylin Williams scored nine points, making a season-high 5-of-6 free throws. He entered the game just 8-of-10 from the line this season.
Jalen Tate's five made free throws were a season high.
Arkansas only committed six turnovers. It was the third time Arkansas committed single-digit turnovers and ties for the second-lowest by Arkansas in the Musselman era. It was the fewest by the Hogs since committing six in a loss at Georgia last season (2/29/20).
Arkansas was out-rebounded (42-33) for just the sixth time this season and the Hogs are 2-4 in such games. The minus 9 rebound margin ties for the second-worst this season. Arkansas grabbed single-digit rebounds (5) for just the third time this season.
Arkansas scored 45 second-half points. It marks the 20th time in 20 games this season Arkansas has scored at least 40 points in a half.
ViaMike Cawood
SourceUniversity of Arkansas
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Southern Miss pulls away in second half to top A-State, 73-57
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Starting an essay on Gabriel García Márquez's One Hundred Years of Solitude? Organize your thoughts and more at our handy-dandy Shmoop Writing Lab.
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The Reliable Stream: On A.R. Ammons's The Complete Poems, V. 1 & 2, W.W. Norton 2017 by T.R. Hummer
July 24, 2019 Hummer T.R.
This essay introduces new readers of Ammons' work to the metaphysical courage of his ceaseless, restless poems, while also providing the first comprehensive overview of his Complete Poems from both a biographical and critical perspective.
– Chard deNiord
The Reliable Stream: On A.R. Ammons's The Complete Poems, V. 1 & 2, W.W. Norton 2017
Human forms, as well as other forms, are temporal compendia of intemporal elements. Elemental things exist eternally, but constituted or compounded things, that is, forms, lose in wholeness elemental eternity. How tenuous are constituted things! If it is form, it shall die; if it is thin, fluxing, formless, it is eternal.
—From an unpublished essay by A.R. Ammons written in 1950
Stacked on my kitchen scale—a sleek digital one, ordered a decade ago from Williams-Sonoma—the two volumes of A.R. Ammons's The Complete Poems in hardcover weigh in at 6 pounds 11.3 ounces. The same stack, measured with a green plastic ruler (provenance unknown) discovered in a kitchen drawer, is almost exactly seven inches thick. Twenty-three books are re-rendered here, abridged only when poems from one volume were originally reprinted in another, so that in the Collected, no poem appears twice—a wise editorial decision, given the scope of Ammons's poetry (I was going to count the individual poems and include that number as another statistic here, but the question of whether to count, let us say, the book-length Snow Poems as one poem or to count each of its sections arose and daunted me).
Together, the volumes add up to 2033 pages, inclusive of notes, indices, acknowledgements, and a preface and introduction, the last two of which appear verbatim in both books, a redundancy that this reader is at a loss to understand: it seems as if someone was afraid the two volumes might be separated somehow and a catastrophic confusion might result. Then again, if all the critical apparatus were stripped out of the books, the green digits on my kitchen scale would scarcely alter.
Someone may object that weighing and measuring a book (or two) of poetry is hardly a sound way to make an assessment, and I cannot disagree. But my doing so is in the spirit of Ammons's poetry, and I present these facts (for facts they are) as homage. Furthermore, I do not in fact intend to make an assessment. It would be late in the game to make pronouncements concerning the value or quality of A.R. Ammons's poetry. That has been done, many times over. I am in no position to stack the critical response to Ammons on my kitchen scale, which probably would be crushed by it in any case. What would be the point in adding my opinion to that of Vendler, Bloom, et al., or the MacArthur Foundation and National Book Award committee?
My impulse instead is to assay this poetry: to determine, to the extent it is possible, what it is made of—to put the metal to a trial, as the assayer does, for the purpose of understanding its composition. Obviously, I mean composition in two senses: what the poems are made of, and also how they were made. In Ammons even more than in most poets, the materials of the poetry are subsumed in process; for him, process is more than merely essential: it is sacred.
Given the vector of his writing, there is a certain irony in the fact (inevitable though it may be) that it is materialized in such a physically dense form as these volumes present. Philosophically, Ammons ought to have been horrified by the prospect (though in fact I am sure he would have been delighted). He is a poet of motion, a word that occurs with such obsessive frequency in the poems that logically he ought to have been anxious about their arrival in fixed print at all. There is a dimension of his being that is preliterate, or at least (as he acknowledges) Pre-Socratic; and often, there is such a pressure of flux in his work that it seems about to erupt through and beyond its status as writing into a different state, like ice sublimating into vapor, or like the Logos on steroids. At the same time, he was relentlessly materially focused, both in subject and in his writing process, which was intimately tied to the typewriter, a tool to which only e.e. cummings has been more addicted.
For all their pressure to sublimate, poems such as these had to have been written; it's impossible to imagine Sphere: The Form of a Motion, say, having been created orally, and there is something in this work (what that something is might as well be the subject of this essay) that makes these poems resist memorization. Ammons's work is not unmemorable, but one does not remember lines or stanzas; one remembers riptides, currents, whirlpools, and stagnant stretches. Remembering Ammons is like remembering water.
One day around two years ago I received an invitation (not, in fact, from this magazine) to review the then-still-forthcoming Complete Ammons. I readily agreed, and was told that review copies would be sent as soon as they were available, which would be in a month. I put the prospect on hold in the back of my mind for awhile.
I had read a lot of Ammons over the years, it seemed to me, my first acquaintance going back to my university days, when I encountered "Corsons Inlet" sometime in the 1970s—that is, the poem "Corsons Inlet," but not the book that has the same title. I had bought a copy of Tape for the Turn of the Year at the Strand Bookstore, maybe in the 80s, and read it with avid pleasure and a certain impatience at the sheer length and temerity of the thing (little did I know that it was only a tributary of a poetic Amazon River). I read Garbage when it first came out (1993). Had I ever actually read Sphere—the whole poem? I owned a copy but I wasn't sure. I had read many of his poems individually encountered in magazines. I ordered a copy of Glare, which I certainly had not read; but since it was the third book Ammons composed on a continuous roll of paper (Tape for the Turn of the Year and Garbage being the other two) and since those were two of my favorite books, I wanted to see what more this interesting mode of composition had yielded. I also got a copy of Set in Motion: Essays, Interviews, & Dialogues, edited by Zofia Burr for the University of Michigan Poets on Poetry series—a surprisingly slender book consisting far more of interviews than of anything else, since Ammons seems not to have enjoyed writing prose.
And of course I had available to me the information reservoir that is the internet, through which I was able to access as much Ammons criticism and scholarship as I wanted, especially through Jstor, to which—though I am retired—I still have free access via the website of my former academic employer.
But all the while I kept thinking: I know Ammons. Right?
But what exactly did I know? Either I had absorbed some conventional wisdom about his canon, or I had invented some. In my mind, for practical purposes, he began at "Corsons Inlet" (the poem) and ended at Garbage; he was a poet of keen observational powers with a bent for scientific discourse (he had an undergraduate degree in science). He was very prolific. He did not like public appearances. In short, I knew more about Ammons than 99.9% of the US population, and probably as much as (but not more than) 75% of US poets, a group that is unnaturally prone to read poetry regularly. But there was an enormous amount I didn't know.
I waited for quite a long time; no books appeared in my mailbox. I sent queries and received assurances; still no books appeared. The project began to fade; clearly, for whatever reason, fate had decreed that I would not write about Ammons. On some level, I was relieved, though since the gods of poetry had proved capricious in the past I continued sporadically reading this or that just to keep my hand in.
Then one day, quite unexpectedly, a package arrived from W.W. Norton. It was about the right size to hold two normal books, so I thought, This is it. I opened it, and lo! it contained, inexplicably, The Complete Poems of A.R. Ammons, Volume 2, all 1031 pages of it. But there was no sign of Volume I.
This was truly a perverse move on the part of the gods. I set Volume 2 on my bedside table, but refused to open it. It was a trap. I sent more queries and received more assurances, and the enterprise seemed closer to some sort of reality than it had before. Meanwhile, finally breaking my vow not to crack that book, I read Helen Vendler's introduction to Volume 2, which is also the introduction to Volume 1, thanks to the prescience of someone's aforementioned editorial redundancy. (Did I now understand it? Not really). And sure enough, almost one month to the day after Volume 2, Volume 1 arrived.
But the interim was significant. Feeling that a large labor was imminent, I went back to the internet and, playing that sort of internet roulette one often plays, I turned up an interesting piece by Justin Quinn, published in 2003 in Contemporary Poetry Review. Seeking to write an overview of the poetry piecemeal two years after Ammons's death, Quinn observes
Norton, it would seem, has decided not to publish a Collected Poems that would span his whole career, preferring to reissue volumes that have gone out of print. Hence the clutch of books here, one of which was first published in 1972. The reason for this, I imagine, is that a single volume (or three volumes, in all likelihood) that gathered all Ammons's works would simply be too intimidating for most readers and wouldn't sell. Moreover, one feels that a full Collected would not endear Ammons to a younger generation of readers who did not encounter the collections singly, as readers of the preceding generation did, and find themselves confronted with a vast oeuvre all at once (CPR, 19 July 2003).
With the arrival of Volume 1, I found myself confronting what Quinn had prophesied would never come to pass. Though he was wrong about the number of volumes involved, he was I fear right about everything else.
The Complete Poems is river so large it might as well be an ocean; I dived in without so much as a pair of water wings. Immediately it was a baptismal experience, insofar as my sin of hubris was washed away. So you think you know Ammons, the two volumes said in one voice, but have you read Ommateum with Doxology (1955)? Have you read Expressions of Sea Level (1964)? Have you even read Corsons Inlet the book, not just the poem (1965)? Where were you, these books seemed to be asking me, like God in The Book of Job, when I laid the earth's foundation?
Scanning the table of contents was humbling. I've read this, yes, but not that or that or that. I know about this, but what on earth is that? These two volumes, once delved into, were more than mere physical presences: they constituted a cosmos which I had glimpsed but never truly entered. In all honesty, it was—even for me, a grizzled, inveterate reader of poetry—intimidating.
Ordinarily in writing an essay of this kind, I would be at pains to hide whatever ignorance or other shortcoming of mind stood between me and a complete and authoritative understanding of the work in hand. But in the present case, I think ignorance and shortcomings are part of the subject of Ammons's work—not my own in particular, maybe, but human limitation, the impossibility for the human individual to comprehend a cosmos.
I had never read Ommateum and Doxology. I had barely even heard of it. Who has? Ammons published his first book in 1955 with a vanity publisher, not knowing what else to do with it, and according to various sources it sold 16 copies in five years.
The poet A.R. Ammons—as opposed to the farm boy Archie Randolph Ammons—came out of nowhere. Understanding the deep implications of this fact is essential to getting on the wavelength of his poetry throughout. As a young poet, Ammons had no real mentors and no poetry peers. He did not attend Iowa or even Princeton. Many commentators call Ammons an "outsider" poet, which is accurate as far as it goes. Beyond a certain point it is difficult to see him that way. He won virtually all the major awards a poet of the US can win, except the Pulitzer; from 1964 until 1998 he was a professor at Cornell, ultimately with an endowed chair. He was championed by such critics as Helen Vendler and Harold Bloom. How much more "inside" can you get?
But outsiderness, if it goes deep, gets built in early. Like a good many other poets of his generation, he started writing poems during WWII while doing military service; the GI Bill took him to Wake Forest where he ended up doing a general science degree. Eventually he did graduate work in literature at Berkeley, where Josephine Miles gave him some attention and encouragement, for which Ammons was grateful—though her poetic temperament, incisive and intellectual and formal, was so different from his that he is unlikely to have gleaned much from her about craft. He has expressed gratitude for her praise, and for her clueing him into the existence of literary quarterlies, of which he had theretofore been innocent.
His subsequent career working nine years in his father-in-law's business seems to have agreed with Ammons up to a point—he rose to a vice-presidency in the company and in several interviews he later expressed pride in the work he had done there. But when he was offered— more or less out of the blue, by contemporary standards, on the strength of his second book—a teaching post at Cornell, he jumped at it and never looked back.
Still, it is often the initiating conditions of a phenomenon that govern the shape of the whole. In the beginning, it seems, the fledgling poet Ammons was, as a poet, completely alone. This occurred, perhaps, because of his upbringing on a failing tobacco farm in deep rural North Carolina during the Depression, where everything was attenuated almost to extinction: education, religion, family life (Ammons had four siblings, of whom two died in childhood). Or perhaps it was genetic; he appears to have been intensely introverted and prone to anxiety (the latter, he said, was his primary inspirational goad). Even the books that shaped his early perceptions of poetry are hard to discern.
When I began to read Ommateum, I found to my surprise that I could not detect Ammons's influences with any precision. This is very unusual for a first book. Furthermore, the poems did not seem at all like Ammons to me, at least not at first. There is little of the clean and startling accuracy of description intimately yoked to meditative discourse that delineates the sentience of "Corsons Inlet," and even less of the energized, often calculatedly mundane riffing of Tape for the Turn of the Year. If I had been teleported suddenly to Easter Island, I could not have felt more disoriented. Ommateum is full of stark (and archetypal) natural "facts," but it is also filled with strange ossified figures, carven effigies without a smooth, lubricated joint anywhere in their bodies: if they move at all, it is to bow stiffly, or to collapse:
The sap is gone out of the hollow straws
and the marrow out of my bones
brittle and dry
and painful in this land
The wind whipped at my carcass saying
How shall I
coming from these fields
water the fields of earth
and I said Oh
and fell down in the dust
So ends "The Sap is Gone Out of the Trees," yielding up the first of more "Ohs" than you can shake a stick at, for the land of Ommateum is a plangent land in which there are quite a few gods and not many people, and the few humans who are there are very apt to be dead.
Even so, after awhile I could begin to make out a literary landscape built I think on the bedrock of William Blake (especially of "Songs of Innocence") and Emerson and possibly of Eliot:
I broke a sheaf of light
from a sunbeam
that was slipping through thunderheads
drawing a last vintage from the hills
O golden sheaf I said
and throwing it on my shoulder
brought it home to the corner
O very pretty light I said
and went out to my chores
But with the word "chores," another landscape emerges, that of the North Carolina farm where Ammons, like everyone else there, went about his duties among the animals:
The cow lowed from the pasture and I answered
yes I am late
already the evening star
The pigs heard me coming and squealed
From the stables a neigh reminded me
yes I am late having forgot
I have been out to the sunbeams
and broken a sheaf of gold
However much of Blake's "The Lamb" there may be in this vision, there is an equal measure of the Ammons family farm.
In an interview, David Lehman puts this question to Ammons: "Did you like working on the farm?" and receives this answer:
I hated it. You had to work in all kinds of weather. In the winter,
you were in the swamp cutting trees for the fuel you needed in the
summer for curing the tobacco. I mean it was just a constant round
of hard work without reward because we remained in debt year
after year after year.
Later in the same interview, Ammons says
I grew up as a farmer and I had at one time a great love for the land because my life and my family and the people around me
depended on weather and seasons and farming and seeds and
things like that. So my love for this country was and is unlimited.
It's not surprising that Ammons was ambivalent about his origins, or that ambivalence made its way into his poetry, especially, perhaps, in his earliest work, because he was chronologically closer to those places and people and events, obviously, than he would be decades later. In order to become the poet he wanted to be, he could no longer be Archie the farm boy; he had to transform himself into A.R. the poet. He needed an identity that could encompass the poetry he needed to write. And so, in the gesture from Ommateum that devoted Ammons readers are most likely to know, he became Ezra.
"So I said I am Ezra," is the first line in Ommateum:
and the wind whipped my throat
gaming for the sounds of my voice….
Turning to the sea I said
I am Ezra
but there were no echoes from the waves…
and said
As a word too much repeated
falls out of being
so I Ezra went out into the night….
Just who Ezra is, Ammons never makes explicit: he is simply Ezra, period, a sort of persona perhaps, though that does not feel quite right. Ezra seems more an alter ego, whose presence opens vistas for the poems beyond the immediate: Ommateum evokes many historical periods and many mythic scenarios. There is a virtually continuous first person here—but is that first person speaker Ammons, or is it Ezra (or someone else entirely)? The opening gesture makes it clear that Ezra is an act of will—"I said I am Ezra"—like the universe at the Biblical moment of creation, spoken into existence.
The proper title of this book is Ommateum and Doxology. Many readers will know the word doxology from a church hymnbook; a doxology is an expression of praise to God. The modern Catholic church has the Greater Doxology, which, in English, begins "Glory to God in the highest." In the sad Methodist church I attended as a boy, the Doxology began "Praise God to whom all blessings flow," and always accompanied the circulation of the collection plate as part of the economics of praise. Ommateum is a less familiar word, and a casual reader (by Ammons's design, I am sure) may be lulled into thinking it refers to another kind of hymn. Not so: ommateum is a term used by zoologists to designate a compound eye, the sort flies and spiders employ in mutual regard, that yields a faceted vision. From the start, Ammons was interested in the pairing of scientific discourse with religious or mystical (and other) language.
But if Ommateum and Doxology is intended to yield a many-faceted cosmos, I'd argue that it falls short (which is perhaps a good thing). The vision of Ommateum seems at base not multidimensional or fragmented but simply double: an imagined (or, if you prefer, mystical) landscape superimposed on a "real" one, a projected self aligning and misaligning with an "actual" one.
The book's concluding poem, "Doxology," begins
Should I bold in a moment intrude
upon a silence, hold my hands properly,
crossed, in a mock eternity,
would someone use my lips
for an expiation?
Who would use my lips, and how? But if such a thing is even possible, who am I again? Am I myself, or am I that someone else who is using my lips? Another poem is more explicit, if not much clearer, about this problem:
Behind the I
I is
an I
separables
Falling too through scopes of
variables….
I discloses
winds and seas
of particles
while he conceived outside
is whole
beyond realities
never wants to lose
Did Ammons know Rimbaud's "I is an other"? Perhaps, though it seems unlikely; he expressed distaste for anything European, and his reading at this time seems to have been in the fundamental Anglo-American canon. But he surely knew Emerson, and had internalized early on the transcendentalist idea of the Oversoul; it is possible, too, that he had read Buddhist texts, to which he refers occasionally later on.
This doubleness at the heart of early Ammons stays with him, but changes over the years—it becomes less obvious, anyway, expressed less often on the surfaces of poems. It remains, however, solidly present in the work's core. Decades after Ommateum and Doxology, he confronts the dichotomy head-on:
I have a life that did not become,
that turned aside and stopped,
astonished.
I hold it in me like a pregnancy or
as on my lap a child…
the child in me that could not become
was not ready for others to go,
to go on into change, blessings and
horrors, but stands there by the road
where the mishap occurred, crying out for
help, come and fix this or we
can't get by, but the great ones who
were to return, they could not or did
not hear and went on in a flurry and
now, I say in the graveyard, here
lies the flurry, now it can't come
I stand on the stump
of a child, whether myself
or my little brother who died, and
yell as far as I can, I cannot leave this place, for
for me it is the dearest and the worst,
it is life nearest to life which is
life lost: it is my place where
I must stand and fail,
calling attention with tears
to the branches not lofting
boughs into space, to the barren
air that holds the world that was my world…
Nothing in the work of a poet as broadly encompassing and as various as A.R. Ammons can be reduced to any one cause, biographical or otherwise, but there is this primal split in him that cannot be denied and should not be ignored.
Writing of his childhood in the late 1920s and early 1930s, Ammons tells us
A strict change occurred that was deepened and made permanent by the death of my brother in May 1930. I have images of him lying in his cradle covered with a veil, and I saw his coffin being made, and I watched as he was taken away, his coffin astraddle the open rumble seat of a Model A. I see my mother leaning against the porch between the huge blue hydrangeas as she wept and prayed.
The surviving son, I must have felt guilty for living and also endangered, as the only one left to be next. Mourning the loss of life, in life and in death, has been the undercurrent of much of my verse and accounts for a tone of constraint that my attempts at wit, prolixity, and transcendence merely underscore.
In 1930, the family was already beginning to suffer the consequences of the Depression ("I have memories of some bright times before the Crash," Ammons wrote) when his brother Elbert died, evidently of a gastrointestinal disorder possibly related to eating raw peanuts. Even Ammons seems unsure of what the impact of so much loss was on his four-year-old self: "I must have felt guilty…and also endangered." The family's economic well-being, and its status, was in the process of taking a hard hit, one from which it never recovered; at the same time, this younger brother died. How could life not seem unbearably precarious at such a moment, especially for the highly intelligent and sensitive child Ammons certainly was? So much had flowed away so suddenly: how could everything else not go too?
And of course, it did go. The poem quoted above ("Easter Morning," from the 1981 book A Coast of Trees) provides a litany of the dead:
aunts and uncles, those who used to say,
look how he's shooting up, and the
trinket aunts who always had a little
something in their pocketbooks…
and school
teachers, just about everybody older
(and some younger) collected in one place
waiting, particularly, but not for
me, mother and father there, too, and others,
close, close as burrowing
under skin, all in the graveyard
assembled, done for, the world they
used to wield, have trouble and joy
in, gone…
The poem concludes with the narrator staring into the sky at two eagles at play overhead, following one another through the air, now together and now apart, looking for one another:
a dance as sacred as the sap in
the trees, permanent in its descriptions
as the ripples round the brook's
ripplestone, fresh as this particular
flood of burn breaking across us now
from the sun.
A dance as permanent as ripples in a brook would seem an unreliable basis for much of anything; yet it here describes a relationship between two creatures in the world, and it delineates as well the world in which they are related. The child in the poem, after the "mishap" by the road, can no longer move with the others, who are powerless to return to the point at which he has been left. To die is to step out of the world's motion, out of the ripple in the brook, out of the flood of sun.
The paradox is obvious, and the realization commonplace, but its arrival for the first time in any life may be devastating nonetheless. The world we love is melting away, and, the child may realize, no one, not even the omnipotent parent, can do anything about it. But it is the world we love and in which the others we love are likewise held. To say this so starkly is about as revelatory as to say "human beings are born to die," a sentence (in every sense of the word) that the young Ammons would have heard pronounced every Sunday from the pulpit of the Pentecostal church his family most often attended.
For all its peculiarities—I don't say weaknesses—Ommateum and Doxology surely grows centrally out of a struggle to grant an endangered self in an endangered world a permanence sufficiently tangible to make it bearable to be; and Ezra is an avatar, the "I behind the I," through which the poems' "normal" consciousness can visit the world of the disappeared, which in these early poems is not flowing away from us but is rather a static place toward which we flow.
If the child's own loss is horrific, witnessing the grief and guilt of the parents, and the spectacle of their doomed gestures of expiation, may be even more so. "The most powerful image of my emotional life," Ammons told William Walsh in an interview published in 1989,
is something I had repressed and one of my sisters lately reminded me of it. It was when my little brother, who was two and a half years younger than I, died at eighteen months. My mother some days later found his footprint in the yard and tried to build something over it to keep the wind from blowing it away. That's the most powerful image I've ever known.
And when asked by David Lehman, "Where does inspiration come from?," Ammons answered emphatically: "Anxiety."
Ammons has said of Ommateum, "It's a very strong book. It may be my best book…. The Ommateum poems are sometimes very rigid and ritualistic, formal and off-putting, but very strong…. Someone else said I was a poet who had not yet renounced his early poems. I never intend to renounce those poems." Ammons's steadfast allegiance to Ommateum is revealing: in his own mind, he was already there, as a poet, when he wrote Ommateum. And the writing of those poems was a life raft for him during his years in business—a life he did not dislike (he never intended to renounce his businessman self either) but within which, as a poet, he was completely alone.
Though Ommateum and Doxology is certainly different from Ammons's later work, it is clearly a depiction of the same projected world created and viewed by the same mind, but seen, perhaps, in a convex mirror. The feeling I have, moving from Ommateum through Expressions of Sea Level and Corsons Inlet to Tape for the Turn of the Year is that Ammons in the beginning was like someone who, while dressing for work one morning, put his socks on inside out. Sometime mid-morning, he notices one of them and corrects it. Mid-afternoon, he takes care of the other. He is still the same person doing the same job from start to finish, but something is backwards for a while; then it's half backwards; and then it isn't. This doesn't imply a radical evolution or a departure; it's a series of mid-flight course corrections.
Ammons's second book, Expressions of Sea Level, published nine years after Ommateum, much resembles his first—except that, where Ommateum foregrounds the metaphysical dimension, Sea Level keeps it more often in the background. But it is still emphatically present. The "I behind the I" steps in front; but that reversal leaves the same ambivalence in place with the terms reversed. One sock is turned right side out. But the burden of the poems remains the same. And so though the first poem in the book, "Raft," presents us with a simple narrative—someone is rafting on a river, with no apparent destination—and that narrative is presented with plenty of verisimilitude, it is quickly apparent that the journey is more allegorical than literal: life's journey, one hesitates to say out loud; or, the motion of a consciousness through the world, but metaphorized.
One of the best-known (and most gorgeous) poems in Sea Level is "Hymn," the title of which emphasizes the duality of Ammons's vision. Ammons grew up in a house with virtually no books, but "we read the Bible in Sunday school and we sang hymns. That was my exposure to words. And by the way I think that hymns have had an enormous influence on what I've written because they're the words I first heard and memorized."
His poem "Hymn," of course, is not the kind of song he would have sung at the Fire-Baptized Pentecostal Church. It presents the same duality so emphatically present throughout Ommateum.
I know if I find you I will have to leave the earth
and go on out
over the sea marshes and the brant in bays
and over the hills of tall hickory
and over the crater lakes and canyons
and on up through the spheres of diminishing air
past the blackset noctilucent clouds
where one wants to stop and look
way past all the light diffusions and bombardments
up farther than the loss of sight
into the unseasonal undifferentiated empty stark
The language of "Hymn"—like the language of Sea Level generally—is more fluid than that of Ommateum, more grounded in literal as opposed to ritual imagery, but the double vision remains front and center. "If I find you"—and just who is this "you"?—I cannot remain in this world, this stanza declares; but in the very next, we find the opposite:
And I know if I find you I will have to stay with the earth
inspecting with thin tools and ground eyes
and praying for a nerve cell
with all the soul of my chemical reactions
and going right on down where the eye sees only traces
Ammons's characteristic deployment of scientific diction is now on full display—but that does not mean that he has committed himself to an empirical worldview. The speaker prays and has a soul, though it is a soul of chemical reactions; having traveled up and out to the limits of the earth in the first stanza of the poem, he now wants to gaze down and into the penetralia of the physical until there is nothing, or almost nothing, left to be seen there.
These motions result from his search for a you who is, we are now told, "everywhere partial and entire / You are on the inside of everything and on the outside." Is this God? Some part of the speaker's self? An as yet undiscovered beloved? His dead brother, or someone else no longer held within the motion of the world? Is this a dialog between self and soul, or between self (or soul) and some other? The poem is markedly unforthcoming on this point. But whoever and whatever the "you" in this poem is, it is the essence of ambivalence, pointing precisely two ways: "and if I find you," the poem ends, "I must go out deep into your resolutions / and if I find you I must stay here with the separate leaves."
Though Expressions of Sea Level was published in 1964, "Hymn" was written in 1956, soon after the publication of Ommateum. The only other poem in Sea Level written earlier is "Raft," composed in 1955—but evidently revised in 1960. The dates of composition of many of the poems in The Complete Poems are known because, as editor Robert M. West informs us in his preface, Ammons was assiduous in writing dates on manuscripts, especially early on; beyond a certain point he becomes less so, and the exact composition dates for many of the poems in V. 2 are uncertain. I point this out to underscore the fact that Ammons included "Hymn" here after it had stood the test of several years—and I point this out because there are, in The Complete Poems, six poems titled "Hymn." All except the first (and one other, to be explained) have roman numerals as part of the title, so it is clear they were a sequence. II and III are in Corsons Inlet (1965); IV is in Briefings: Poems Small and Easy (1971); and V in Collected Poems 1951-1971 (1972) where it appears as a previously uncollected poem. After 1972 there are no more of these, though there is one other "Hymn" poem, without a roman numeral, in The Complete Poems; it was never published in one of Ammons's books, but it did appear in a journal, and so is included at the end of V 2 in a section of previously uncollected poems.
I dwell on the dates here because—and this discovery brought me up short—all six of the "Hymn" poems were evidently written between 1954 and 1958. "Hymn II," in 1954, was composed before Ommateum was published; "Hymn V" is, in the Complete Poems, undated, so either Ammons failed to put a date on the ms or, more likely, the ms hasn't come to light and West took the text of the poem directly from the book in which it appeared. V, therefore, could have a later composition date, but it is so much like the other hymns, and so unlike the other poems that surround it, that it seems most likely to have been written around the same time.
Why did Ammons keep distributing these increasingly old poems through his books for 15 years or so? To my mind, none of the hymn poems is as good as the first one. It would have been easy, and perhaps natural, for him to jettison this work. That he did not suggests a continuity in a certain stratum of his thinking. "Doxology," maybe, is really his first hymn, and given Ammons's loyalty to his first book, this strain is bedrock: the song of praise, however complexified by his increasingly turbulent examination of being.
Another of the best-known poem in Expressions of Sea Level is "Hardweed Path Going," which is cited usually for its end. Hog-killing time has come to the farm, signalled by the season's first freeze, and the narrator, a boy, has to contemplate the eventuality and then watch his father slaughter his pet pig Sparkle.
Oh, Sparkle, when the axe tomorrow morning falls
and the rush is made to open your throat,
I will sing, watching dry-eyed as a man, sing my
love for you in the tender feedings.
She's nothing but a hog, boy.
Bleed out, Sparkle, the moon-chilled bleaches
of your body hanging upside-down
hardening through the mind and night of the first freeze.
It is no wonder that this part of the poem gets attention. What is less often critically noted is what comes before. The poem begins with a litany of those hard farm chores Ammons tells us he hated; then we turn to a little narrative about a bird, a jo-reet (another name for a towhee) which the boy, for his amusement, has caught and kept outdoors in a homemade cage all summer. But the coming cold signals time to release the bird:
Better turn him loose before
cold weather comes on.
Doom caving in
any pleasure, pure
The seasons change; everything must be let go. Everything flows away. One must be "dry-eyed as a man," one must not feel. "Don't look at me," he tells the bird,
Disappear in the bushes. I'm tired of you and will
be alone hereafter. I will go dry in my well.
I will turn still.
A poem such as this one may seem a thousand miles from the graceful, fluid fusion of meditation and observation Ammons achieves just a few years later in "Corsons Inlet," a poem about nothing more dramatic than taking a walk. But the narrator of "Corsons Inlet" is refusing stillness; he is freeing himself through motion:
the walk liberating, I was released from forms,
from the perpendiculars,
straight lines, blocks, boxes, binds
of thought….
This is not so much a throwing-off of the rigidities and inflexibilities of Ommateum and Sea Level as it is a stepping through a portal from the land of the dead to the land of the living, while never forgetting, in this realm, the reality and necessity of the other realm. In "Hardweed Path Going," everything must be released because it is leaving anyway: this is motion as fate. In "Corson's Inlet," as he had not done in the poems in his first books, he now can "allow myself eddies of meaning: / yield to a significance / running / like a stream through the geography of my work…."
And so we come at last to what, I think, is most essential in Ammons's poetry: the embracing of, indeed it is fair to say the worship of, motion. This idea is present in his work from the beginning, but it takes awhile for it to find its central place. The book Corsons Inlet still in many ways resembles the first two books more than the later work, as Ammons continues to return to ritual—perhaps habitual—gestures often enough; the vocabulary of the sciences is increasingly apparent, and but the balance and effective separation of the interior world and the exterior seem much the same as in his books from the start.
It is with Tape for the Turn of the Year that the emphasis shifts decisively.
Shopping one day, Ammons tells us, he saw a roll of adding machine tape and bought it on impulse, thinking it ought to be useful somehow. Shortly he realized that, by feeding the tape through his typewriter—the roll resting in a basket and the written end feeding into a convenient garbage can—he could write a continuous, short-lined poem.
In 1963 when I did Tape I had been thinking of having the primary motion of the poem down the page rather than across. The adding machine tape, less than two inches wide, seemed just right for a kind of breaking and spilling. Variations of emphasis and meaning which make the long horizontal line beautifully jagged and jerky became on the tape the left and right margins…. The point…was to get to the other end; an arbitrary end would also be an "organic" end. The tape itself became the hero…..
Beginning on December 6 of 1963, Ammons spent a chunk (a considerable chunk) of every day writing the poem, which is divided into dated sections ending on January 10, 1964; the resulting poem is 7035 lines long. Throughout, the work is very much in the moment of the writing—but of course there are many moments; the narrator is in many minds; and the poem encompasses many motions. Though he may have been concerned with shifting the motion of the poem from horizontal to vertical, he soon begins to make use of the fact that the tape—which is the "hero" of the poem, and is itself often discussed and described both by the poem itself and by critics—encompasses its own motion through the typewriter, but also the motion of time itself, and of Ammons's mind moving in time: system within system, all revolving around a central image.
This phrase describes Tape for the Turn of the Year perfectly, but also, it's fair to say, all of Ammons's several book-length poems (two of which, Garbage and Glare, were also written on rolls of tape, though the tape was evidently deployed differently in their compositional process). At a stroke, he has at his disposal a way to imitate—if not actually capture and incorporate—the whole of the moving cosmos. "The story," he writes on the first day of Tape's composition,
contained,
unwinds on this roll
with time & event: grows
like a tapeworm, segment
segment: turns
stream corners: issues
in low
like a snake
from its burrow: but
unwinding and unwound, it
coils again on
into the unity of its
Ammons seems to have had the whole plan for the poem clear in his mind at the very start; and if his own testimony is to be trusted, the poem was published just as it came out, unrevised—that being, also, part of the point[1].
"Today," he writes on the second day, "is full of things, / so many, / how can they be managed, / received and loved, / in their passing?" How indeed? Unless—their passing being inevitable, of their nature—it is the passage itself that we must honor and love? Today is full of everything that has passed: a wild bird caught and loved and released; a slaughtered pig; a dead brother. Everything in the cosmos is moving in the same direction. How not to despair over motion's inevitable stripping of the individual's agency? How to manage everything in the cosmos other than to recognize and love that motion in which everything shares?
And the mind's motion, too, is part of that movement; the dynamic flow of language is part of it. In Tape, Ammons finds a medium in which he can record many of these motions all at once—the tape itself, the tape moving through space and through time (embodied in the image of his old typewriter), time itself, and his own mind not merely in it but of it, identical with it.
those who rely on any shore
foolishly haven't faced
it that
only the stream is
reliable: get
right up next to the
break between
what-is-to-be and
what-has-been and
dance like a bubble
held underwater by water's
pouring in
"Only the stream is reliable." To describe Ammons as a "process poet" would be accurate, but, it seems to me, incomplete. While clearly the process whereby he makes his own poems is of great interest to him—the compositional process is, after all, an abiding subject especially of his book-length poems from Tape onward—it interests him not as an end in itself but because it is a manifestation of, and expression of, a motion greater than itself, of which it is a part.
Years earlier, while he was still in the navy, Ammons experienced a moment of fundamental understanding, a sort of gnosis.
I was sitting on the bow of the ship anchored in a bay in the South Pacific. As I looked at the land…I thought down to the water level and then to the immediately changed and strange world below the waterline. But it was the line inscribed across the variable land mass, determining where people would or would not live, where palm trees would or would not grow, that hypnotized me. The whole world changed as a result of an interior illumination: the water level was not what it was because of a single command by a higher power but because of an average result of a host of actions–runoff, wind currents, melting glaciers. I began to apprehend things in the dynamics of themselves—motions and bodies—the full account of how we came to be still a mystery with still plenty of room for religion, though in my case a religion of what we don't yet know rather than what we are certain of.
At the time he experienced this "interior illumination," Ammons was 19, the poems of Ommateum and of course all the rest still well ahead of him, though what he comes to understand in this moment seems more immediately of a piece with "Corsons Inlet" and indeed with Tape for the Turn of the Year than with the relatively static and ritualistic poems he would soon be writing. The epiphany might be seen as heralding Ammons's turn toward the language and the habits of thought of science, which perhaps it was—but it does not explain why, when he went to Wake Forest he entered as a premed student, but ended with a degree in general science and a minor in English, or found himself a couple of years later working toward a masters degree in literature at Berkeley. In fact, what he found that day in the South Pacific was the core of his future poetry, his obsession with systems and their dynamics as manifested in a world divided by a fluid and yet definitive line.
"What is out there?" he asks in Tape:
the touch of what
we make?
whatever,
stars shine through it
& bring us up
Science, it seems, is fascinating to Ammons, and its discoveries indispensable but provisional. Insofar as it strives to describe (and explain, but in Ammons it is more the clarity of description than the scientific explanation that matters) phenomena, But Ammons the poet is a phenomenologist who wants to embody in his poetry the flow of all that exists from some unknowable source toward some unknowable destination.
When I first read Garbage shortly after its publication, I was struck by the ballsy temerity of the thing—not only the overall subject (a landfill and all its infinite detritus) but also by the tone Ammons sets at the beginning. I was in my 30s, a poet setting sail on the same great stream Ammons had been charting for decades, and the opening lines of this behemoth poem are quite simply a gauntlet thrown down in the face of poetry:
…what do you
mean teaching school (teaching poetry and
poetry writing and wasting your time painting
sober little organic meaningful pictures)
when values thought lost (but only scrambled into
disentanglement) lie around demolished
and centerless….
That the you here is Ammons himself (or his surrogate in the poem: it is the I behind the I behind the I who speaks these incendiary words) makes it a challenge not merely to poetry and poets but to this poet and this poem. The landfill is the answer. It is the great ocean of refuse toward which everything in its vicinity flows, a black hole of demolished and centerless objects. At the same time, as the poem also makes clear in its glacial and yet fascinating progression, the landfill too is a process: a core of oxidation, a critical mass, an enormous slow fire consuming itself and flowing (albeit slowly) away:
garbage spreader gets off his bulldozer and
approaches the fire: he stares into it as into
eternity, the burning edge of beginning and
ending, the catalyst of going and becoming,
and all thoughts of his paycheck and beerbelly,
even all thoughts of his house and family and
the long way he has come to be worthy of his
watch, fall away, and he stands in the presence
of the momentarily everlasting, the air about
him sacrosanct, purged of the crawling vines
and dense vegetation of desire, nothing between
perception and consequence here….
It is motion that is everlasting, from our point of view, and everything in the cosmos is part of it, the universe a great landfill burning itself somewhere: into stars' hearts or down the maw of black holes: every molecule of what you ate for breakfast and of Andromeda joined in the universe's singular current, all under the aegis of time's arrow.
"In the long poem," Ammons told Lehman, "if there is a single governing image at the center, then anything can fit around it, meanwhile allowing for a lot of fragmentation and discontinuity on the periphery." That is precisely how Tape and Garbage work; it is also a very precise description of the machinery of Sphere: The Form of a Motion (note that significant subtitle, which Ammons said occurred to him during an English Department meeting). That poem proceeds from Ammons's first seeing a photograph of the earth taken from space: the earth is the image at the center, this poem's landfill, and everything else, literally everything, constitutes fragmentation at the periphery, but—seen from another center—so does the earth, and the sun, and so on and so on to the edge of the shell of the great turtle of the cosmos, off of which all the little fragments flow.
Just as I was about to embark on the impossible, quixotic project of writing this piece, an article appeared in The New York Times about the brilliant and eccentric Joyce scholar John Kidd. Speaking of Kidd's obsession with the minutiae of Joyce's work, the author of the article observes
Theorists who study folk art sometimes describe those crowded, image-packed creations, like Howard Finster's "Paradise Garden" or Grandma Moses' "Country Fair," not merely as a prominent theme but as a kind of mental illness common to the form. They argue that these artists' works are expressions of a compulsion to fill an existential emptiness. This anxiety has its own Latin name, horror vacui, fear of the void….
Interested myself in art of this kind ("art" often seems a weak word for it), I had investigated various "outsider" creations of monumental proportions, such as the Gigal Sculpture Garden in Salt Lake City and Opus 40 in Saugerties, New York. Each of these is a monument to one human's energy and (surely) obsession; respectively, they are like an Easter Island or a Parthenon constructed entirely by one person in the back yard (so to speak).
Ammons's Complete Poems has that feel. I'm not willing to agree that any of these great labors is the product of "a kind of mental illness"; they may in fact constitute the reverse. Of Gilgal Gardens, its creator, Thomas Battersby Child, Jr., wrote: "Can I create a sanctuary or atmosphere in my yard that will shut out fear and keep one's mind young and alert to the last, no matter how perilous the times?" This does not sound like illness, but like a paean to health—most particularly in the face of anxiety. A compulsion to fill an existential void? Perhaps. But maybe there is another impulse at work as well.
Critics say of Ammons, as they have the right and responsibility to do, that his work is more like this poet's or that poet's. Whitman comes up, as does Emerson and Stevens and William Carlos Williams. All those observations are appropriate and illuminating. To the list, I want to add a name I have never seen associated with Ammons: Gerard Manley Hopkins. One may object that Ammons's work in no way resembles that of Hopkins (nor does it really resemble, I would argue, Whitman's), or that Ammons is in fact the anti-Hopkins, enormously prolific where Hopkins's output was very small. Those objections are true, but beside the point. Ammons is the only poet besides Hopkins I can think of in whom every particle, every gesture, every word, even every punctuation mark, all point one way. For Hopkins the crucial matter is praise of God in the Catholic sense (though his work was regarded with caution by his superiors in the church, who praised it but did not want it published). Even the music of Hopkins's meter applies: accented syllables are spirit in a dance with unaccented matter, yielding the vision of inscape through the prosody of instress. In Ammons, it is not God the poems serve (or is it? Who is the "you" of "Hymn"?) but motion itself, the cosmos that is a Heraclitean river. But every detail of the poems right down to the obsessive use of colons which refuse to let the sentences ever stop, is in service of this singular end.
When I was a child I was baffled by the Biblical injunction—first encountered, if memory serves, in a Methodist Sunday school class—to pray without ceasing. What could that possibly mean? "You have to sleep sometime," I might as well have thought. Later, visiting a Dominican monastery, I heard the continual soft sound of constant Latin chanting; later still, at a Buddhist monastery, I heard the same thing but in Tibetan. In each case, not individuals but a whole building was praying without ceasing. To me—neither Catholic or Buddhist or practitioner of any other religion—this felt strange and yet powerfully impressive. A poet must pause in the presence of such dedication to acts of language. Poetry (not poets) prays without ceasing, perhaps.
On the evidence of The Collected Poems, A.R. Ammons wrote without ceasing, seeking to become, himself, not an individual but a building full of voices, all gathered around the central image of the architecture of the place, but fragmented and discontinuous around the edges. Once he has hold of his central guiding principle, and has it the "right" way around, words without ceasing are the reliable stream not only of his work, not only of his life, but of the universe itself—because, in this frame, consciousness is as much a sacred flow as the brook, or the Amazon, or the Milky Way. The cosmos moves without ceasing, and its movement is (we might as well say) a prayer.
If Ammons opens himself to that fact in his poems, then every scrap, every bit of detritus, every piece of garbage, and every miracle are part of the stream. The monumental book-length poems (how have I not said a word about the magnificent Snow Poems? How have I not dug like a poetry terrier into Glare?) are the great deep channels; the shorter poems are tributaries, streamlets, and oxbows. But all of it, every ounce and every inch, is one continuous stream. Even the posthumous Bosh and Flapdoodle—a book whose irreverence to the "poetic" gives even his greatest champion, Helen Vendler, pause—is an embracing of the principle that nothing in the universe is trivial, that (contra the disciplines of meditation and serious prayer) the monkey mind and its effulgences are, like everything, holy in their ephemerality, in their inexplicable arrival and inevitable flowing away.
And how is it not, this poetry without ceasing, merely a monument to an ego? For the same reason that Song of Myself is not. Ammons has done more than create a static image of the stream of his own thought: he has made, in his poetry as a whole, a portal to the great singular stream that is bearing us all and everything away.
I have not done justice to the whole of The Complete Poems of A.R Ammons and did not set out to do so. Rather, in the spirit established by the questions asked by Justin Quinn in trying to review The Complete Poems in its absence, I have wondered: What would be the use of such an enormous compilation? Who would read it? Who would want it?
I had (I swear) already written the first few pages of this piece when the extremely kind, helpful, and generous Professor Roger Gilbert of Cornell University—for years a colleague of Ammons, who is writing Ammons's biography—sent me a poem that Ammons published in a journal but never in a book (and it's hard to understand why it isn't included in the published but uncollected poems at the end of the Complete). Called "Ambivalence Reconciled," the poem begins
I can't decide which volume of The Norton Anthology I like better,
Though one has twenty five hundred and twenty one pages and the other
Only twenty five hundred and sixteen, a difference not distinguished
As to price….
The poem goes on to note that the two volumes of The Norton Anthology "contain the / Same Preface, allowing that though they come best together they can / stand on their own apart." (Ironies abound here, and are so obvious that they need not be labored, but the fact that Norton is the publisher of The Complete Poems closes the circle.)
As to what reconciles the ambivalence, really nothing does. The poem concludes
what can
I do: staved off from going one way or the other and convinced both ways
are valuable, I'll take the set and dwell in the split between the covers.
Two volumes though The Complete Poems may be, the split is not between the covers but in the reader. These books are handsome, but large and heavy, hardly suitable for cozying up to read Garbage on a winter's night. For readers who want a more intimate experience, go the Justin Quinn route and get individual volumes. But for any reader who wants the whole experience Ammons offers—the experience I am convinced he wanted us to have of his peculiar and yet precise metaphysics—The Complete Poems is indispensable.
Have it your own way. Six pounds eleven ounces of poetry is a lot of frozen phenomena. But it provides this gargantuan project by one of our most gargantuan poets a single home.
Ammons might well have been uncomfortable with the idea of such a river as his poetry ever having a single home. "If I get back to the Pre-Socratics," Ammons told David Lehman, "I feel that I'm in the kind of world that I would enjoy to be in, but nothing since then." The fragments of Heraclitus washed away in that philosopher's river might not seem so congenial a home to most of us. But flow away we will, Ammons knows, along with Heraclitus and The Norton Anthology and The Complete Poems of A.R. Ammons.
"I don't feel at home—," Ammons told Lehman. "I'll never feel at home—anywhere."
[1] I am informed by Professor Roger Gilbert of Cornell, University, who was Ammons's colleague and friend and is now his biographer, that the original tape exists and is housed among Ammons's papers, but is in such a fragile condition that it cannot be unrolled so that scholars can ascertain whether Ammons in fact revised it before publication. He also tells me that it will soon be digitized and made available in that form, at which point some compositional questions may be answered.
Author: T.R. Hummer
T. R. Hummer's most recent books of poetry are After the Afterlife (Acre Books) and three linked volumes, Ephemeron, Skandalon, and Eon (LSU Press). Former editor-in-chief of The Kenyon Review, of The New England Review, and of The Georgia Review, he received a Guggenheim Foundation fellowship in poetry, a NEA Individual Artist Grant in Poetry, the Richard Wright Award for Artistic Excellence, the Hanes Poetry Prize, and the Donald Justice Award in Poetry. He lives in Cold Spring, NY.
Newsletter Issue #95 July 2019
By Plume in Newsletters
The Human
By Donnelly Timothy in Issue #97 September 2019
THE FLOWER AT THE END OF THE WORLD
T.R. Hummer
It was a 1954 Ford pickup truck that stopped
T.R. Hummer: The Poet Retires
T.R. Hummer Issue #80 March 2018
intr. Of an army, troops, etc.: to fall back or give ground, esp. when confronted by a superior force; to retreat.…
In the final unburdening, massive crates are moved


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ASTM International - ASTM A790/A790M-13
Standard Specification for Seamless and Welded Ferritic/Austenitic Stainless Steel Pipe
Publication Date: 1 April 2013
ICS Code (Iron and steel pipes): 23.040.10
1.1 This specification2 covers seamless and straight-seam welded ferritic/austenitic steel pipe intended for general corrosive service, with particular emphasis on resistance to stress corrosion cracking. These steels are susceptible to embrittlement if used for prolonged periods at elevated temperatures.
1.2 Optional supplementary requirements are provided for pipe when a greater degree of testing is desired. These supplementary requirements call for additional tests to be made and, when desired, one or more of these may be specified in the order.
1.3 Appendix X1 of this specification lists the dimensions of welded and seamless stainless steel pipe as shown in ANSI B36.19. Pipe having other dimensions may be furnished provided such pipe complies with all other requirements of this specification.
1.4 The values stated in either SI units or inch-pound units are to be regarded separately as standard. Within the text, the SI units are shown in brackets. The values stated in each system may not be exact equivalents; therefore, each system shall be used independently of the other. Combining values from the two systems may result in non-conformance with the standard. The inch-pound units shall apply unless the M designation of this specification is specified in the order.
Note 1-The dimensionless designator NPS (nominal pipe size) has been substituted in this standard for such traditional terms as nominal diameter, size, and nominal size.
The specification covers seamless and straight-seam welded ferritic/austenitic steel pipe for general corrosive service, with particular emphasis on resistance to stress corrosion cracking. The... View More
The specification covers seamless and straight-seam welded ferritic/austenitic steel pipe for general corrosive service, with particular emphasis on resistance to stress corrosion cracking. The pipe shall be made by the seamless or an automatic welding process, with no addition of filler metal in the welding operation. Heat analysis shall be made to determine the percentages of the elements specified. Tension tests, hardening tests, flattening tests, hydrostatic tests and nondestructive electric tests shall be made to conform to the specified requirements.
ASTM A790/A790M-22
1.1 This specification2 covers seamless and straight-seam welded ferritic/austenitic steel pipe intended for general corrosive service, with particular emphasis on resistance to stress corrosion...
ASTM A790/A790M-14a
This test method may be used for product development and design, production validation, manufacturing process control, lot acceptance, or for a combination thereof. The rate of inflation in this...
1.1 This specification covers seamless and straight-seam welded ferritic/austenitic steel pipe intended for general corrosive service, with particular emphasis on resistance to stress corrosion...
ASTM A790/A790M-05b
1.1 This specification² covers seamless and straight-seam welded ferritic/austenitic steel pipe intended for general corrosive service, with particular emphasis on resistance to stress corrosion...