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Read New York & Company terms and conditions. Sometimes, exclusions may apply, and discount applies to selected products or categories.
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What Is A Facial Cleansing Oil? How Do I Use It?
A facial cleansing oil is a gentle way to dissolve away all the dirty skin oil that has combined with bacteria, makeup, dead skin cells and other debris from your face and replenish it with clean, nourishing oils that help balance the skin's natural oils.
Chagrin Valley Soap . . . What's In A Name?
Every few months we receive an email questioning the origin of the name of our company. We often receive a question like this . . . "why did you give your company such a sad name?" So . . . why did we name our company "Chagrin Valley Soap & Salve?"
Natural Fragrance Oil? . . . Really?
Our love for fragrance has been around for millennia and is deeply rooted in many cultures. As more and more consumers are demanding natural skincare, companies are continuously looking for ways to meet that demand with "natural fragrances."
While I respect the research that has been done over the years concerning skin pH, I disagree with the way in which the research is being commercially corrupted. Natural soap has received unfair condemnation since all soaps are not created equal.


Ingredients: Sea Salt, Sugar, Onion, Chili, Celery Seed, Turmeric, Garlic, Pepper Black, Oregano.
All Purpose Salt seasoning is the perfect blend for any recipe that calls for salt. From sweet potatoes to turkey, this all-purpose salt seasoning will help add that gourmet touch to all of your savory holiday dishes. Contains just the right blend of salt, sugar, celery, chili, garlic, onion, turmeric, black pepper, and oregano.


Mon 6 July 2009 – Cathay Pacific Airways and sister airline Dragonair have purchased 20,000 tonnes of carbon emissions reductions from offset retailer JP Morgan ClimateCare for the two airlines' FLY greener offset programme. The offsets will be resold on a no-profit basis through the programme to passengers wishing to offset their carbon emissions. Up till March this year, a total of 30,000 tonnes of CO2 have been offset by passengers since the programme was launched in 2007. During 2008, travelling airline staff offset 11,814 tonnes of CO2 at a cost of around HK$900,000 ($116,000).
Funds from the offset purchase will be used towards three schemes in Mainland China – a natural gas fuel switch project in Beijing, a natural 'run of river' hydro plant in Guizhou and a group of 20 wind turbines in Heilongjiang.
All three are registered under either the Voluntary Carbon Standard or VER Plus, which the airlines say were "rigorously vetted to ensure they produce real, quantifiable and permanent reductions in carbon emissions" and meet internationally accepted carbon standards. The projects were chosen for their added social and environmental benefits, such as reducing local air pollution and providing power and jobs to local communities.
"We are pleased to offer these new projects through our FLY greener programme and give passengers the chance to contribute directly to emissions-reduction initiatives," said Dominic Purvis, Cathay Pacific's General Manager Environmental Affairs.
As well as individual passengers, companies based in Hong Kong, Mainland China and Taiwan have also participated in the FLY greener programme.


It used to be that the books most inclined to catch my eye were food-forward memoirs, but since becoming a mom those have been less on the forefront for me. I was strolling the aisles at my local public library not long ago and this collection of essays caught my eye. What Waldman hits on here is that regardless of how hyper-involved you are (or aren't) as a parent, you will inevitably find a time when you see yourself as a "bad mother." We've been conditioned by society to think nothing we do is ever really good enough – we're keeping up with other mothers (and fathers) who only highlight the amazing things they do with/for their kids; keeping hidden the times they lock themselves in the bathroom with wine to cry it out.
This book offers humor, clarity, and the occasional moment that breaks your heart just a little. Whether you're a new-ish mom or not, I think you can appreciate this collection of essays. I've been eager to read Waldman's latest book, A Really Good Day, but I'm glad I got a better feel for her writing style thanks to this collection. If YOU are intrigued, check out this Modern Love piece that got her on a lot of people's radars a little over a decade ago.


text:
Next Author: Philippa Gregory
Previous Author: Ed Greenwood
Daryl Gregory
Daryl Gregory writes genre-mixing novels, short stories, and comics. His first novel, PANDEMONIUM, won the Crawford Award for 2009. It was also a finalist for several other awards, including the Shirley Jackson Award and the World Fantasy Award. His second novel, 2009's THE DEVIL'S ALPHABET, was named one of the best books of the year by Publisher's Weekly and was a finalist for the Philip K. Dick Award. RAISING STONY MAYHALL, his third novel, was named one of the best SF books of the year by Library Journal. Many of his stories are collected in UNPOSSIBLE AND OTHER STORIES which was named one of the best books of the year from Publisher's Weekly. His story "Second Person, Present Tense" won the Asimov's Readers' Choice Award and was a Sturgeon finalist. Daryl lives in State College, Pennsylvania with his wife, a couple of teenagers, and a passive-aggressive dog. He's online at darylgregory.com.
Click here for more stories by Daryl Gregory.
Daryl Gregory talks SPOONBENDERS, the 'Mom test', and gives away FIVE books!
Daryl Gregory won the Crawford Award in 2009 for his first novel Pandemonium. His 2014 novella "We Are All Completely Fine" won the World Fantasy Award and the Shirley Jackson Award in 2015. His other novels include The Devil's Alphabet, Afterparty (which we loved), and his YA Lovecraftian novel Harrison Squared. Gregory has also written many short works, graphic novels, and has written for television.
Born and raised in Chicago, Illinois, Gregory relocated to the San Francisco Bay Area in California in 2016. His latest novel, described by some... Read More
June 27th, 2017. Marion Deeds | Daryl Gregory | Author Interviews, Feature, Giveaway! | 35 comments
Pandemonium: Demon possession and Jungian archetypes
Pandemonium by Daryl Gregory
I'm going to say something that sounds unkind, but really it's a compliment from me: for a long time now I've kind of thought of Daryl Gregory as something of a poor man's Sean Stewart. I must first admit that this happened before I actually read any of his books (this one is my first), and was based on what I could glean of them from the jacket blurbs and comments/reviews. It probably also comes from the fact that I once ran across a posting made by Gregory on a message board or blog somewhere where he bemoaned the fact that Sean Stewart was no longer writing and wished that he could still look forward to more books by him (a desire which I have ardently shared ever since Stewart decided to move on from writing into online game design) and so ... Read More
February 1st, 2015. Terry Lago (GUEST)´s rating: 3.5 | Daryl Gregory | Horror, Stand-Alone | SFF Reviews | no comments
Afterparty: Discussed by Marion and Kat
Afterparty by Daryl Gregory
Daryl Gregory's pharma-tech novel Afterparty is good entertainment with many wonderful moments. At times it is wildly inventive — filled with images like an apartment full of tiny genetically-engineered bison roaming the "range" of wall to wall grass, or an angel named Dr. Gloria who wears a business suit, white coat, glasses, carries a clipboard and has wings.
Kat and I read this book about the same time. We both gave it four stars but we may have liked different things, so we're going to discuss the book together. Kat's comments are in red.
Here's a brief synopsis of the story.
In the near future, a neuroscientist with a deity in her head checks herself out of an institution and goes searching for the people who are distributing the street drug called Numinous (or sometimes, Logos). Lyda Rose is intimately familiar with the drug because she helped i... Read More
May 26th, 2014. Marion Deeds and Kat Hooper´s rating: 4 | Daryl Gregory | Audio, Stand-Alone | SFF Reviews | 6 comments
We Are All Completely Fine: Thought-provoking horror
We Are All Completely Fine by Daryl Gregory
Imagine that, like the hapless characters in movies like The Hills Have Eyes and Wrong Turn, you and a group of friends were captured by cannibals. You were kept alive while choice cuts of you were "harvested", and you alone survived. Imagine that you were the victim of a sadistic abductor who flayed the flesh of your arms and legs and carved images onto your bones. Imagine that you alone survived the rising of the Elder Gods in your home town. What would you do? Who would you talk to? Would you even be sane? That's the premise of We Are All Completely Fine, a novella by Daryl Gregory, published by Tachyon Press.
Dr. Jan Sayer has drawn together a talk-therapy group made up of sole survivors of supernatural attacks. On the surface it seems as if the doctor has just hit on... Read More
August 4th, 2014. Marion Deeds and Tadiana Jones´s rating: 3.5 | Daryl Gregory | Horror, Stand-Alone | SFF Reviews | no comments
Spoonbenders: Heartwarming and extraordinary
Spoonbenders by Daryl Gregory
Spoonbenders (2017) by Daryl Gregory, is multi-generational family saga. It's a coming-of-age story. It's a psychic adventure story and a weird conspiracy tale for lovers of shadowy CIA projects like MKULTRA. It's a gangster story. There's a heist. There is a long con, and a madcap comedy along the lines of classic Marx Brothers routines. There are a couple of romances, a direct-distribution scheme, a medallion, a cow and a puppy. If we're talking genre, I don't know what Spoonbenders is. I know I loved it. I know it was fun and made me laugh, I know it was scary at times and I know I closed the book feeling happy and sad. And I know it's a five-star book.
The book follows the Chicago-based Telemachus family, three generations of whom are living... Read More
December 18th, 2017. Marion Deeds, Kat Hooper and Tadiana Jones´s rating: 5 | Daryl Gregory | Audio, Stand-Alone | SFF Reviews, We Love This! | 6 comments
Magazine Monday Special Edition: Nebula-Nominated Novellas, 2014
No, you have not jumped forward in time two days; it's still Saturday. But the Nebula Awards will be handed out tonight, so this special edition of Magazine Monday discusses the nominated novellas.
The late, lamented Subterranean Magazine first published Rachel Swirsky's "Grand Jeté." The story is about Mara, a 12-year-old child who is dying of cancer, her father, who loves her very much, and the android Mara's father has built that mimics Mara in every way, right down to her thoughts and feelings. It is an amazing technological accomplishment that Mara's father sees as a gift to his daughter. Mara, however, sees it as a replacement for her, a confirmation of her fear that she is going to die. The story is about the comp... Read More
June 6th, 2015. Terry Weyna | Daryl Gregory, Ken Liu, Lawrence M. Schoen, Nancy Kress, Rachel Swirsky | Short Fiction | SFF Reviews | 2 comments
SHORTS: Gregory, Roanhorse, Vernon, Mamatas & Pratt, Clarke, Lowachee
Our weekly exploration of free and inexpensive short fiction available on the internet. Here are a few stories we've read recently that we wanted you to know about.
"Second Person, Present Tense" by Daryl Gregory (2005, free in print and audio at Clarkesworld, November 2017 issue; originally published in Asimov's Science Fiction, September 2005 issue)
I love what Daryl Gregory does with drugs. "Second Person, Present Tense" is about the parents of a girl who died after overdosing on a drug called "Zen" or "Zombie." Unable to cope with their loss, they latch on to a homeless girl (our narrator) who they hope will come live with them and replace their daugh... Read More
December 11th, 2017. Kat Hooper, Katie Burton, Jana Nyman and Tadiana Jones | Arthur C. Clarke, Daryl Gregory, Karin Lowachee, Nick Mamatas, Rebecca Roanhorse, T. Kingfisher, Tim (T.A.) Pratt | Audio, Horror, Short Fiction | SFF Reviews | 5 comments
SHORTS: Palmer, Schutz, Gregory, Goh, McKee
Our weekly exploration of free and inexpensive short fiction available on the internet. Here are a few stories we've read that we wanted you to know about.
"Thirty-Three Percent Joe" by Suzanne Palmer (2018, free online at Clarkesworld, $2.99 Kindle magazine issue)
Science fiction humor is very hard to pull off, and rarely works for me. This Suzanne Palmer story is a radiant exception. Palmer hits a grand-slam with a human soldier who has 33% of his body replaced with smart parts, including a heart, one arm, part of the lower intestine and a spleen. An implanted Central Control Unit manages all of the implants, and their mission is to keep Joe alive. There are a... Read More
November 12th, 2018. Marion Deeds, Bill Capossere and Tadiana Jones | Daryl Gregory, Suzanne Palmer | Short Fiction | SFF Reviews | no comments
Masked: Superheroes move into the realm of prose
Masked edited by Lou Anders
Superheroes — and supervillains — have always been problematic. They are usually all but impossible to kill, but have a single vulnerability that everyone seems to know about, and to aim for, a tradition that goes all the way back to Achilles (who was invulnerable because he was dipped in the River Styx as a baby — except for the ankle by which his mother held him when doing the dipping). Even after death, they always seem to come back in some form or another; Superman, for instance, has been resurrected quite a few times (though losing him led nearly 20 years ago to one of the best graphic novels ever written, World Without a Superman). Because they are so superhumanly strong, they sometimes appear ludicrous, fighting off impossible task after incredible burden after outrageous situation. No wonder authors have sometimes taken their creations in odd directions, as Read More
January 1st, 2011. Terry Weyna´s rating: 3.5 | Alan Moore, Bill Willingham, Chris Roberson, Daryl Gregory, Ian McDonald, James Maxey, Lou Anders, Marjorie M. Liu, Mark Chadbourn, Matthew Sturges, Mike (M.R.) Carey, Peter David, Stephen Baxter | Short Fiction | SFF Reviews | 1 comment
Twenty-First Century Science Fiction: Packed full of excellent SF stories
Twenty-First Century Science Fiction edited by David G. Hartwell
Twenty-First Century Science Fiction is packed full of excellent science fiction stories. I've been reading anthologies lately, partly to improve my own short story writing, and this is the best I've found so far. It contains stories by authors such as Paolo Bacigalupi, Cory Doctorow, Catherynne M. Valente, John Scalzi, Jo Walton, Charles Stross, Read More
October 10th, 2014. Mike Reeves-McMillan (GUEST)´s rating: 5 | Brenda Cooper, Catherynne M. Valente, Charles Stross, Cory Doctorow, Daryl Gregory, David D. Levine, Elizabeth Bear, Genevieve Valentine, James L. Cambias, Jo Walton, John Scalzi, Kage Baker, Karl Schroeder, Liz Williams, Madeline Ashby, Mary Robinette Kowal, Paolo Bacigalupi, Rachel Swirsky, Tobias Buckell, Yoon Ha Lee | Short Fiction | SFF Reviews | no comments
More novels by Daryl Gregory
The Devil's Alphabet — (2009) Publisher: Nothing makes you feel more like a freak than your hometown — even when your town is home to monsters. Thirteen years ago, the tiny mountain town of Switchcreek, Tennesse went through the Changes, an epidemic that left hundreds of townspeople dead, and transformed most of the rest into three clades, three alternate forms of human: The Argos, chalk-skinned and twelve feet tall; the hairless, all-female, fast-breeding Blanks; and the bulked out Charlies, some of whom are walking pharmacological factories. The epidemic never repeated, the disease never spread beyond the original victims, and the cause was never found. After the quarantine lifted, the world moved on. Everyone except for Pax Martin. Pax was one of the "lucky" ones, seemingly skipped by the Changes. Sent away from Switchcreek when he was 15, he's coming back for the first time for the funeral of the girl he loved. Pax slowly begins to realize that he knows nothing about his hometown. Each clade has its secrets, and the Changes may not be over. The solutions to these mysteries will change the planet.
Raising Stony Mayhall — (2011) Publisher: From award-winning author Daryl Gregory, whom Library Journal called "[a] bright new voice of the twenty-first century,"comes a new breed of zombie novel — a surprisingly funny, vividly frightening, and ultimately deeply moving story of self-discovery and family love. In 1968, after the first zombie outbreak, Wanda Mayhall and her three young daughters discover the body of a teenage mother during a snowstorm. Wrapped in the woman's arms is a baby, stone-cold, not breathing, and without a pulse. But then his eyes open and look up at Wanda — and he begins to move. The family hides the child — whom they name Stony — rather than turn him over to authorities that would destroy him. Against all scientific reason, the undead boy begins to grow. For years his adoptive mother and sisters manage to keep his existence a secret — until one terrifying night when Stony is forced to run and he learns that he is not the only living dead boy left in the world.
CLICK HERE FOR MORE BY DARYL GREGORY.

redpajama_set_name: RedPajamaCommonCrawl


Mat Honan is arguably one of the best-established technology reporters in the world, a former contributing editor to WIRED magazine and senior reporter for Gizmodo. He knows a few things about technology. Therefore he's the last person who should have been hacked, and so maliciously that the perpetrators deleted years' worth of his personal data from his computer and devices — apparently all in an effort to cover their tracks so they could take over his Twitter account for a little while.
Initially Honan took responsibility, believing that his password had been compromised, but it soon became clear that there are some glaring security issues out there. The hackers primarily exploited security flaws at Amazon and Apple, obtaining the last four digits of Honan's credit card number from an exploit at Amazon to "confirm" their identity with AppleCare customer service — and gain access to Honan's iCloud account, which they then used to remotely wipe his iPhone, iPad and MacBook of all his personal data. All of it. That includes photos of his newborn daughter. The hackers also gained access to his Gmail and Twitter accounts, which they also damaged.
The details of the hack are online at www.wired.com/gadgetlab/2012/08/apple-amazon-mat-honan-hacking/, as well as a follow-up story of how Honan went about recovering some of his personal data. I'll leave it to you to read the grisly details, yourself. Both Amazon and Apple have since taken steps to patch their haphazard security and verification systems, and both will require more personal information before they share account information over the phone. But the question remains — how do you prevent this happening to you?
There are a lot of different ways that hackers access your information. While Hollywood makes it seem like hackers use sophisticated code cracking software to break in to your system, it's usually a lot more boring. Most of them use information that is readily available about a person, from paper statements thrown in the trash without being destroyed/shredded, to things like a person's birthdate, pet name, children's name, etc. to figure out your passwords. A lot of your information is also stolen online in mass data thefts, and for some hackers it's just a matter of filling in a few blanks before they can invade your world.
Most people are predictable and try to keep things simple. A lot of people use their primary email address as their user name, for example, or use the same password for every service they use — and base that password on something obvious, like the dog's name or their birthdate. People rarely change that information.
Also, if it's a question of making things harder for themselves — like setting up a bank account to ask them confirmation questions — most people will go the easy route.
I don't do that anymore. Someone out there already has my bank account number — which isn't really private information given that it's written on the bottom of every cheque I've ever signed. Someone also gained access to my Hotmail account through an exploit that's caught pretty much everybody I know (my bad for not changing my password every six months). At one point, both my bank account and Hotmail account even shared the same password. The only thing that prevented someone from gaining access to my bank account was that my personal verification questions were actually quite difficult, preventing the scammer from accessing my account. I've since changed my password and verification questions twice, and haven't had a single issue.
I've also taken the step of changing all of my Internet passwords every three to six months. While that may sound like a lot of work, I think I've come up with a personal system that makes them easy to remember while also making my passwords long and impersonal. Basically, I've given ever service I use a personal nickname, and I've come up with a code to date my password as well. Short of logging my every keystroke, there's almost no way a hacker is going to stumble on the right password.
I also keep track of all my passwords on a master document, which I've encrypted using Microsoft's Encrypting File System.
The other step I haven't taken yet but will to prevent another Honan from happening, is to use two-step authentication. Google offers this, sending a verification code to your phone or using an authenticator app to add another layer of personalized security to your email. Under your account setting, click on security to get started — or just change your password, which you probably need to do anyway after reading this, and two-step verification will be there as an option.
Honan's saga also underlines another important issue, and that's the need to have physical backups of everything — everything — that's important to you. Too many people trust all their data to "the cloud" these days, and that's never wise. Using an external hard drive or paying for the pro version of file sharing software like Dropbox is the best way to secure your data. Hackers are good at what they do, but we can take steps to reduce the harm, and make it as hard for them as possible.


text:
After Translation
February 5, 2015 • By Michael Leong
EZRA POUND occupies a central place in discussions of experimental modernist translation — and rightly so. In "Translation Wounds," poet and translator Johannes Göransson writes, "Pound used radically materialistic forms of translation such as homophonic translations or the use of deliberately exotic or archaic words. The 'meaning' may have been 'lost' but the materiality of the text is brought to life."[1] We can think of, for example, Pound's translation of the Old English wrecan into "reckon" in his version of "The Seafarer." This lineage of what Göransson calls "materialistic" or homophonic translation can be traced from Pound through Objectivist Louis Zukofsky to the language poets David Melnick and Charles Bernstein and beyond. We are, in fact, in the midst of a renaissance of experimental translations. (Göransson writes of Christian Hawkey's Ventrakl, a creative translation of Georg Trakl.)
To be sure, the radical tradition of liberating the sonic from the semantic in both poetic and translational practice is an important one that has ongoing implications for contemporary experimental writing. However, the role that translation has had in 20th-century transatlantic poetics — especially if we widen our scope beyond an Anglophone focus — is extremely varied and exceeds the well-known Poundian model, which privileges the materiality of the signifier.
Ignacio Infante's recent book After Translation: The Transfer and Circulation of Modern Poetics Across the Atlantic reminds us that
the case of Ezra Pound as a transatlantic writer whose own poetry and poetics is intrinsically connected to the experience of interlingual translation is not an exception. Many other modern transatlantic poets […] conceived their own poetic practice in part as a very serious linguistic engagement with various foreign languages and poetic traditions.
One of the great values of this study is that, in exploring such "other" poets, it gives us a richer and more detailed history of how translation has played a vital role in modern poiesis around the Atlantic, and does much to remedy what Lawrence Venuti has called the "continuing marginality" of "modernist experimentalism in translation." In fact, Infante rejects the terms "modernist" and "modernism" altogether (in favor of "modern"). The field of Anglo-American modernism, he claims, fails to satisfactorily account for the transnational, interlingual, and transhistorical dimensions of major cosmopolitan writers who continue to get neglected within mononational and monolingual paradigms.
A case in point would be Fernando Pessoa, whose poems in English rarely get mentioned within English departments, let alone within mainstream Pessoa studies. Published in Lisbon in 1921, the English Poems exemplify what Infante, in his fascinating first chapter, calls Pessoa's "Lusophone Englishness," a kind of deterritorialized idiolect that allows for the articulation of an alternative cultural-linguistic identity. Synthesizing a range of theoretical approaches — from Freud's, Marx's, and Agamben's conceptions of the fetish to Deleuze's notion of the simulacrum — Infante explains how Pessoa "translates" both a Keatsian and Spenserian poetics (in his homo- and heteroerotic poems Antinous and Epithalamium respectively) in order to destabilize their place of privilege within the English literary tradition.
Pessoa was born in Lisbon, but before permanently returning to Portugal in 1905, he spent nine early years in Durban, South Africa, absorbing the English canon through the British colonial education system. He is most famous, of course, for the dazzling deployment of his many heteronyms (or alternate personalities), including Alberto Caeiro, Álvaro de Campos, and Ricardo Reis. But Infante usefully contextualizes these groundbreaking innovations in non-normative authorship by arguing that his English Poems are, in fact, key to understanding their genesis: "Pessoa's Lusophone Englishness became a catalyst for the heteronymic poetic system that informs his entire literary production in Portuguese." This insight is especially striking in contrast to the widespread view that Pessoa's Englishness was merely part of a transitory phase that had to be surmounted; for example, translator Richard Zenith says in his introduction to A Little Larger Than the Entire Universe, "It's as if English culture — and Durban, at the time, was more thoroughly, traditionally English than England itself — were a wall that the young, displaced Pessoa successfully jumped over, while remaining forever and utterly Portuguese."[2] Rather than seeing Englishness as an obstacle to an authentic contribution to Portuguese literature, Infante insists that Pessoa's engagement with English poetry allowed "him to articulate a new cultural identity parallel to his native Portuguese self."
In Pessoa's English poetry, as in his Portuguese poetry, the self is, indeed, constituted by a plurality of fictions or "parallel" identities. In a poem from 35 Sonnets (1918), for example, he asks, "How many masks wear we, and undermasks, / Upon our countenance of soul, and when, / If for self-sport the soul itself unmasks, / Knows it the last mask off and the face plain?" "We are our dreams of ourselves," he says in another.
From Pessoa's 35 Sonnets (Lisbon: Monteiro & Co., 1918 )
Readers have often found an unnatural stiltedness to Pessoa's English poetry, which does much to explain its obscurity relative to Pessoa's writing in Portuguese. A reviewer of 35 Sonnets, a sequence dense with neologistic compounds and Shakespearean involutions, quips that "a certain crabbedness of speech" mars the excellence of the overall work. Another reviewer suggests that Pessoa's English is merely an imperfect imitation based more on intellectual comprehension than fluency: "Mr. Pessoa's command of English is less remarkable than his knowledge of Elizabethan English." Yet Pessoa's heteronymic poetry, particularly the verse of Alberto Caeiro, the so-called "Master" heteronym, is celebrated precisely for its foreignness of diction and unconventional syntax. As Infante reminds us in his introduction, Pound has claimed that "reading a good author in a foreign tongue will joggle one out of the clichés of one's own and will as it were scratch up the surface of one's vocabulary." Pessoa has not only read in the foreign tongue of English but he has written in it as well — this is to say that he has translated the English tradition — in order to agitate and transform his Portuguese lexicon; hence, what Infante calls Pessoa's "Lusophone Englishness" was a necessary and enabling condition for his "Anglophone Portugueseness," which was decisive for the birth of Portuguese modernism. If Pessoa's "nation" was "the Portuguese language," as he so claimed in The Book of Disquiet, it was an imaginary nation with productively porous borders.
As in Chapter 1, Infante brilliantly treats a little known but important work by a crucial avant-garde author in his second chapter, "The Translatability of Planetary Poiesis: Vicente Huidobro's Creacionismo in Temblor de cielo / Tremblement de ciel." As a provocative pair, these first two chapters, as Infante promises in his introduction, "open up a critical space for the examination of the interlingual dimensions of modernist, avant-garde, and postmodern poetics that remain insufficiently studied within contemporary literary and cultural studies." The glaring fact that international avant-garde poets continue to get overlooked by American critics was recently brought to the fore when poet and translator Kent Johnson trenchantly critiqued Marjorie Perloff's entry on "Avant-Garde Poetics" in the new edition of the Princeton Encyclopedia of Poetry and Poetics for failing to even mention Huidobro and Pessoa.[3] Thus, Infante's advocacy of and original scholarship on these two singular (and multilingual) figures should enrich our understanding of the history of transatlantic poetic innovation and how such innovation circulated across borders, both national and aesthetic.
Huidobro, born in Santiago de Chile in 1893, is famous for inaugurating a polemical and one-man vanguard, which he called creacionismo (and here one thinks, in contrast, of the various invented "isms" of Pessoa, including "Sensationsim" and "Intersectionism"). Throughout his life, Huidobro traveled to and from Europe seven times and acted as a dynamic switch point between avant-gardes in Paris, Madrid, and Latin America, helping for example to establish the journal Nord-Sud with Guillaume Apollinaire, Blaise Cendrars, Max Jacob, and Pierre Reverdy. He inspired the ultraísmo movement in Spain and, later, the Mandrágora group in Chile. According to Eliot Weinberger, Huidobro, a figure of deep and at times idiosyncratic ambition and controversy, is "one of the few poets of the century whose life deserves a fat biography, which has never been written."[4] Huidobro's long prose poem Temblor de cielo — published in Madrid in 1931 and in Paris, as Tremblement de ciel, in 1932 — is frequently overshadowed by his epic masterpiece Altazor, which Weinberger has translated into English to great acclaim. Because of its dazzling linguistic experimentation, Altazor, as Weinberger notes, "is generally considered to be an 'untranslatable' poem."[5] While this may be true, it shouldn't obscure the core tenets of creacionismo: Huidobro wrote in a 1917 manifesto that the creacionista poem should be "traducible y universal [translatable and universal]." In this way, Temblor de cielo / Tremblement de ciel is an exemplary demonstration of a creacionista text.
In the introduction to the Cátedra edition of Altazor / Temblor de cielo, René de Costa suggests that Temblor / Tremblement had a bilingual inception, calling the Spanish and French versions "rigurosamente equivalente [rigorously equivalent]," with one not having original priority over the other; in Temblor / Tremblement, composition and translation seem to be inextricably and dynamically linked, like Yeats's dancer and the dance.[6] Huidobro, himself, placed an enormous amount of importance on Temblor de cielo; writing in 1931, to Miró Quesada, he called it "más maduro, más fuerte, más hecho" [more mature, stronger, and better crafted] than Altazor and notes that his friends ranked it on par with the poetic prose of Lautréamont and Rimbaud.
In analyzing what Antonio de Undurraga calls Huidobro's "other" long poem, Infante draws on critics such as Jaime Concha, Martin Puchner, and Wai Chee Dimock to make the case that Temblor de cielo attempts to unify Huidobro's disparate travels between Paris, Madrid, and Santiago into a planetary sensibility — what Infante calls "Huidobro's nomadic cosmopolitanism." In Temblor de cielo, nomadism is, in fact, a central trope. Huidobro's heroic poet-narrator says,
¿Sabes tú que mi destino es andar? ¿Conoces la vanidad del explorador y el fantasma de la aventura?
Es una cuestión de amor de sangre u huesos frente a un imán especial. Es un destino irrevocable de meteoro fabuloso.
No es una cuestión de amor en carne, es una cuestión de vida, una cuestión de espíritu viajante, de pájaro nómada.
[Don't you know that my destiny is to voyage? Don't you understand the explorer's vanity and the ghost of adventure?
It is a matter of blood and bones within the field of a special magnet. It is the irrevocable destiny of a fabulous meteor.
It is not a matter of love in the flesh: it is a matter of life, a matter of a roving spirit, of a nomadic bird.]
Here, Huidobro is articulating, in brilliant metaphorical terms, the itinerant impulse of the avant-garde itself. Similarly, Huidobro's narrator says in a subsequent passage, "He ahí el destino de la mariposa magnética [It is the destiny of a magnetic butterfly]." And just five sentences later we have, following meteorologist and chaos theorist Edward Lorenz (who famously asked "Does the flap of a butterfly's wings in Brazil set off a tornado in Texas?"), something of a planetary "Huidobro Effect": "ya viene el huracán asolando el cementerio de las miradas, ya viene el huracán con la velocidad de los planetas lanzados al destino [the hurricane is coming to destroy the cemetery of gazes, the hurricane is coming with the speed of planets launched at destiny]."
Infante's third and fourth chapters, on homosocial community in the New American Poetry and on the theoretical foundations of concrete poetry in Brazil, especially illuminate one of his central claims that "translation […] is closely connected to a mode of cultural circulation that generates a tradition"; these chapters show the complex ways in which modern poets draw on and adapt foreign or alien sources to authorize and extend their poetic projects. Chapter 3 focuses on how Robert Duncan, Robin Blaser, and Jack Spicer, members of the so-called San Francisco or Berkeley Renaissance, drew inspiration from "two foreign queer literary traditions — embodied respectively in the work of [Stefan] George and [Federico] García Lorca." Infante sheds new light on how the German historian Ernst Kantorowicz, a disciple of George, influenced these Berkeley Renaissance poets when he was a professor of medieval history at UC-Berkeley. But the centerpiece of the chapter — and perhaps of the book — is Infante's treatment of Spicer's After Lorca (1957), an idiosyncratic volume that imitates and ventriloquizes Lorca through both translation and creation. (Haroldo de Campos, whom Infante treats in Chapter 4, might characterize it as "recreación, o creación paralela [re-creation, or parallel creation].") Eleven of Spicer's original poems, along with a series of fictitious letters from "Jack" to "Lorca," are intermixed among the very freely rendered translations. Following Jean Cocteau's Orphée, Spicer came to prefer the term "dictation" to describe his process of composition, putting him firmly in the transpersonal territory of Pessoa. (The Portuguese poet once wrote, "I'm the empty stage where various actors act out various plays.") In one of After Lorca's epistolary sections, Spicer advances his theory of "correspondence" (which we might understand as a "translation" of Baudelaire's correspondance):
As things decay they bring their equivalents into being […] That is what makes it possible for a poet to translate real objects, to bring them across language as easily as he can bring them across time. Things do not connect; they correspond. That is how we dead men write to each other.
Infante shrewdly connects Spicer's spectral ideas about representation, translation, and transhistorical dialogue to Walter Benjamin's influential concept of a translated work's "afterlife" or "sur-vival" (überleben).[7] Infante argues:
As practiced by Spicer, the after of "after translation" […] entails, first, a temporal expansion of the original into a potentially infinite series of actualizations of itself; second, a serial or sequential continuation of its linguistic form through different languages; and finally, a complex transpersonal amalgamation of the different voices involved in the articulation of the potential for translatability of the original into a transferential tradition that lies beyond the sole authorial control of the author or translator.
In other words, after translation, there is poetry, as Infante suggests throughout the book. But after translation, there can be a newly established or newly reconfigured tradition as well, a fact with tremendous implications for minority writers on the cultural periphery.
This fundamental dynamic is also borne out in Infante's fourth case study, "Transferring the 'Luminous Detail': Sousândrade, Pound, and the Imagist Origins of Brazilian Concrete Poetry," which explains how Augusto and Haroldo de Campos responded to the belatedness of their neo-avant-garde concretismo by boldly recovering the forgotten work of Brazilian Romantic poet Joaquim de Sousa Andrade (more usually known as Sousândrade) and juxtaposing it with their Portuguese translations of Pound. In their ReVisão de Sousândrade (1964) the de Campos brothers, in fact, posit Sousândrade's cosmopolitan epic O Guesa (first published in 1874 in New York) as a precursor to Pound's imagisme and ideogrammic method, thereby, as Infante argues, "constituting a brand-new genealogy based on a truly native Brazilian origin" and destabilizing "European and Anglo-American hegemony in the definition of the origins of the historical avant-garde." While Pound clearly had a tremendous influence on Brazilian concretismo — Décio Pignatari and the de Campos brothers, for example, named their journal Noigandres after a Provençal word from Canto XX — Infante suggests that Augusto and Haroldo de Campos's ReVisão de Sousândrade ultimately subverts Pound's priority and authority.
Implicit in Infante's treatment of the postwar avant-garde is the belief that far from being merely derivative or nostalgic — Elizabeth Bishop wrote to Robert Lowell about Brazilian concrete poetry calling it "like pre-1914 experiments, with a little 'transition' & [Eugene] Jolas, and a dash of [E.E.] Cummings. It's awfully sad" — neo-avant-garde movements such as concretismo and the San Francisco Renaissance represent important and highly self-reflexive interventions in literary historiography.[8]
Like the de Campos brothers, the Barbadian poet and historian Kamau Brathwaite also strove to create a counter-tradition that wasn't specifically beholden to the aesthetics of Anglo-American modernism. At the end of the revised version of his long trilogy Ancestors (2001), a book that New Directions bills as "one of the most important long poems of our hemisphere," Brathwaite asks:
what is de bess way to seh so
so it doan sounn like brigg
flatts or her. vokitz nor de
-san cantos nor de souf sea bible
With the playful bilingual pun on Pound's Pisan Cantos (1948) and the reference to Briggflatts (1966) by Pound's lifelong friend Basil Bunting, Brathwaite explicitly resists the Poundian tradition, and all of its associated ideological baggage, as an influence on his epic project; we can, in fact, understand Brathwaite's use of the Greek letter π to be an immanent critique of Pound's montagic multilingualism. Moreover, the emphasis on "sounn" exemplifies Brathwaite's interest in the "tunes, tones and rhythms" of what he calls "nation language," a nonstandard, creolized English. In his final chapter, Infante analyzes Brathwaite's self-described "Sycorax video style," an experimental approach to typography, graphics, and spacing enabled by composing on a personal computer. According to Brathwaite, this new inscription technology "allow[s] […] [him] to write in light and to make sound visible," producing what Infante calls a "digital vernacular." By taking seriously the machinic reader inside Brathwaite's Mac SE/30, Infante interestingly considers Sycorax video style to be a form of digital poetry and reminds us that Brathwaite's nation language needs to be translated by his computer into the language of code. While such a process can offer "a new virtual temporality of translation," Infante ultimately concludes that "Brathwaite's SycoraxVS […] in its available printed form, constitutes a mere visual record of its original digital form, in fact losing its intrinsic virtual temporality and deterritorialized mode of archival memory." We are left to ponder what SycoraxVS would look like "if published in various modes of digital media, such as the World Wide Web." In other words, what if SycoraxVS were not just digital, in Infante's parlance, but born-digital? (Digital poet Stephanie Strickland succinctly states that for "born-digital" works "computation is required at every stage of their life. If it could possibly be printed out, it isn't e-lit.")[9] It is an intriguing question to end with as Infante bids us to think about the complex nexus of translation, poetry, and new media.
Augusto de Campos, Brathwaite's contemporary, in fact, experimented with "translating" his concrete poetry into a digital medium. For example, he remediated his 1970 one-word poem "REVƎЯ" into what
he calls a clip-poema. The bi-colored disc of the electronic version of "rever" (1999) spins at various speeds, zooms in and out, and changes colors and directions, perhaps indicating the constant semantic movement between the Portuguese rever, "to review," and the French rêver, "to dream." The digital piece makes us review it again and again — it makes us "see double" — as we flicker back and forth between translations; we might say that its "poetry in motion" depends upon the notion of translation.
If "in the beginning was translation," as the Finnish digital poet Leevi Lehto suggests, then Infante's new study enumerates for us some of the exciting things that come after.[10]
[1] See Johannes Göransson and Joyelle McSweeney's Deformation Zone: On Translation (Ugly Duckling Presse, 2012). Göransson and McSweeney's title seems to "deform" the title of Emily Apter's The Translation Zone: A New Comparative Literature (2005).
[2] "Introduction: The Birth of a Nation" in Fernando Pessoa's A Little Larger Than the Entire Universe: Selected Poems (Penguin, 2006).
[3] Johnson's review of Perloff's entry appeared in the Chicago Review 57:3-4 (Winter 2013). Johnson also lamented the elision of the Peruvian César Vallejo, the Martiniquean Aimé Césaire, and the Japanese Kitasono Katue. In her column "Strange Tongues: Innovative Poetry in Translation," from the March-April 2014 issue of American Poetry Review, Arielle Greenberg emphasizes the importance of having an international understanding of the historical avant-garde: "since many of the literatures that have most influenced avant-garde American poetry originated on other soil, it behooves us to have a more complex sense of the ways in which ideas and art intersect and develop across cultures and tongues."
[4] http://www.nybooks.com/blogs/gallery/2014/jan/17/eiffel-tower/.
[5] "Introduction" in Vicente Huidobro's Altazor (Wesleyan UP, 2003).
[6] "Introducción" in Vicente Huidobro's Altazor / Temblor de cielo (Ediciones Cátedra, 2011).
[7] See Benjamin's 1923 "The Task of the Translator."
[8] Despite Bishop's disparaging remarks about concrete poetry — she has said that it "has only an initial impact — a word game, at times amusing and witty, but useless and impossible to remember" — she nevertheless included in her An Anthology of Twentieth-Century Brazilian Poetry (1972), which she co-edited with Emanuel Brasil, the neoconcretista Ferreira Gullar, and she wrote excitingly about a second volume of the anthology, which would later be dedicated to her memory and include numerous concrete poems by Augusto de Campos and Decio Pignatari. Her connection, moreover, between the syncretic internationalism of Jolas (and his influential Transition) and the global reach of concrete poetry is apt. Concrete poet Thomas Kopferman wrote in 1974 that "the language-elements [of concrete poetry] are not tied to the author's mother tongue" and that concrete poetry "allows elements of different languages to be combined in the same text." Likewise, Jolas, who published a fragment of Huidobro's Altazor in French in 1930, experimented with a cosmopolitan language called "Atlantica," formed by the "interracial synthesis that was going on in the United States, Latin America and Canada," a language which "might bridge the continents and neutralize the curse of Babel." Yet even if concretismo hearkens back to the polyglot impulse of the historical avant-garde (Huidobro wrote in his preface to Altazor, "Se debe escribir en una lengua que no sea materna [one should write in a language besides one's mother tongue]"), it also looks forward to the internationalism of digital poetry, especially as it is practiced by multilingual writers such as Caroline Bergvall, Loss Pequeño Glazier, and Eduardo Kac.
[9] http://www.poetryfoundation.org/article/182942.
[10] Lehto's essay "In the Beginning was Translation" can be found in Marjorie Perloff and Craig Dworkin's edited collection The Sound of Poetry / The Poetry of Sound (U of Chicago P, 2009).
Michael Leong is the author of two volumes of poetry, e.s.p. (Silenced Press, 2009) and Cutting Time with a Knife (Black Square Editions, 2012), as well as a translation of the Chilean poet Estela Lamat, I, the Worst of All (BlazeVOX [books], 2009).
Michael Leong
Michael Leong is the author of two volumes of poetry, e.s.p. (Silenced Press, 2009) and Cutting Time with a Knife (Black Square Editions, 2012), as well as a translation of the Chilean poet Estela Lamat, I, the Worst of All (BlazeVOX [books], 2009). He currently lives in Durham and teaches in the low res B.F.A. Program at Goddard College. He will join the English Department at the University at Albany, SUNY as an Assistant Professor in August.
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After some careful consideration we also concluded that we wanted to serve up some new music for the occasion—and that sparked the following plan. Beginning on Monday August 1, and ending Saturday August 6, we are sharing a brand new mix for your listening pleasure. And to reflect XLR8R's growth into a global media outlet, each of these submissions will be delivered from a different continent; the artists chosen to mark this occasion with us all originate from a different corner of the globe. Their task for them was simple: to compile a mix between 90-120 minutes that best represents their musical roots. There have been two mixes thus far—from Seekae on behalf of Australia, and yesterday's from Asia's DJ Nobu—and up next, representing Europe, is one of Berlin's finest: Tama Sumo.
It's with a great sense of pride—and achievement—that we can today present a Tamo Sumo XLR8R podcast. The Berlin-based DJ, real name Kerstin Egert, has proven to be a tough artist for us to pin down; initial contact was made a year ago following an exceptional Boiler Room set to close last year's Dekmantel festival in Amsterdam, one of the few defining highlights in a summer full of memorable moments. The fact that it has taken her until now to deliver is testament to just how highly she is demanded.
There is no real noise or information floating around Egert—and so it's neither necessary or possible to pen an extensive introduction about her or her main achievements. Even her alias, a mask adopted in 2004, remains something of a mystery. Indeed, all you really need to know about her is this: she was born in Mühlhausen, a small Bavarian town, before moving to Berlin in 1990. As a DJ, she began spinning around 1993 and went on to secure early residencies at Drama and Café Moskau, before moving to Tresor. She is now a resident at Panorama Bar, although she can sometimes be found DJing downstairs in Berghain, the techno-arm of the infamous Berlin institution. According to an interview with RA last year, her record collection is now 15,000 records deep.
Studio mixes from Egert are not not easy to come by (there are only four readily available today), and recorded club sets are similarly uncommon. Indeed, this sparsity of material is matched only by her production output: Egert's discography is limited to just a handful of productions, meaning she is one of only a limited number of DJs who have found their way to the higher echelons without the support of high profile releases. She is, in every sense, a DJ's DJ; one of the world finest house and techno DJs whose success and acclaim stem only from her skills as a selector rather than anything more.
I recorded the mix at the end of last week at my home in Berlin.
Two MK IIs , two CDJs, and the E & S DJR 400 mixer.
I can't really say how much time I spent. I found it pretty difficult to make a decision on which tracks will make it into the mix, as there was so much great music released within the last months, and also a lot of beautiful music that will be released, plus also older stuff that still moves me. But at the end of the day, it's a wonderful problem to have.
Did you have a specific idea that you wanted to express?
You are always in a learning process as a human being, and so are you as a DJ. I discovered a lot of new music via the rereleases of African, Brazilian or Latin music as well as jazz within the last years that I wanted to include in the mix, as well as my house and techno-ish side. I had to somehow make all of it work together. I guess it is basically what I do in my DJ sets, while the focus can change from gig to gig.
The approach was very similar. I love variety, mood changes, ups and downs, and a certain kind of spirituality in DJ sets. This is what I try to offer within my regular sets as well as in this mix. My DJ sets are of course more improvised as I have different environments, atmospheres and crowds to deal and play with. The motivation of the mix was to offer a small variety of the music that moves me and give a little impression what my DJ set can be about.


text:
Q: Issue with including NSDateFormatter in a class I am trying to add time in my Note Class but getting an error message.

What is the correct way to include time on note entry in a class?
Here are the error message inline commented:
class noteTime{
var timeFormatter = NSDateFormatter()
timeFormatter.dateFormat = "h:mm a"  //ERROR: Expected Declaration
timeFormatter.AMSymbol = "AM"
timeFormatter.PMSymbol = "PM"

var timeString = timeFormatter.stringFromDate(NSDate())
//ERROR: Instance member 'timeFormatter' cannot be used on type 'noteTime'
}

A: To get a timestamp use a closure to assign the value.
class NoteTime { // class names are supposed to start with a capital letter

  let timeString : String  = {
    let formatter = NSDateFormatter()
    formatter.dateFormat = "h:mm a"
    formatter.AMSymbol = "AM"
    formatter.PMSymbol = "PM"
    return formatter.stringFromDate(NSDate())
  }()
}

Now each time an instance is created the timestamp is saved as constant (let!) in timeString.

A: Here's one possible solution (in Swift 3.0):
class NoteTime {
    var timeFormatter : DateFormatter = {
        let formatter = DateFormatter()
        formatter.dateFormat = "h:mm a"
        formatter.amSymbol = "AM"
        formatter.pmSymbol = "PM"

        return formatter
    }()

    var timeString : String {
        get {
            return timeFormatter.string(from: Date())
        }
    }
}

This sets up the date formatter one time. And then every time you access the timeString property you get the current time formatted as desired.

redpajama_set_name: RedPajamaStackExchange


text:
class ChangeTimeToTimestamp < ActiveRecord::Migration
  def change
		remove_column :workorders, :obstime
		add_column :workorders, :obstime, :timestamp
  end
end

redpajama_set_name: RedPajamaGithub


text:
Blurry lines, terror and serious organised crime By Philip Ingram MBE
Did you know that if you pay a ransomware release fee to a criminal organisation, the authorities don't really care, in fact I have been in a briefing where a senior FBI agent said 'pay!' However, if that criminal organisation has terror links, then you have committed an offence under the Terrorism Act and could be prosecuted.
The murder of the journalist Lyra McKee by the New IRA in Derry/Londonderry in April has brought non-Islamist terror to our headlines. But who are the New IRA, should we be worried and what else should we know?
The New IRA were formed in 2012 following a merger between groups including the Real IRA and Republican Action Against Drugs (RAAD), which was predominantly active in the Northwest of Northern Ireland, but with a presence in some other republican strongholds across the province.
It has been blamed for the murders of two prison officers, attempted car bombing of a police officer, regularly instigating disturbances and riots in Derry, throwing grenades at, and shooting at, the Police. In January 2019 a car bomb exploded outside Derry city courthouse. The New IRA were blamed.
In March, five parcel bombs were sent from the Irish Republic to addresses in Great Britain, four were delivered, only one partially initiating when it was opened, and one was returned to a sorting office in the Republic of Ireland where it was discovered and dealt with. The New IRA were blamed.
The New IRA are a very active organisation and are getting more sophisticated in their attacks. However, what isn't common knowledge is that one of their constituent groups, the Real IRA was listed by Forbes Israel in 2014 as the 9th richest terror group in the world.
The Real IRA were sandwiched between Al-Shabaab and Boko Haram with a £32 million annual turnover. This money comes from extortion, smuggling, drug running, robbery and other organised criminal activities. These activities will have been taken over by the New IRA who have largely the same leadership. The link between serious and organised crime and terror couldn't be clearer.
The list is interesting and most dissident republican groups, such as the Continuity IRA and all of the loyalist terror groups failed to make it.
Forbes Israel top 10 of terror:
1 Isis £1.3bn
2 Hamas £638m
3 Revolutionary Armed Forces of Colombia (Farc) £383m
4 Hezbollah £319m
5 Taliban £255m
6 Al-Qaeda and affiliates £96m
7 Lashkar e-Taiba £64m
8 Al-Shabaab £45m
9 Real IRA £32m
10 Boko Haram £16m
It is widely reported that the likes of ISIS and Al Qaeda have made their money through oil exports, taxes on those in areas they control, the opium market. Of note, the Telegraph reported last year that Afghan opium provides more than 90 per cent of the world's heroin and 95 per cent of that found on Britain's streets.
How does this link to my opening comment on ransomware? The Charities Commission defines terrorist financing as the raising, moving, storing and using of financial resources for the purposes of terrorism.
The law is quite clear, under sections 15-18 of the Terrorism Act 2000 criminal offences related to terrorist financing are listed. Specifically, it says, it is an offence to:
Raise, receive or provide funds for the purpose of terrorism
Hold or use funds for the purposes of terrorism
Become involved in an arrangement to make funds available for the purposes of terrorism
Facilitate the laundering of terrorist money
The key elements of these sections are "provide funds and make funds available." What makes this legal provision even more stringent is, "A person is guilty of an offence if he 'knows', 'intends' or has 'reasonable cause to suspect' that the terrorist funds may be used for the purposes of terrorism." The key phrase here is 'reasonable cause to suspect.'
Strictly speaking, heroin users and certainly suppliers in the UK, are helping to fund terrorist activity through Afghanistan and are therefore committing an offence under the Terrorism Act 2000. However, these higher levels of organised crime are just the tip of the iceberg. The same groups that supply class A drugs tend to be involved in a lot more criminal activity.
Putting this into context with activities that we could all easily come across, the counterfeited CDs and DVDs at the local car boot, the knock off cigarettes and tobacco being supplied through Craigslist, the cheap diesel that has come from filtered red diesel, the extortion money, through ransomware or good old fashioned protection rackets, the massage parlours taxing the trafficked prostitutes; all of these activities have links to organised crime and with many it would be 'reasonable to suspect' that some of the organised crime gangs have links to terrorist organisations or individuals with terrorist links.
The Belfast published weekly newspaper, The Sunday Life, reported in 2016 the prosecution of Thomas 'Slab' Murphy who was jailed for 18 months for defrauding the Irish Exchequer out of £147,000 in tax over an eight-year period. The newspapers investigation found that even after being arrested, he continued to control secret fuel factories in Cullyhanna, Crossmaglen and Meigh (all Irish border towns) worth £23 million in total.
The premises, which had the capacity to manufacture 34 million litres of 'dirty diesel' annually, were uncovered by customs officials and PSNI officers during four separate raids between 2012 and 2014.
Thomas 'Slab' Murphy was suspected for many years as the Chief of Staff of the IRA and a member of their General Army Council. His link between terror and organised crime is clear.
However, the issue of funding terror activity through organised crime is not confined to the island of Ireland. National Action, Scottish Dawn and NS131 are all recently proscribed extreme right-wing groups in Great Britain, their funding comes from somewhere and that somewhere is most likely to be extortion, Craigslist and car boot supplied counterfeit cigarettes, CDs and DVDs, illegally imported booze, drug supply and prostitution.
The new Counter-Terrorism and Border Security Act 2019 is a step change in enabling counter terror legislation to be utilised more readily when dealing with the growing threat. The Government have made a clear statement of intent. So, the next time you see a bargain at a car boot or online, or spot a drug deal going down, as a Security professional you have now been warned of the link, so there is no excuse not to have a 'reasonable cause to suspect.'
Philip Ingram MBE
Philip Ingram is an internationally respected defence and security journalist and consultant. Building on a long and distinguished military career, retiring as a full Colonel, after performing intelligence, counter-intelligence, security and planning roles, whilst on active service. He is also the man behind the rapidly expanding, and highly regarded, organisation, Grey Hare Media.
Philip is a strategic thinker and recognised subject matter expert on issues of international security, defence and geo political events…..
www.greyharemedia.com


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