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text:
Where Rivers Change Direction
by Mark SpraggMark Spragg
Paperback(Reissue)
It is a voice that echoes off canyon walls, springs from the rush of rivers, thunders from the hooves of horses. It belongs to award-winner Mark Spragg, and it's as passionate and umcompromising as the wilderness in northwest Wyoming in which he was born: the largest block of unfenced wilderness in the lower forty-eight states. Where Rivers Change Direction is a memoir of childhood spent on the oldest dude ranch in Wyoming—with a family struggling against the elements and against themselves, and with the wry and wise cowboy who taught him life's most important lessons.
As the young Spragg undergoes the inexorable rites of passage that forge the heart and soul of man, he channels Peter Matthiessen and the novels of Ernest Hemingway in his truly unforgettable illuminations of the heartfelt yearnings, the unexpected wisdom, and the irrevocable truths that follow in his wake.
Penguin Publishing Group
Mark Spragg is the award-winning author of the memoir Where Rivers Change Direction, winner of the 2000 Mountains & Plains Booksellers Award, and the novels The Fruit of the Stone, An Unfinished Life, and Bone Fire. His books have been translated into fifteen languages.
Cody, Wyoming
B.A. in English, University of Wyoming, 1974
I don't know why I've come awake. I listen for horses. I do not hear their bells, their steps on the frost-stiffened ground. I listen harder. I listen for a bear. I listen for the huffs, snorts, the coughing of a bear come into camp. There is only the deep silence of the night. I imagine a bear standing quietly by the side of my tent. A grizzly. Waiting. Aware of me. The thought of a bear thrills like a horror film escaped from its theater. My own murder stands vividly in my imagination. The dark night grinds down hard. I imagine a bear's small, dark eyes watering and intent in the cold air. I imagine a bear's nostrils flexing, breathing in my scent, its gut grumbling, whining for the taste of me. I think of a bear's teeth, its claws. I listen for the clicking of teeth. I think of the thick, dish-shaped skull--the brain inside that skull anxious for extra prehibernation calories. I pinch my chest, the back of an arm. My body seems soft as lard. I think of myself as food. I pull my woolen watch cap more tightly against my head--over my ears and eyes--and curl my face into the throat of my sleeping bag. I am wearing long underwear--top and bottom--and socks. My jeans and shirt are rolled against my feet at the bottom of the bag. I breathe in the warm, familiar scents of my body and stained clothing--a mixture of woodsmoke, leather, and horse. I think again of the thin canvas wall of the tent. It is black inside. It is black outside. If a hungry bear stands in that blackness the smell of me could draw it against the tent wall. I think of a grizzly's nose pressed against the tent. I think of its mouth watering, scrims of thinning drool sheeting from its black lips. I pull my knees into my chest and flex and imagine my body as unalterable as a knot of steel. I nearly laugh. I've become too old for bullshit fantasies of invincibility. I am now sixteen. I know that if a bear wants me for a meal it can open and spill me as effortlessly as an actual can of beans.
Excerpted from "Where Rivers Change Direction"
Copyright © 2000 Mark Spragg.
Excerpted by permission of Penguin Publishing Group.
Acknowledgments xi
In Praise of Horses 1
My Sister's Boots 25
Bones 46
Wapiti School 68
The Circusmaster 91
A Boy's Work 106
Greybull 120
John and Jack 139
Tommy Two 159
Adopting Bear 178
Wintering 197
Recoil 235
A Ditch Burning 254
Gretel Ehrich
Stirring, evocative, finely nuanced, gritty—marvelous!
This is a book that deserves many readers.
"A vivid portrait of life in the American outback." –San Francisco Chronicle
"A discovery… what makes the book so affecting is that everything is approached with a boy's generous and unwearied heart." –Big Sky Journal
"The cruel, punishing sound of the wind; the rich, earthy smell of horses; the bitter joy of boy becoming man—Spragg's spare but sensual essays will resonate not only with males and horse lovers, but also with anyone who treasures an examined life." –Utne Reader
"A piercing voice from the heartland, this resonant autobiography weds the venerable Western tradition of frontier exploration of self and nature with the masculine school of writing stretching from Hemingway to Mailer." –Publishers Weekly
"This is a book that deserves many readers." –Larry McMurty
"Here is a book for women to read to learn the hearts of men. Here is a book for men to read to curse what they have lost. This soulful book walks us to a place of restoration through the big wide open of Wyoming. Mark Spragg's words, his stories are a fine example of blood writing, every sentence alive." –Terry Tempest Williams
"Stirring, evocative, finely nuanced, gritty-marvelous!" –Gretel Ehrlich, author of The Solace of Open Spaces
Wyoming, land of wind and dust, of suicides, loneliness and fierce lovemaking, of uninterrupted vistas stretching 20 miles in every direction, of hard-drinking men and fighting women, forms the backdrop to Spragg's brave and beautiful coming-of-age memoir. Readers expecting a quaint, picturesque yarn will find instead an elemental, powerful confrontation with the naked realities of living and dying. Growing up on the high Yellowstone Plateau on the state's oldest dude ranch, a family business dating back to 1898, Spragg wrangles horses for his taciturn father, trying to win his respect and approval. At age 14, Spragg shoots and mercy-kills his beloved, aged, sickly steed, whose corpse will be used as bait for bears targeted by human hunters. The teenage Spragg joins his father on hunts, an experience he recalls ruefully (he no longer hunts, he reports, and became a vegetarian for five years). With self-deprecating wryness, the author, a screenwriter and essayist, re-creates adolescent crushes and hijinx. From quotidian events--communing with horses, attending a livestock auction--he fashions existential encounters with nature, self, fear, death, God. Composed in clean, crisp prose, his loping narrative is peopled with memorable characters, like his 40-ish mentor and bunkmate, John, a smiling, battle-scarred WWII veteran, or the mediumistic Greenwich Village waiter from India who tells Spragg, then 27, about his dead infant sister, reducing him to tears. Encompassing his marriage, divorce and remarriage, the book closes with Spragg's almost unbearably poignant account of caring for his mother, dying of emphysema and housebound on an oxygen inhalator. A piercing voice from the heartland, this resonant autobiography weds the venerable Western tradition of frontier exploration of self and nature with the masculine school of writing stretching from Hemingway to Mailer. (Oct.) Copyright 1999 Cahners Business Information.
Spragg's first book is about growing up on the country's oldest dude ranch--and much more. A rare accomplishment in "sense of place" literature, this deftly evokes life in the wide-open of Wyoming's Continental Divide. In each of these 14 essays, his direct, spacious, tangible prose vibrates with the fragile crisis and joy of a man face to face with nature and himself. (LJ 10/15/99) Copyright 2000 Cahners Business Information.
Essayist and fiction writer Spragg offers 14 lyrical essays on the trials and beauties of growing up on the oldest dude ranch in Wyoming in the Shoshone National Forest, the largest block of unfenced wilderness in the lower 48. He includes no index or bibliography. Annotation c. Book News, Inc., Portland, OR (booknews.com)
Spragg's spare but sensual essays will resonate not only with males and horse lovers, but also with anyone who treasures an examined life.
—The Utne Reader
Cathy Madison
If you've been dreaming of sagebrush and cantering colts but can't head west this summer, here's the next best thing: Find a spot in the shade and curl up with Mark Spragg's new book, fourteen essays about horses, guns, hard-bitten cowboys, and back breaking work, written by someone who knows.
—Hope Magazine
Ben Carlisle
Where Rivers Change Direction: A Memoir 4.9 out of 5 based on 0 ratings. 9 reviews.
Spragg is an extremely gifted writer. He brings the truth to the writer's cliche of bringing the reader into the life of the story. I couldn't put this down. There is nothing particularly astonishing about this man's life, but the story is so well told, with emotion and insight to humanity that few writers can put to paper. A critic remarks that a teenager could not relate to Spragg's experiences and recommends this book for adults only. I couldn't disagree more. My 13 year old son absolutely loved this book and couldn't put it down.
Mark Spragg writes so clearly, honestly, and unaffectedly. A near kin to Wallace Stegner but without professorial angst. A western version of Wendell Berry but without a larger cause. Spragg shows Zen-like understanding of a life in rugged Wyoming settings. His humor is sparse and dry, and he offers deep secrets of his own heart while escaping the reader's attempt to own him as a kindred spirit. I haven't read a better book, or a better written book, in years.
TimBazzett on LibraryThing More than 1 year ago
Mark Spragg is a wonderful writer. His sense of place in the modern west of his native Wyoming is impeccably rendered. The trouble is, because these essays were written and printed elsewhere as separate pieces, that "place" thing is done over and over - the flora, the fauna, the rocks, the rivers and creeks, the cold, the wind, etc - to DEATH in fact. This very redundancy in the book dropped it from a five- to a four-star rating. The coming-of-age aspect of the story, Spragg maturing from a small boy to a middle-aged man who sees his parents divorce and his his own marriage fall apart, then watches his mother die a slow and painful death from emphysema, is handled like a master. You wanna read what it's like to to grow up out on the high plains near the end of the 20th century? Then this is a good place to start. Mark Spragg writes, in many ways, like a poet. His love of language is clear. WHERE THE RIVERS CHANGE DIRECTION is a darn fine book.
peartreebooks on LibraryThing More than 1 year ago
The absolute best memoir I've ever read. Mark is an amazing wordsmith.
donkeytiara on LibraryThing More than 1 year ago
When you think of western poetry, you think of waddie mitchell...but the poetry of western life...this is it. One of the most eloquent, breathtaking books i have ever read... this man is in love with the land, and it shows in every word. Absolutely beautiful.FAVORITE QUOTE: I walk out on the frozen ground, careful that the wind does not blow me east. I feel that insubstantial, and that elemental.
The sentences are breathtaking, you breathe the author's air, you feel his soul connect to these places. It is a excercise in masculine prose that is so exquisite that will take your breath away. It is not hard to read...it is hard to put this book down....for all the right reasons. Writers, read this book to be inspired beyond words. Readers, read this book to be transported into WHY people write...and what it's truly like when they get it completely right.
While reading Where Rivers Change Direction it returned me to the Wyoming that I lived in for 14 years.Mark Spragg's writing is right on the mark when it comes to the landscape and natural beauty of this great state. Having moved away from Wyoming I can return any time I want just by reading this book.
I am not a professional reviewer but I am a Wyoming native. I love this book. If you read, read this book.
Downriver from the Wapiti Valley, the Shoshone wends it's way below the town where I grew up in the 50's. Mark Spragg's wonderful book took me 'home' to the everlasting wind and dust of the Wyoming landscape and the people it breeds. Spragg captures its uniqueness in language as beautiful and as sparce as the countryside itself. This book is a sensitive, often humorous, rendition of what it means to be a Westerner, and a terrific read!
book by laban samuel records
the forgotten cattle king
mcclelland & stewart book
men to match our mountains
book by richmond p hobson
book by michael wallis
Cherokee Outlet Cowboy: Recollections of Laban S. Records
At age fifteen, Laban Samuel Records (1856-1940), the youngest of twelve children, moved west with ...
At age fifteen, Laban Samuel Records (1856-1940), the youngest of twelve children, moved west with his family from Indiana to Kansas. About sixty-six years later, writing in pencil on Big Chief tablets, he remembered this move and his other western ...
Dante: A Life
An insightful biography of Florence's famous son Acclaimed biog rap her R.W.B. Lewis traces the ...
An insightful biography of Florence's famous son Acclaimed biog rap her R.W.B. Lewis traces the life and complex development? emotional, artistic, philosophical-of this supreme poet-historian. Here we meet the boy who first encounters the mythic Beatrice, the lyric poet obsessed ...
Down Second Avenue
Es'kia Mphahlele's seminal memoir of life in apartheid South Africa—available for the first time in ...
Es'kia Mphahlele's seminal memoir of life in apartheid South Africa—available for the first time in Penguin ClassicsNominated for the Nobel Prize in 1969, Es'kia Mphahlele is considered the Dean of African Letters and the father of black South African writing. ...
Failure Is an Option: An Attempted Memoir
"Writing this funny requires immense talent." —AV ClubH. Jon Benjamin—the lead voice behind Archer and ...
"Writing this funny requires immense talent." —AV ClubH. Jon Benjamin—the lead voice behind Archer and Bob's Burgers—helps us all feel a little better about our own failures by sharing his own in a hilarious memoir-ish chronicle of failure.Most people would ...
Fountain Goodlet Oxsheer—like Slaughter or Goodnight—was an unusual and appealing name for one of Texas' ...
Fountain Goodlet Oxsheer—like Slaughter or Goodnight—was an unusual and appealing name for one of Texas' most dynamic cattle ranchers. Once the baron of an intricate network of ranches that stretched from Oklahoma and the Texas Staked Plains down to northern ...
A Gift from Brittany
The enchanting memoir of an artist?s liberating sojourn in France during the sixties?and the friendship ...
The enchanting memoir of an artist?s liberating sojourn in France during the sixties?and the friendship that transformed her life While in her late twenties, Marjorie Price leaves the comfort of her Chicago suburb to strike out on her own in ...
Grass Beyond the Mountains: Discovering the Last Great
The first in a trilogy, Grass Beyond the Mountains is a story of discovery and ...
The first in a trilogy, Grass Beyond the Mountains is a story of discovery and endurance on North America's western frontier by three good old-fashioned ... laconic cowboy humor and the ease of a born writer, Richmond Hobson describes the ...
Life Among the Savages
In a hilariously charming domestic memoir, America's celebrated master of terror turns to a different ...
In a hilariously charming domestic memoir, America's celebrated master of terror turns to a different kind of fright: raising children In her celebrated fiction, Shirley Jackson explored the darkness lurking beneath the surface of small-town America. But in Life Among ...

redpajama_set_name: RedPajamaCommonCrawl


text:
Discontinued

As of {{ page.legacy_time }}, {{ page.legacy_type }} has been retired.

redpajama_set_name: RedPajamaGithub


text:
About Pacific Oak Capital Advisors
Management Experience
Why Real Estate?
1031 Exchanges/DSTs
Single Family Housing Rental Market
Why Private Equity?
Public vs. Private Real Estate Investing
Types of Commercial Real Estate
Pacific Oak Capital Markets
Park Highlands Land II
Bruce Woodbury Beltway, North Las Vegas, NV 89086
KBS Strategic Opportunity REIT, through a joint venture in which it owns 99.5%, purchased 295 acres of undeveloped land within the 2,675 acre Park Highlands master plan community located in suburban North Las Vegas, Nevada. KBS Strategic Opportunity REIT, through an indirect wholly owned subsidiary, also owns a 50.1% interest in a separate joint venture that owns 1,375 acres of undeveloped land in Park Highlands. Through both acquisitions, the REIT owns 68% of the total developable land in the Park Highlands master plan community.
Park Highlands is block-platted and has entitlements, or is in the process of being entitled, for residential, commercial and resort property, as well as for parks and public facilities. It is located approximately 12 miles from downtown Las Vegas and 16 miles from the Las Vegas Strip. With I-15 three miles to the east of the property, Park Highlands is the only master plan community that provides both freeway frontage and nearby access to the area's largest north-south roadway. The property's location along the 215 Beltway also provides easy access to all major Las Vegas employment centers within the Metropolitan Statistical Area.
PACIFIC OAK CAPITAL ADVISORS: 11766 Wilshire Blvd., Suite 1670 • Los Angeles, CA 90025
Copyright © 2021 Pacific Oak Holdings, Inc. All Rights Reserved.


text:
using testing::_;
using testing::DoAll;
using testing::Invoke;
using testing::Return;
using testing::ReturnRef;
using testing::SaveArg;
using testing::WithArgs;

namespace cast_channel {

class CastSocketServiceTest : public testing::Test {
 public:
  CastSocketServiceTest() : cast_socket_service_(new CastSocketService()) {
    cast_socket_service_->SetTaskRunnerForTest(
        base::MakeRefCounted<base::TestSimpleTaskRunner>());
  }

  CastSocket* AddSocket(std::unique_ptr<CastSocket> socket) {
    return cast_socket_service_->AddSocket(std::move(socket));
  }

  void TearDown() override { cast_socket_service_ = nullptr; }

 protected:
  content::BrowserTaskEnvironment task_environment_;
  std::unique_ptr<CastSocketService> cast_socket_service_;
  base::MockCallback<CastSocket::OnOpenCallback> mock_on_open_callback_;
  MockCastSocketObserver mock_observer_;
};

TEST_F(CastSocketServiceTest, TestAddSocket) {
  auto socket1 = std::make_unique<MockCastSocket>();
  auto* socket_ptr1 = AddSocket(std::move(socket1));
  EXPECT_NE(0, socket_ptr1->id());

  auto socket2 = std::make_unique<MockCastSocket>();
  auto* socket_ptr2 = AddSocket(std::move(socket2));
  EXPECT_NE(socket_ptr1->id(), socket_ptr2->id());

  auto removed_socket = cast_socket_service_->RemoveSocket(socket_ptr2->id());
  EXPECT_EQ(socket_ptr2, removed_socket.get());

  auto socket3 = std::make_unique<MockCastSocket>();
  auto* socket_ptr3 = AddSocket(std::move(socket3));
  EXPECT_NE(socket_ptr1->id(), socket_ptr3->id());
  EXPECT_NE(socket_ptr2->id(), socket_ptr3->id());
}

TEST_F(CastSocketServiceTest, TestRemoveAndGetSocket) {
  int channel_id = 1;
  auto* socket_ptr = cast_socket_service_->GetSocket(channel_id);
  EXPECT_FALSE(socket_ptr);
  auto socket = cast_socket_service_->RemoveSocket(channel_id);
  EXPECT_FALSE(socket);

  auto mock_socket = std::make_unique<MockCastSocket>();

  auto* mock_socket_ptr = AddSocket(std::move(mock_socket));
  channel_id = mock_socket_ptr->id();
  EXPECT_EQ(mock_socket_ptr, cast_socket_service_->GetSocket(channel_id));

  socket = cast_socket_service_->RemoveSocket(channel_id);
  EXPECT_TRUE(socket);
}

TEST_F(CastSocketServiceTest, TestOpenChannel) {
  auto* mock_socket = new MockCastSocket();
  auto ip_endpoint = CreateIPEndPointForTest();
  mock_socket->SetIPEndpoint(ip_endpoint);
  cast_socket_service_->SetSocketForTest(base::WrapUnique(mock_socket));

  EXPECT_CALL(*mock_socket, ConnectInternal(_))
      .WillOnce(WithArgs<0>(
          Invoke([&](const MockCastSocket::MockOnOpenCallback& callback) {
            callback.Run(mock_socket);
          })));
  EXPECT_CALL(mock_on_open_callback_, Run(mock_socket));
  EXPECT_CALL(*mock_socket, AddObserver(_));

  cast_socket_service_->AddObserver(&mock_observer_);
  CastSocketOpenParams open_param(ip_endpoint,
                                  base::TimeDelta::FromSeconds(20));
  cast_socket_service_->OpenSocket(CastSocketService::NetworkContextGetter(),
                                   open_param, mock_on_open_callback_.Get());
}

}  // namespace cast_channel


WASHINGTON – The U.S. Department of Agriculture today invited public comment on the proposed rule to establish the National Bioengineered Food Disclosure Standard mandated by Congress in 2016. The standard will provide a uniform way to offer meaningful disclosure for consumers who want more information about their food and avoid a patchwork system of state or private labels that could be confusing for consumers and would likely drive up food costs.
The proposed rule is open for comment for 60 days. Due to the congressionally mandated timeline for this rulemaking, the comment period will not be extended, so it is important that anyone interested file comments in a timely manner.
"The proposed rule published today by USDA's Agricultural Marketing Service is a critical step towards establishing a National Bioengineered Food Disclosure Standard by the July 29, 2018, deadline. We want to sincerely thank Secretary Perdue, Under Secretary Ibach, and the Agriculture Marketing Service team for their diligence to get this critically important proposed rule published. The Coalition for Safe Affordable Food remains committed to a standard that gives consumers access to information about the food they purchase; ensures that farmers continue to have the tools they need to feed a growing world population; and provides certainty to food manufacturers, retailers and others in the supply chain," according to a National Corn Growers Association press release.
"Over 1,100 national, state, and local organizations representing the food and agriculture value chain supported enactment of the Bioengineered Food Disclosure Act, because it prevented a state-by-state patchwork of labeling laws, that would have cost U.S. consumers, farmers and manufacturers billions of dollars.
"Given the importance of ensuring the final rule is in place by the statutory deadline, the coalition will be analyzing the proposed rule and developing coordinated food and agricultural industry comments over the next 60 days. The coalition looks forward to providing the department with input that reflects the needs of consumers, farmers and the rest of the food value chain," the NCGA wrote.
Comments may be submitted online through the Federal eRulemaking portal http://www.regulations.gov. Comments may also be filed with the Docket Clerk, 1400 Independence Ave., SW, Room 4543-South, Washington, DC 20250; Fax: (202) 690-0338.
The deadline for comments is July 3, 2018.
The National Bioengineered Food Disclosure Standard Law was enacted by Congress on July 29, 2016. The proposed rule previewed in the May 3, Federal Register.


FRAME Le Sylvie Raw Edge-Overdrive - Refinery Clothing Co.
This Vintage-Inspired Straight-Leg Jean Is Designed With A Cleverly Engineered High-Rise Fit To Hold You In And Contour At The Waist. Cut From Premium Stretch Denim.


text:
300 SL History
History Narrative
Racing Summary
Gull Wing Group History
Star Letter Example
Forum-Add Picture
Store-Add Product
Store-Configuration
Store-Edit Product
Store-Fill Order
Store-Refund Order
Store-View Reports
Users - Add New User
Users-Adjust roles/subscriptions
Treasurer: Peter Starr (Florida)
It has been an honor and a pleasure to serve the Board as a Director and Officer of the Club. After retiring in 2004 after 35 years spent owning and operating various new car dealerships, including Toyota, Chrysler/Plymouth, Nissan, Hyundai, Volkswagen, Pontiac, and BMW my being the Club Treasurer allows me to continue to utilize and contribute many of the skills I've learned throughout my career.
I've been collecting and restoring special interest cars since 1976 and had wanted a 300SL Gullwing ever since seeing my first one in Boston in 1966, vowing at the time to someday own one. That opportunity came in 2001, 3 years after I'd joined the Club as an Associate member. I've driven our Gullwing to the convention in Newport and Saratoga Springs and New Orleans, and drove our recently acquired 300SL Roadster 3,650 miles from Maine to Pasadena for the 50th Anniversary Gullwing Convention in 2018.
Serving on the Board and as an Officer has allowed me to 'give back' to the Club that has given so much to my wife Gina and I through the years and we are most grateful for all of the wonderful times we've had and the cherished friends we've made.
300SL History
©The Gull Wing Group International. All rights reserved.


Binary Options Trading FAQs - Find the best Binary Options Brokers, Binary Options Bonuses, Binary Options Signals, Binary Options Software and everything Binary Options related on Binary Options Directory!
Here you can find a comprehensive list of frequently asked questions which are covering the topic of Binary Options Trading. The answers can be partially found on Quora, too. Do you have a question about Binary Options Trading? You can probably get all your answers here.


text:
Інуї Такасі — японський футболіст.
 Інуї Масаката — японський політичний, військовий і державний діяч.

redpajama_set_name: RedPajamaWikipedia


text:
Q: Can a domain have zero NS records? My hosting provider is forbidding me to have zero NS records. But is that a written rule about DNS or just a way of my provider to prevent a fuckup?
For example, when I run dig superuser.com NS

;; ANSWER SECTION:
superuser.com.        21599   IN  NS  ns-245.awsdns-30.com.
superuser.com.        21599   IN  NS  ns-1699.awsdns-20.co.uk.
superuser.com.        21599   IN  NS  ns-cloud-d1.googledomains.com.
superuser.com.        21599   IN  NS  ns-cloud-d2.googledomains.com.

They give me four NS records
I know that its a best practise to have at least 2 records, but can you also have no records?
And then my second question
When a domain does not have any records, will some of the DNS records will be valid and reachable?
(I'm asking this question because I wrote a Use Case Test and also wrote a situation when a domain has no NS records and I want to know if that is possible)

A: Its not just a written rule, it is how DNS works. A domainname has the Name server listed so any browser can figure out who to contact in order to request the actual dns records.
The NS parameter holds a nameserver, and this server has the information on your domain stored. There are usually more than one Name Servers to make sure your domain keeps working if one of the servers goes offline.

A: DNS doesn't work without a nameserver for a domain.  There might be a registrar that lets you sign up without one, but no one on the external Internet will be able to resolve anything for that domain without at least one nameserver, which contains all the A and CNAME records, and so on.

redpajama_set_name: RedPajamaStackExchange


Hardcover, 9.25 x 11 in. / 128 pgs / 80 color.
One of the great tastemakers of the late 19th and early 20th centuries, Eugenia Huici Arguedas de Errázuriz (1860–1951) was born into a wealthy Chilean mining family in Bolivia. She married amateur painter José Tomás Errázuriz, and while honeymooning in Europe the couple quickly became favorites in a group of artists that included John Singer Sargent and Auguste Rodin. After Cocteau introduced Errázuriz to Pablo Picasso in 1916, she would become Picasso's most devoted patron.
This publication, the first to focus on this remarkable figure, traces Errázuriz's life and the broader subject of South Americans in turn-of-the-century Europe through the many portraits of Errázuriz and a selection of artworks from her extraordinary personal collection.
FORMAT: Hbk, 9.25 x 11 in. / 128 pgs / 80 color.
Published by Dixon Gallery and Gardens.


text:
Vol.VIII No.VI Pg.6
The Old School Song
In the Fall, 1970, issue of The Lipscomb Review (quarterly bulletin of David Lipscomb College) thirteen principle streams of revenue for Christian education at Lipscomb were named. One of them was CONGREGATIONS — Since 1891 congregations of the church of Christ have supported David Lipscomb College.
On May 29, 1971, a huge display ad appeared in the Nashville Tennessean and Banner: An Appeal to Churches of Christ by Batsell Barrett Baxter, Herald of Truth speaker; for more than $ 363,000. per year contribution from churches to the college. The Charlotte Ave. church, Nashville, was the advertiser; and announced that they would give their entire collection of May 30, to the college.
July 16, 1971, David Lipscomb College sent to churches a letter signed by Baxter, which said (in part): The most important thing that we do at David Lipscomb College is teach the Bible as the inspired word of God. If this is to continue, the congregations of the church must be willing to support this Bible teaching on a regular and substantial basis.... The students pay about half of the total cost of nearly $700,000 each year, and we are asking the churches to pay the other half which is more than $350,000 each year.
With the letter was a large copy of the earlier church display ad, and Baxter urges The Elders (so addressed) to read especially my letter of appeal to the churches of Christ. Coordination of the college and Charlotte Ave. church efforts are obvious, and intended to make a point along this line. Baxters letter says further: For over half a century this great Nashville church has contributed each year to our program of teaching the Bible. They have done this under the scriptural authority of Titus 3: 1, which admonishes Christians to be ready unto every good work.
Watch this closely, you folk who seek to justify your own pet project with its a good work and/or the Bible authorizes a Christian to do this — therefore the church can do it out of its treasury. You have used these two fallacies to open the door for church support of general welfare institutions and social institutions; now the same errors are used to prop open the door for church support of the schools.
In the spring of 1964 bro. Baxter published a tract Questions and Issues of the Day which said: If it is a good work and God wants it done, then the church can support it out of its treasury. .. . If the individual Christian should give to make such schools possible, the church has the same responsibility, for it is a good work and the church is the people. (Pp. 30)
Apparently the leaders of todays digressive movement think the time is now ripe to press for church support of the schools. I do not expect all institutional churches to like it. Neither do I expect many of them to do much to combat it. Maybe they can just send a $5. token offering — to avoid being called Anti!!
<< Above All, To Be True
Queries And Answers >>


text:
The Coronovirus: The Plague and other writings by Albert Camus
Mary L. Tabor worked most of her life so that one day she would be able to write full-time. She quit her corporate job when she was 50, put on a backpack and hiking boots to trudge across campus with folks more than half her age. She's the author of the novel Who by Fire, the memoir (Re)Making Love: a sex after sixty story and the collection of connected short stories The Woman Who Never Cooked. She's a born and bred liberal who writes lyric essays on the arts for one of the most conservative papers in the country and she hosts a show interviewing authors on Rare Bird Radio. In the picture Mary L.Tabor
In my essay Elie Wiesel's Early Work I promised a return to the novels by Albert Camus (1913-1960), 1957 Nobel Laureate in Literature.
Then the world as we know it changed with the onset of COVID-19 and the relevance of Camus' novel The Plague, published in 1947, struck hard.
When Camus writes in The Myth of Sisyphus and other essays, "How should I negate this world whose power and strength I feel? Yet all the knowledge on earth will give me nothing to assure that this world is mine," I am struck with the thought that the questions do not change—even as we face the pandemic of the Coronovirus.
In rereading The Stranger, The Plague and The Fall with the essay The Myth of Sisyphus, I am struck by the unity in man's questioning the unanswerable. In 2017 I began writing this essay after the death of my adult son at age 46. The insurmountable grief of this loss, threw me into the abyss.
I looked then to Camus, who also died at age 46—not that I compare the two men—for answers.
I knew that my cry of anguish in the face of the incomprehensible and inevitable united me with the epochs of time.
And now as we face this worldwide pandemic, I am struck once again and have returned to write you:
I hear Job cry out on the ash heap from physical pain and suffering but more indeed from the anguish of ignorance and the desire for guilt—a rationale for his punishment. The play Oedipus Rex by Sophocles unites me to all those caught in a world we attempt to understand and control but are doomed inevitably powerless. And too, when Shakespeare's Lear in his madness cries, "Is man no more than this?" my cry joins with his.
So, today let's look at Camus' novel The Plague in the face of the worldwide pandemic.
I begin with a brief discussion of a novel many of us read in high school before I move on to The Plague—with its direct relevance to our current circumstance—and as a final footnote here, to Camus' The Fall—for it too challenges us in our current trial and reminds us to ask the questions, Who am I? Who are we?
Meursault of Camus' The Stranger becomes vitally aware of his life and its values by the close of the novel, divided in two parts. Part I presents, in Meursault's unemotional and fragmentary words, his life until and including his purposeless murder of an Arab. The past has little meaning for him. His mother has died, gone and not mourned: "It occurred to me that somehow I'd got through another Sunday, that mother now was buried. And tomorrow I'd be going back to work as usual. Really, nothing in my life had changed." He does not dwell on the past.
The sensual pleasure of the moment seems to hold importance, but he doesn't consciously judge the importance of any pleasure. He says he always enjoyed washing his hands at midday when the roller towel was dry. In the evening, it was always wet, unpleasant. He deems the problem important enough to mention to his employer, who considers it a mere detail.
The day after his mother's funeral, Meursault enjoys sunbathing, meets a former acquaintance, the appealing Marie with whom he attends a comic movie and later that evening they make love. The present has value. The past and future, little meaning. When his boss suggests a job with the company in Paris, including the possibility of travel in France, Meursault says he doesn't care one way or the other. When asked if a change of life appeals to him, he tells us, "I answered that one never changed his way of life; one life was as good as another and my present one suited me quite well." Indifference defines him.
He becomes friends with Raymond, a known pimp, agrees to write a letter to anger Raymond's girlfriend, all seemingly because he has nothing better to do. This alliance leads to the murder of the Arab who wants to avenge Raymond's treatment of the girlfriend. Although Meursault does kill the Arab under the influence of the sun's intense heat to which he is quite sensitive as he is to all physical aspects of this environment and there is an element of self-defense, it does seem that Meursault could have avoided the encounter. His interest in the affair certainly was not vital.
At the end of Part I of The Stranger, Meursault's trial ensues. The court assumes, as most of us do, that men live by or at least recognize certain common values of behavior. Meursault, intensely truthful, shows the court that he does not share that view. The case then becomes defined by society's condemnation, not so much of the crime, as of the man with no value system.
The fact that he didn't weep at his mother's funeral because he is not sad becomes the most vital piece of evidence that illustrates his callousness. He smokes at the vigil of the body and makes love to Marie the next day. These actions and his attitude condemn him in the eyes of the court.
Meursault is not in fact tried for the killing of the Arab. He is tried for callousness— or better, for the discrepancy between his values and the court's.
One might argue—and this is not an easy argument—that Meursault is rather heroic in his quiet refusal to save himself by speaking what for him are society's lies. He tells his truth. He maintains his integrity.
Some of you who read this will know that Camus has been studied for his views of what is philosophically and literarily discussed as "the absurd," but I do not attempt here to discuss that thorny subject—even as we face the absurdity of our current pandemic.
My subject is the question of identity: Who am I? Who are we?
When Meursault kills the Arab, he kills life. It certainly cannot be argued that the Arab's life was expendable.
It may be argued that the sun's influence controls Meursault's behavior. But he had a choice that he did not exercise when he submitted to the sun's force. He says. "It struck me that all I had to do was to turn, walk away, and think no more about it. But the whole beach, pulsing with heat, was pressing on my back." He says, "And just then it crossed my mind that one might fire, or not fire—and it would all come to absolutely the same thing."
In Part II Meursault becomes intensely aware of his life because he is imprisoned and condemned to death.
Let us contemporaneously consider his imprisonment as the metaphor for the imprisonment of social isolation many of us are now experiencing, and of the potential death for many to come.
Consider this: When Meursault, who is sentenced to death, no longer seeks escape and begins to experience the realization of his own death, he is able to explain to the priest who visits him the value of living. He is no longer passive but vehement and intense.
In the essay The Myth of Sisyphus, Camus describes what essentially is Meursault's experience: "The divine availability of the condemned man before whom the prison doors open in a certain early dawn, that unbelievable disinterestedness with regard to everything except for the pure flame of life … ."
At the close of the novel, we have Camus' gorgeous language in Meursault's words: "I … felt ready to start life all over again. It was as if that great rush of anger has washed me clean, emptied me of hope, and gazing up at the dark sky spangled with its signs and stars, for the first time, the first, I laid my heart open to the benign indifference of the universe."
But on this note, Camus is far from done with us.
The Plague
The Plague is set in the Algerian city Oran that is besieged by plague. The city is of necessity closed to the outside world by authorities: All communication except for telegrams is forbidden to avoid the possibility of further contagion. The business of maintaining life in the midst of the holocaust is begun, Meursault's prison becomes the world of the people of Oran. All are made to realize their own deaths. The narrator tells us that "no longer were there individual destinies; only a collective destiny, made of plague and the emotions shared by all. Strongest of these was the sense of exile and of deprivation, with all those cross currents of revolt and fear set up by these."
The people of Oran before the plague descends seem much like Meursault in their complacency and lack of awareness of the inherent forces that impede their lives and happiness. Dr. Rieux says of them, "How should they have given a thought to anything like plague, which rules out any future, cancels journeys, silences the free, and no one will ever be free so long as there are pestilences." The plague awakens them to the value of living and all it entails by isolating them with the peril of death ever-present.
At first they are made aware of separation and the love they need and cherish. As the plague progresses, even their memories begin to lose meaning. "Without memories, without hope, they lived for the moment only. Indeed the here and now had come to mean everything to them. For there is no denying that the plague had gradually killed off in all of us the faculty not of love only but even of friendship. Naturally enough, since love asks something of the future, and nothing was left us but a series of present moments."
It is here late in the novel that Camus reveals that the apparent omniscient narrator has actually been Dr. Rieux, who slides into first person as awareness of the effects of the plague rise to a conscious level for all.
The people of Oran move from an unconscious awareness to a deep recognition of the value of life as they are dehumanized by their exile.
Camus in this novel asks the question, When faced with the horror of the plague, what does man do? What does he think?
Various characters in the novel represent the possibilities, the choices as well as the difficulties each must face.
Father Paneloux chooses to understand the plague in terms of his belief in God and what he sees as divine justice. In a powerful sermon, he tells the people of Oran, "Calamity has come on you, my brethren, and, my brethren, you deserved it. … If today the plague is in your midst, that is because the hour has struck for taking thought. The just man need have no fear, but the evildoer has good cause to tremble."
Dr. Rieux, in contrast, is interested only in relieving human suffering, not in pointing out its excellence. He says that "since the order of the world is shaped by death, mightn't it be better for God if we refuse to believe in Him and struggle with all our might against death, without raising our eyes toward the heaven where he sits in silence."
Father Paneloux does indeed experience difficulties in finding solace in his belief in divine justice when he too begins to work to avert the plague. He and Rieux watch a small boy suffer and die while they hope that a new serum will succeed. Rieux fiercely confronts Paneloux at this moment. "That child, anyhow, was innocent, and you know it as well as I do." Paneloux responds by saying that "perhaps we should love what we cannot understand."
But soon he himself is deeply troubled. Although he does not relinquish his faith, he suffers greatly toward the end of his life when he too dies of plague.
Tarrou, who is Rieux's friend and who organizes a volunteer sanitation squad, serves as Paneloux's counterpart: He deals with the plague as an active worker but his goal is more transcendent than Rieux's. Tarrou says, "All I maintain is that on this earth there are pestilences and there are victims, and it's up to us, so far as possible, not to join forces with the pestilences." And he adds, "What interests me is learning how to become a saint." Rieux responds by saying, "I feel more fellowship with the defeated than with saints. Heroism and sanctity don't really appeal to me, I imagine. What interests me is being a man."
Raymond Rambert is a journalist from Paris caught in the plaque-ridden city that is not his home. He wants to escape—not through belief in God as Camus might argue is Paneloux's chosen path—but through happiness and the love of a woman. While Paneloux, Rieux and Tarrou appear tacitly to accept that personal happiness in not possible at this time, Rambert strives to find some way, legal or illegal, to leave the city. "Rambert has elected for happiness, and Rieux, had no argument to put up against him. Personally he felt incapable of deciding which was the right course and which the wrong in such a case as Rambert."
But, ultimately, Rambert, when given the chance to escape, chooses to stay and fight the plague. He appears to realize that one cannot elect for happiness in the face of disaster. One must fight first. But the answer is not so easy. Rambert gains little by staying and the plague takes its toll not only on his present happiness but on his potential for happiness as well.
At the close of the novel, when the plague has lifted and he's about to be reunited with his mistress, he thinks, "If only I could put the clock back and be once the man who, at the outbreak of the epidemic, has one thought and one desire: to escape and return to the woman he loved! But that, he knew, was out of the question now; he had changed too greatly. The plague has forced on him a detachment which, try as he might, he couldn't think away, and which like a formless fear haunted his mind."
Early in the novel we learn that "Rieux pulled himself together. There lay certitude; there in the daily round [meaning his visits to the stricken]. All the rest hung on mere threads and trivial contingencies; you couldn't waste your time on it. The thing was to do your job as it should be done." He does not seem heroic in his automaton devotion to diagnosing and isolating the sick, for he is never able to say he cures. He says, "There's no question of heroism in all this. It's a matter of common decency. That's an idea which makes some people smile but the only means of fighting a plague is common decency." He sees life as worth living and men as worth helping.
After the plague has subsided, we learn that "Dr. Rieux resolved to compile this chronicle so that he should not be one of those who hold their peace but should bear witness in favor of those plague-stricken people; so that some memorial of the injustice and outrage done them might endure; and to state quite simply what we learn in time of pestilence: that there are more things to admire in men than to despise."
Somehow the plague subsided but not perhaps because it was beaten. Dr. Rieux knew that the plague "never dies or disappears for good. … It would rouse up … again and send them forth to die in a happy city." This is the closing line of the novel.
Some have suggested that Camus was portraying the holocaust of World War II, particularly because he tell us in the novel's first sentence that the events in this chronicle occurred in the 1940s.
I argue that the plague represents anything that destroys life, that imprisons, exiles and deprives man of happiness and hope. As Tarrou and Rieux conclude, "a fight must be put up, in this way or that, and there must be no bowing down."
The Fall confronts the reader, not with the problems of man's innocence in the face of the irrational, as I argue The Plague does, but with man's guilt in a world without reason. Although this novel doesn't present us with relevance to the Coronovirus, it presents us with the essential question of decency.
As we face the current crisis of a pandemic that crosses all geographic boundaries, our decency must ultimately define us.
The Fall is the confession of Jean-Baptiste Clamence, a Parisian lawyer who once defended the poor and victimized. While walking one evening he tells us, "I straightened up and was about to light a cigarette, the cigarette of satisfaction, when, at that very moment a laugh burst out behind me." There was no one there. This is the beginning of his guilt that becomes more specific when we learn of his cowardice: One evening he hears a girl jump from a bridge into the river. He does nothing and does not report the event. His guilt stems not only from this event, but from his entire past life.
He has given up his law practice and chosen to live a life of debauchery, culminating in his self-imposed exile in Amsterdam. There, in the Mexico City Bar, he confesses his guilt to a stranger, to anyone who will listen, and concludes his confession by accusing the listener of the guilt he asserts all men share. He gives himself the title "judge-penitent."
Clamence relishes experiences, lives intensely—"I love life—that's my real weakness. I love it so much that I am incapable of imagining what is not life."
But his identity is at stake—as our own will come into play in the face of this worldwide crisis of the pandemic we are experiencing.
Clamence says that if he displayed his true identity to the world, his sign would be "a double face, a charming Janus" and above it the motto of the house, "Don't rely on it." On his professional card would be this message: "Jean-Baptiste Clamence, play actor."
Clamence. collects people, especially women. He collects their love and loyalty and considers this an appealing game. He says, "I could live happily only on the condition that all the individuals on earth, or the greatest possible number, were turned toward me, eternally in suspense, devoid of independent life and ready to answer my call at any moment, doomed in short to sterility until the day I should deign to favor them. In short, for me to live happily it was essential for the creatures I chose not to live at all. They must receive their life, sporadically, only at my bidding."
Clamence is a destructive personality, one that desires power over others.
In the COVID-19 crisis, those who have and those who have not are faced with choices—and with the ultimate questions, Who am I? Who are we?
I end here where I began: With the cry of Job on the ash heap, with Lear in his madness, with Oedipus in his unknowable undoing and with Rieux in his devoted attention to the deed, to his care for others in the face of no cure.
In the world of COVID-19, we must join together in our humanity, in our connection to our inter-connected world and define ourselves by our decency.
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by Alan Skinner
More Literary Essays
Fiction - but based in history.
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EXTRACT: "In my essay Elie Wiesel's Early Work I promised a return to the novels by Albert Camus (1913-1960), 1957 Nobel Laureate in Literature. Then the world as we know it changed with the onset of COVID-19 and the relevance of Camus' novel The Plague, published in 1947, struck hard."
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Just can't wait to garden? Stop waiting! You should and can be doing these tasks the month of April in your garden.
Pansies, violas primrose, stock, snapdragons, and more cool-season annuals can all tolerate light frosts. Enjoy them outdoors in containers or planted in the garden and find them in Prairie Gardens greenhouses.
Radishes, lettuces, broccoli, cauliflower, cabbages, peas, kale, potatoes, onions, carrots, radishes.
As soon as you see forsythia blooming, which is an good indicator of when grass will start growing, you can apply pre-emergent weed killers and crabgrass preventer.
As long as the ground is workable and not too wet, you can apply spring grass seed.
Spray fruit trees with dormant oil when temps are above 50 degrees to prevent pests.
You can cut back perennial grasses, but wait to prune spring blooming trees and shrubs until after they flower. Remove broken or damaged wood off plants anytime.
You can begin fertilizing roses as soon as you see new growth following the label instructions on liquid fertilizers and slow-release fertilizers.
It's clean up time! Remove winter mulch, dead leaves and more to get ready for the spring season.


text:
The Debt and Tax Troubles of Cafe Coffee Day Founder V.G. Siddhartha
From tax harassment and debt woes to allegations of PE and lender pressure, Siddhartha has had his hands full.
Cafe Coffee Day founder V.G. Siddhartha. Photo: Reuters
Anuj Srivas
V.G. Siddhartha, the founder of one of India's largest coffee chains (Cafe Coffee Day), has been reported missing, with initial assessments of the situation pointing towards a possible suicide attempt.
A letter that made its way into the public domain on Tuesday morning, reportedly sent by Siddhartha to the board of Coffee Day Enterprises, blames three major issues that led him to "succumbing to the situation".
The Wire has not independently verified the authenticity of this letter, nor have the police or the company officially commented on it yet. Multiple media outlets, however, say it was sent to the board two days ago.
The three issues, as per the letter, are:
I would like to say I gave it my all. I am sorry to let down all the people that put their trust in me. I fought for a long time but today I gave up as I could not take any more pressure from one of the private equity partners forcing me to buy back shares, a transaction I had partially completed six months ago by borrowing a large sum of money from a friend.
Tremendous pressure from other lenders lead to me succumbing to the situation.
There was a lot of harassment from the previous DG income tax in the form of attaching our shares on two separate occasions to block our Mindtree deal and then taking position of our Coffee Day shares, although the revised returns have been filed by us. This was very unfair and has led to a serious liquidity crunch. [Emphasis added by The Wire]
All three of these issues issues revolve around the broader liquidity and debt concerns that Siddhartha and CCD had been facing over the last year, a tense situation that eventually prompted him to sell his stake in Mindtree earlier this year.
Also read | Cafe Coffee Day Founder V.G. Siddhartha Reported Missing, Blames Taxman for Harassment in Letter
As of March 2019, 'Coffee Day Enterprises', which is the holding firm for CCD, had a total debt of around Rs 6,550 crore. This likely reduced drastically after Siddhartha sold his stake in Mindtree for about Rs 3,200 crore.
The urgency to sell his stake in Mindtree was magnified in the aftermath of the IL&FS crisis, when troubled lenders refused to roll over debt as they would have normally done.
While Cafe Coffee Day has historically been seen as a beloved chain in India, its sheen had been wearing off over the last decade. Losses jumped from a mere Rs 7.72 crore in FY'09, to over Rs 150 crore in FY'16. On a consolidated basis, the company had reported a PAT (profit after tax) of Rs 6.64 in FY'11, but this rocketed to a loss of Rs 155.75 crore by FY'15.
In the last two years, things started looking upwards, with Coffee Day Enterprises reporting a profit of Rs 48.94 crore in FY'18. The group's coffee business expected to close FY'20 with sales of over Rs 2,000 crore. In fact, in the last few months, market buzz indicated that Siddhartha may have been looking to sell his equity in CCD to Coca Cola for up to Rs 8,000 crore.
The CCD founder has also had various run-ins with India's income tax department. In 2017, his offices in Bengaluru were raided in the search for undisclosed income.
The I-T department put out a bland statement at the time saying: "The searches in a group involved in coffee, tourism, information technology and other areas concluded with an admission of previously concealed income exceeding Rs 650 crore. The detection of undisclosed income is expected to be a much higher figure."
PE troubles?
In his alleged letter to the board, Siddhartha has said he was under other kinds of pressure. The first, from his private equity (PE) partners to buyback shares. While we have very few details of this allegation, it could point towards high-pressure business tactics.
Siddhartha is currently a majority shareholder of his Coffee Day enterprise at 32.75%. Of this, 71.4% stake had already been pledged. His wife, Malavika Hegde, who is the daughter of former Karnataka chief minister S.M. Krishna, is the other significant owner in the company with a 4.05% stake as of June 2019.
The largest PE shareholders include NLS Mauritius LLC, KKR Mauritius PE investments II Ltd and Marina West (Singapore) Pte. Ltd holding 10.61%, 6.07% and 4.63%. Marina Iii (Singapore) Pte. Ltd has a shareholding of 1.04%.
Use simple logic:
How can a plain shareholder- large or small- put pressure on promoter to do buy back unless there is a deal?
Now ask- under what rule is such a non transparent deal allowed in listed shares? What is the difference b/w such a deal and pledge of shares?
— Samir Arora (@Iamsamirarora) July 30, 2019
The CCD founder also points out there was "tremendous pressure" from other lenders – it's unclear who this refers to, and what exactly Siddhartha is speaking of.
Tax troubles?
His letter also refers to the January 2019 incident when India's income-tax department had attached the shares that he and Coffee Day Enterprises owned in Mindtree Ltd, a move that sparked worries that would prevent them from selling their stake in the IT firm.
In its regulatory filing, Mindtree said that the attachment was for a "tax demand" that was likely to be raised on Coffee Day and Siddhartha.
It was unclear whether this attachment had anything to do with the Rs 650 crore in undisclosed income the I-T department had claimed it unearthed in its 2017 raids. The attachment, according to Mindtree's filing, also "prohibited for transfer or charge" of 22.2 lakh equity shares of Coffee Day Enterprises Ltd., and 52.7 lakh shares held by Siddhartha.
At the time, Coffee Day enterprises insisted that there was no tax liability on the part of Siddhartha as the company and its promoters had "filed the revised returns" – a claim that the CCD founder makes in his alleged letter to the board as well.
In February 2019, the I-T department appeared to relent and released the attachment on Siddhartha and Coffee Day's Mindtree's shares.
However, on the same day, to make up for this, it directly attached 46.01 lakh shares of Coffee Day Enterprises held by the CCD founder.
"V.G. Siddhartha has received an order under section 281B of the Income Tax Act, 1961, on February 13, 2019, provisionally attaching 46,01,869 shares of Coffee Day Enterprises held… with Way 2 wealth Brokers of V G Siddhartha to safeguard the interest of the revenue in respect of likely future tax and penalty obligations in respect of open assessments," the company said in a regulatory filing at the time.
While the exact contours of the I-T department's grievance with Siddhartha are unknown, the CCD founder has referred to it as "harassment" and that it led to liquidity concerns and his eventual "succumbing" to the situation.


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The tax and NICs treatment of expense payments and benefits in kind is complex, with numerous pitfalls for the unwary or unprepared.Without exception, every year there are changes to the statutory rules which impact on employers' systems and processes. Employers are constantly alert to controlling and reducing employment costs yet often seek to maintain or enhance the range of benefits on offer to their employees.
Whenever HMRC conducts an audit of an employer's records, processes and systems, the inspector focuses on the payment of expenses and the provision of benefits in kind. It is commonplace for HMRC to find discrepancies and to demand the payment of significant amounts of underpaid tax and NICs for past years. Misunderstanding the implications of the statutory requirements can prove very costly.
This course is designed to guide delegates through the complexities of the tax and NICs rules and to provide them with clarity and confidence.
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text:
USS Fitzgerald to undergo two-year restoration and modernisation effort
23 January 2018	(Last Updated January 23rd, 2018 11:31)
The US Navy's Arleigh Burke-class guided missile destroyer, USS Fitzgerald (DDG 62), is set to undergo a restoration and modernisation programme that is expected to last approximately two years.
The guided-missile destroyer USS Fitzgerald (DDG 62) arrives at the port of Pascagoula, Mississippi, aboard the heavy lift transport vessel MV Transshelf. Credit: US Navy by David Stoltz / Released.
The US Navy's Arleigh Burke-class guided missile destroyer, USS Fitzgerald (DDG 62), is set to undergo a restoration and modernisation programme that is expected to last approximately two years.
The destroyer has arrived in Pascagoula, Mississippi, aboard heavy lift vessel MV Transshelf from Yokosuka, Japan.
According to the US Navy, USS Fitzgerald is scheduled to be based in the Port of Pascagoula for several days as the heavy lift ship begins the reverse operation of unfastening, lowering and guiding the ship off the platform.
"The restoration and modernisation efforts are set to include works to be carried out on the ship on a land-level facility, followed by an extensive testing and trial period."
The ship is then expected to make its journey to the Huntington Ingalls Industries shipyard for repairs.
The navy intends to undertake both repair and new construction procedures in order to complete the complex modernisation project.
A wide range of equipment is set to be repaired and / or replaced under the initiative, including the electronic warfare suite, radar, switchboard, gas turbine generator and air-conditioning plant.
In addition, the destroyer will receive upgrades to its hull mechanical and electrical (HM&E) system and combat system, as well as its command, control, communications, computers, collaboration and intelligence technology.
The upgrades were originally planned for installation during the fiscal year 2019 availability, according to a statement made by the US Navy.
The restoration and modernisation efforts are set to include works to be carried out on the ship on a land-level facility, followed by an extensive testing and trial period.
USS Fitzgerald previously suffered damaged on the starboard side above and below the waterline following its collision with the Philippine-flagged ACX Crystal in June last year.
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US consular officials have been provided with a new questionnaire that they can give selected visa applicants to complete. Among other things, Form DS-5535 requires applicants to share all social media handles and email addresses they used in the last five years.
"Individuals who fail to submit this form or who do not provide all the requested information may be denied a US visa. Although furnishing this information is voluntary, failure to provide this information may delay or prevent the processing of an individual via application," the applicants are warned.
The request for approval of the form was submitted by the US Department of State in early May, and use of the questionnaire was approved on May 23 by the Office of Management and Budget (OMB). According to Reuters, the approval has been granted for the questionnaire to be used for the next six months.
It is expected to be given to "immigrant and nonimmigrant visa applicants who have been determined to warrant additional scrutiny in connection with terrorism or other national security-related visa ineligibilities." It is estimated that 65,000 respondents per year will be handed the form.
Other information required to be submitted in the form includes travel, address, employment history during the last fifteen years, names and date of births of siblings, children, current and former partners and spouses, and numbers and country of issuance of all passports held by the applicant.
"The request for social media identifiers and associated platforms is new for the Department of State, although it is already collected on a voluntary basis by the Department of Homeland Security (DHS) for certain individuals," David T. Donahue, Acting Assistant Secretary, Bureau of Consular Affairs, Department of State, noted in the request of approval.
As the decision of who'll be asked to fill out this particular form rests with consular officials, this move is believed to be a back-door way for the current U.S. administration to implement the so-called "Muslim travel ban" that has been temporarily blocked by U.S. federal courts.


text:
So you want to be a writer? (Here's how!)
Colum McCann (The Guardian.com, May 2017); Dhr. Seven, Ashley Wells, Wisdom Quarterly
How to write a killer opening line. Why Google is not research. When to rip it up and start again. Whatever you do, just write! -- lessons from acclaimed novelist and creative writing Prof. Colum McCann.
[Anyone can be a writer, but how does one get to be a published writer?]
Dear Editors, I have lots of Buddhist opinions.
"Nobody can advise you and help you, nobody," said Rainer Maria Rilke in Letters to a Young Poet more than a century ago. "There is only one way. Go into yourself."
Rilke, of course, was right -- nobody but yourself can help. In the end it all comes down to the strike of the word on the page, not to mention the strike thereafter, and the strike after that. But Rilke was taken by the request from a young writer, and he corresponded with Franz Xaver Kappus in 10 letters over the course of six years.
Rilke's was advice on matters of religion, love, feminism, sex, art, solitude, and patience, but it was also keyed into the life of the poet and how these things might shape the words upon the page.
I'm blasting off for a new career or hobby!
"This most of all," he says. "Ask yourself in the most silent hour of night: must I write?"
Everybody who has ever felt the need to write knows the silent hour. I have come across many such people -- and indeed many such hours -- during my writing and teaching life. I've been teaching now for the best part of 20 years.
That's a lot of chalk and a lot of red pencil. I haven't loved every minute of it, but I've loved most. There's been a National Book award for one student. A Booker prize for another. Guggenheims. Pushcarts. Mentorships. Friendships. But let's be honest, there has been burnout, too. There's been weeping and gnashing of teeth. There have been walkouts. Collapses. Regret.
All of these students, bar none, are looking, in Rilke's words, "to say ecstasies that are unsayable." The unsayable indeed. The job is theirs. The ability to trust in the difficult. The tenacity to understand that it takes time and patience to succeed.
There are no rules?
"There are three rules for writing a novel. Unfortunately, no one knows what they are."
- W. Somerset Maugham
There are no rules. Or if there are any rules, they are only there to be broken. Embrace these contradictions. You must be prepared to hold two or more opposing ideas in the palms of your hands at the same time. More
The planet's most prolific novelist (is dead) and still going
Who is dreaming Finnegans Wake?
VIDEO: "Raised by Krump" the dance of Los Angeles
Want to be published in Wisdom Quarterly? Submit your work or idea marked "submission" in the Comments Section below! If it's something we can use (on some topic we cover), instead of ever appearing as a "comment," we'll edit and polish it then create a post with you as the author.
Labels: absurd, editorial, opinion, particles of perception, Poet, poetry, publisher, the god idea, The Guardian, writer, writing in margins
Shape of our universe: Human PLANE (video)
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UFOs: Indian vimanas, Ezekiel, Christian texts
Sri Lanka floods, "Sri Lanka Day" L.A.
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Happy Mother's Day (The Mother Sutra)
Vesak 2017, Pasadena, CA
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American: "I am the new Hitler"
Legends and Myths of Ancient Ireland (audio)
Trump fires FBI man, BLM sues LAPD, Cal-China
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Buddhist monks discovered America in 5th...
Does California have largest pyramid? (video)
Experts in Egypt to move King Tut artifacts
Irish Fairies and Elves (Tuatha Dé Dannan)
100% proof! Was the Buddha a Hindu?
The Buddha's "Path of Freedom"
I'm a Mexican Buddhist! (Cinco de Mayo)
All Natural Expo, Los Angeles (May 6-7)
Cinco de Mayo (May 5) in the age of Trump
"Buddhist Xmas" is called Vesak: May 10, 2017
Meditation: What is "samadhi"?
The Native American Ghost Dance movement
Was the Buddha serious about "not-self"?
Trump Watch: Pacifica Radio (audio)
Vesak: Buddha's Enlightenment Day (May 10)
The Unknown History of America (video)
Thrive: "The Reality of Truth" (video)
Bernie Sanders LIVE in LA: "Our Revolution"
Police, "I don't want to be a hashtag" (video)
Dr. Greer: It has really happened (video)
Antifa vs. American Fascists (riot video)
Sumerian artifacts in Ecuador's jungles (video)
Pre-Hispanic Mexico's Buddhist past
Atlantis (Aztlan, Agartha) Inner Earth (video)
Violent May Day on West Coast, USA (video)
How CIA is spying on Macs, iPhones, Apple
Julian Assange: Why won't world wake up?
Vesak celebrations all month, May 2017
May Day marches in Los Angeles and USA
Tribal Elders speak on ET origins: Star People
New Laura Poitras film: Julian Assange in "Risk"
All Power to the People (Hammer UCLA)
LA Uprising: 25 Years Later (Hammer UCLA)


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This topic is going to be a little different than then the usual WIP since I'll be covering my process of taking a design from a pure digital form to a physical 3D printed model. I'm no expert, so this is going to be a learning experience for me and I hope to share some of what I learn along the way. While I've seen lots of posts that cover various aspects of 3D printing, I want to focus on my approach that's influenced by my background in miniature painting and scale model construction.
First, a little background: the model I am creating is a "Type S Scout/Courier" from the Traveller Role Playing Game universe. It's a design that's been around since the 1970s, with a number of iterations over the years, but clearly influenced by the hull of an Imperial Star Destroyer.
In 2002, I had the privilege of collaborating with Bryan Gibson, an artist whose work for various games I had admired since my teen years. A new version of the Traveller game, called Traveller T20, was in development and some of Bryan Gibson's sketches had been posted showing some really interesting redesigns of iconic ships. Since I had done numerous pieces of artwork for the Traveller and 2300AD game systems over the years, I had some familiarity with the artists, writers and art directors in the field. I was able to get in touch with Bryan and we decided to collaborate on creating a 3D version of his new design. We ended up collaborating on a number of ship designs over the years and became long distance friends.
I lost touch with Bryan around 2008 since I had become very busy with a new career while raising three kids and didn't have time for much time for my hobbies and interests. I was saddened to learn of his death in 2014 from complications around viral pneumonia. He was a fantastic artist and a good friend.
In any event, the original concept for this ship is Bryan's and while the original 3D model is pretty old, I've taken some liberties to redesign certain aspects to be better suited for 3D printing.
I will be using a Form 2 printer from FormLabs, a leader in desktop stereolithography (SLA) fabrication. Unlike FDM (fused deposition modeling) 3D printers which extrudes molten plastic filament out like a tiny tube of toothpaste, SLA uses an ultraviolet laser to "draw" a design into a vat of photopolymer resin which solidifies layer by layer. SLA results in much higher resolution prints than FDM, but requires some additional post-printing preparation, e.g., immersion in isopropyl alcohol and curing under UV lights.
While I've done some minor experimentation with the Form 2 to gain an understanding of how various 3D modeled details print, this will be my first project with a specific goal of creating a 1/350 scale model of the Type S Scout that I can paint for display. I chose 1/350 since it's the same scale as Bandai's "box scale" Millennium Falcon included in the Last Jedi Resistance Vehicle Set.
The first step is 3D modeling. I'm not going to delve into excruciating detail about this step since it can get pretty convoluted. I use a modeling application called Moment of Inspiration 3D (MOI3D), which has been my favorite modeling application since 2010. Prior to this, I used Rhino 3D, which uses the same NURBS file format as MOI3D, but is more complicated and costly. The original model was created in Rhino, but much of the small details and greebles were added more recently in MOI3D.
After determining that I would be using 1/350 as the scale of the ship, I started adding in little details such as panel lines, "rivet holes", vents, ports and other small greebles that I want a wash to settle in and around.
I broke the model up into separate parts to make painting easier. As you can see below, I hollowed out the main hull to reduce the amount of resin that would be required for the print. I also created the aft panel as a separate part that would have two open sections showing exposed mechanical details much like the "maintenance pits" of the Millennium Falcon. Because of the tiny details of the maintenance panels, I modeled them separately to make painting easier. I also want the thrusters to be painted a different color than the main hull, so I added two square posts to each thruster and a matching square hole for each in the aft panel.
After many hours of modeling and tweaking, the model is output as an STL file (Standard Tessellation Language) which is accepted by the Form 2 software, PreForm. You'll notice the little sprue-like bases under each model component. These are supports which provide structural rigidity for various parts of the model as it's being built layer by layer in the vat of resin.
The Form 2 is capable of printing at the smallest details at 25 microns, but I've found that 50 microns looks almost as good. To give you an idea of the scale, an average human hair is between 30-100 microns in diameter.
This print took 10 hours and 16 minutes to complete at 50 microns, after which I removed the parts from the printer, rinsed them in vats of isopropyl alcohol for 20 minutes to remove excess uncured resin. Next, I placed the parts in a UV light box for a couple of hours to assist with the curing process. The UV light helps the photopolymer resin in finalizing the formation of long-chain molecules to strengthen the material. Below you can see the parts after coming out of the UV light box.
Removing the parts from the supports sprues is not too different than removing a conventional injection molded model part from the sprue, only multiply it by 25. It can actually be pretty tedious and requires a good amount of clean up with a scalpel and sanding sticks.
I understand that more experienced folks will often override the automatic positioning of the support sprues to minimize the amount of clean up that might be required, especially around edges. This does carry the risk that the print will fail due to inadequate support but it's something I'd like to experiment with more in the future.
I oriented the parts to minimize the number of supports that would be in contact with visible details of the model. It's also the reason why I separated out the aft panel since I could have the supports that linked to the aft of the ship covered up.
Below you can see me in the midst of removing the supports, many of which left messy little nubs behind that required trimming and sanding.
The parallel lines across each print are formed by the laser as it cures each 25 micron layer. While the surface appears to be rough, it's actually pretty smooth and the lines are more of a visual artifact that will be mostly be covered up by primer. The separating line in the middle of the airlock is only 0.13mm across. I couldn't even see this detail with my eye, but the camera picked it up.
I modeled a recess in the turret hard point that would accept a 10mm neodymium magnet with a 10mm steel washer that will be attached to the underside of the missile turret, allowing 360° rotation.
Amazing and fascinating work, the design and print looks realy very nice, if you print any more to sell on give me a shout.
This is about the first DIY 3D printed model I've seen that looks worth the time and effort. Top job!
I like your take on the design too. It would look good in NASA black and white, I think?
looking good, also the quality of the printing. You speak of 1/350 scale, but what are the dimensions of the printed/"original" item?
Interesting process so thanks for showing us the various stages involved. Was this done on a 'domestic' 3D printer? If so, which one?
Thank you, Will! I am trying to determine the color scheme although it will definitely have a dark gray or black "heat shield" covering the bottom and stretching up the sides of the fuselage. I have some various color schemes I did years ago here if you'd like to take a look. https://tedlindsey.com/traveller-artwork/ The NASA black and white would look very nice, sort of like the Ranger from Interstellar.
The length of the classic wedge-shaped Type S Scout is 37.5m from tip to tail. Since this design is slightly shorter due to it's blunt nose, I estimated it would be about 34m long. Thus, the printed model is about 97mm in length. For comparison, the Millennium Falcon is specified as being 34.5m long in Star Wars canon.
You're welcome, Gorby! I'm using a Form 2 printer from FormLabs, which is based in Boston, USA. I chose the Form 2 since I wanted a printer that didn't require lots of tinkering and had the highest resolution and reliability. Eventually, I'd like to use it for printing models of my own character designs, but I'm still working on improving my sculpting skills in Zbrush. Until then, I'm experimenting with "hard surface" modeling such as this starship.
Very nice indeed. Great use of available tech.
I prefer the Archduke or Regina schemes.
I primed the parts using a rattle can of GW Chaos Black. I generally prefer to airbrush on a base coat of Stynylrez Black Primer, but I noticed on an earlier print that it would not adhere well to the resin. I'm not sure if I possibly didn't let the resin cure enough or if it's just a property of the resin. More experimentation is required.
Here you can see the aft section with maintenance panels and thrusters in place. I built the maintenance panels openings to have a little overhang to so that the visible parts recede into the shadows. Hopefully this will be more apparent once I get them painted up.
Next, I airbrushed on a coat of Vallejo Model Air 71.121 Light Gull Gray over most of the ship and have left it to dry.
Thanks, Pete! I'm leaning towards one of the more "conventional" color schemes for this first model, either white/gray or the olive, but if this proves successful, I'll probably have another go with those color schemes. The bold hazard bar stripes of the Archduke Erechs design was always a favorite of mine. Unfortunately, masking out those shapes takes a LOT longer than coming up with the original design for texture maps in a graphics app.
I masked out the lower portion of the hull that looks like heat shielding. After the large blocks of color were in place I sealed it with Tamiya Clear Semi-Gloss and started brushing on some Flory Wash Gray to bring out some of the details.
Then I began focusing on the hull markings. I wanted to get close to my original rendering, so I was able to take the vector shapes I had created in Adobe Illustrator and create masks from low-tack transfer tape that were cut with my Cameo 3 cutter. Below you can see the mask for the Imperial Sunburst symbol which has a fringe of "sun flares" surrounding a red disc.
Here you can see most of the markings in place. I'm very happy with how the Imperial Sunburst turned out. I've been impressed with how small the Cameo 3 is capable of cutting with accuracy. However, I did have some problems with the transfer tape allowing the paint to bleed underneath and I'll have to clean these up. I'm going to try cutting a sheet of Tamiya masking tape next time.
I need to touch up the IISS (Imperial Interstellar Scout Service) lettering on the starboard side. The fine detail of the curves in the "S" didn't come out uniformly in the mask I cut. So I'm learning the limits of what the Cameo 3 cutter is capable of.
I rubbed away most of the gray Flory Wash and added some Flory Wash Dark Dirt into the panel lines and around key details. I still need to add highlights and weathering, but it's coming together. Here are some turnaround shots in it's current state.
Impressive. Is this the future of Modelling build your own.
I also loved the tanks and hovercraft of David Deitrick from the 2300AD Ground Vehicle Guide. They really nailed the "near future sci-fi" feel of the Aliens film, which has always been a favorite sci-fi sub-genre for me.
Speaking of combat walkers, for the 2320AD game, I redesigned the American BH-24 combat walker from the blocky original design to something more realistic with a little Ma.K vibe. Once I get my digital sculpting skills in ZBrush up to speed, I'd love to model and print this design.
Thank you! I'm not sure if this is the future of modeling for everyone, but it's certainly going to allow a broader range of people to bring their designs into physical form. For me, it's a dream come true to be able to fabricate a physical model of my art and designs.
I do like that. As you say, a little Ma.k vibe and all the better for it.
Some very impressive work on your link. Thanks for sharing.
Great art work Teddy, and apologies for adding a few years to your age.
Off to to check out 2320 rule book. I lost al my 2300 books I a house move and have been keen to find a replacement.
Great model and impressiv digital sculpting!
Looks like a cousing to the Difiant from Star Trek!
Haha, no worries, Yeoman. I'm old enough that a few years plus or minus isn't making a difference.
And I agree that the 2300AD universe has some great designs. The entire setting had a hard sci-fi approach that's not often replicated, especially in RPGs. I'd love to try modeling some of the fighters from the "Ships of the French Arm" book.
As far as the books go, I luckily own my original sets from the 1990s and you can still purchase the PDFs online. QLI lost the right to sell 2320AD not long after it was initially published. I'm not even sure if it ever was printed a physical book rather than a PDF. The additional writing expanding the background of the universe by Colin Dunn was really good and I'd love to see it take form again some day. I seem to recall that they didn't even release the book with all the art and layout completed due to production issues with the publisher.
I also created an application that would map all the "actual" 7.7 light year stutterwarp routes based on more recent astronomical survey data which changed the map and routes of known space a bit. My code also output a 3D model of the starmap that I was able to render in 3D that looked fantastic. Not sure if it ever got used or not since the actual publishing of the book was a mess. I've got it posted in the 2320AD Art section of my site.
I know it's not really canon but I loved the early Megatraveller games for the PC. Very atmospheric and you could spend hours just generating a party of characters before even starting out.
Thanks, Will! I never had a chance to play any of the Traveller PC games, although it sounds like character creation was almost a minigame in itself like the pen and paper game. I guess when death is an option during the character creation process, the stakes are a little higher!
BTW, what was the triangular ship you posted earlier in the thread? Was it cut from styrene sheet? It would certainly be a nice starting point for the classic Traveller Type S Scout.


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culture and heritage. How is that not awesome?
Some of my favorite designs of the week were by….
sheer fabric *cough cough* because it is so in your face.
for every shape, but very chic for those who can.
Elena: I love the modern and futuristic vibe it gave off.
What design did you like the most this week?


text:
We are closed for the winter, re-opening on 14 March 2023
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Click here to read more in 'Latest News'
The small and compact Frome Heritage Museum depicts not just the historical fabric of Frome town but also the locality, businesses and people that have shaped it and helped it thrive.
We hope to inspire you to come and visit a historical market town that continues to be treasured by those who live and work here.
We are closed for the winter, re-opening on 14 March 2023.
We are located in the centre of the town in the Frome Literary and Scientific Institution, a historic listed building close to the Market Yard car park.
Our most recent exhibition was 'Victorian Christening Gowns'. Look out for our new exhibition about HMS Thunderbolt, opening next Spring.
Our January Object of the Month is a nostalgic shop sign with an intriguing horse racing connection. In other news, there's a sneak preview of our first exhibition of the year, which will open in March.
See what exciting discoveries you can find by sifting through our collections.
Frome Museum's collection is available electronically. Our online Collection Catalogue provides access to the records of over 23,000 items, from photographs to artefacts.
The library/archive is open to anyone wishing to do some research. Call us on 01373 454611 to make an appointment.