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Tuition & Program Costs
"We are still astonished by our good fortune at being able to be part of The Little School, and deeply grateful for the financial aid that made it possible. We are better parents for having been here, and our daughter has flourished. "
Discounted Tuition
Since its inception, The Little School has provided discounts in tuition to families that feel the cost of attending the school would pose a financial hardship. We are deeply committed to including families from a wide range of economic situations in our community, and we encourage families to apply for our Discounted Tuition program. During the 2017-18 school year we awarded $270,325 in tuition assistance, supporting 18% of our families in attending The Little School.
Families who qualify for Discounted Tuition pay a fee that reflects what they can afford and the school's available funds. Decisions are made based on information from a Discounted Tuition Application and recent tax returns. The process is anonymous and confidential. Interested in applying for Discounted Tuition? Here is our Discounted Tuition Application, to be submitted in conjunction with your child's Program Application.
Preschool For All
The Little School is happy to be a Preschool For All provider school. As part of this program, we award tuition reimbursements to the families of all four-year-old children who live in San Francisco. Preschool For All also provides our staff with free professional development opportunities, and allows us to incorporate specialists and therapists into our program to help us better understand children's diverse profiles. As a school dedicated to inclusive practices, we are proud to partner with a program dedicated to expanding access to preschool for all San Francisco children and families.
Tuition & Programs Costs
Age (Yr.Mo)
# of Children :
Core Teachers
Tuition + Costs
YTTH 2.0-2.6 12:2 T/Th 9:15-12:00 $8,740
OTTH 2.7-3.0 12:2 T/Th 9:15-12:00 $8,740
YMWF 2.10-3.6 15:2 MWF 9:00-12:30 $11,010
OMWF 3.6-4.0 15:2 MWF 9:00-12:30 $11,010
MFAM 3.9-4.6 21:3 M
T-F 9:00-12:00
9:00-1:00 $17,878
MFPM 4.6-5.0 17:2 M
T-F 1:30-4:30
12:30-4:30 $17,878
TK 4.9-5.3 17:2 M
Extended Care Tuition & Program Costs
Classes Eligible
Per School Year/Day
Early Morning Care TTH, MWF, MFAM M-F 8:30-9:15 $230
Extended Morning Care MFPM, TK M
8:30-12:30 $1,654
Extended Afternoon Care TTH, MWF M-F 12:00-4:30 $1,556
Extended Afternoon Care 5:30 TTH, MWF M-F 12:00-5:30 $1,816
MFAM Extended Afternoon
Care MFAM M
T-F 12:00-4:30
1:00-4:30 $1,556
Care 5:30 MFAM M
Late Afternoon Care MFPM, TK 4:30-5:30 M-F $359
Children enroll in Extended Care programs for the entire school year; tuition prices reflect yearly cost per day. For example, a child enrolled in Late Afternoon Care on Thursdays and Fridays would have a Late Afternoon Care tuition of $718 for the entire year.
Children in MFAM and MFPM who are enrolled in Extended Care programs on Mondays (Woods Days) are transported to/from The Little school for Extended Care.


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At Bob's Red Mill, we know that you can't rush quality. That's why we manufacture our products using time-honored techniques, like grinding whole grains at cool.
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Is there any way to iterate over Headers at this moment?
I think this is meant to be a blocker for the post-v1 SW milestone and not the B2G SW milestone.
I know this is not a v1 blocker, but I want to get it in so we pass more wpt tests.  It should be easy since Kyle did all the heavy lifting.
I almost have patches for this!
You need some non-ASCII tests, which would quickly show that this implementation is wrong.
This is why we don't have a ToJSValue overload for nsACString: it's not clear whether to do NS_ConvertUTF8toUTF16 or NS_ConvertASCIItoUTF16.  For Headers you need the latter.
1)  Come up with some class that is known to represent a ByteString (e.g. a subclass of nsCString, or something that can be inited with a const nsACString reference, or something), implement ToJSValue for it and use it here.  This would work because the caller in IterableIterator.h never examines the return type of GetKeyAtIndex/GetValueAtIndex.
2)  Do the conversion to char16_t strings in your GetKeyAtIndex/GetValueAtIndex nsString or some such.  Then you fully control the conversion.
And please do add tests that would have caught this.
It's possible that you could avoid a string copy and allocation here if you made the return type NS_ConvertASCIItoUTF16, due to return value optimization.  Might be worth doing.
but I'm not sure to what extend you want to depend on this.
r=me.  Thanks for beefing up the tests!
> but I'm not sure to what extend you want to depend on this.
Yeah, I realize this is really an EcmaScript test.  :-)  But I prefer to keep it anyway.
This also fixes up a bunch of Cache web-platform tests that were previously failing because of <http://mxr.mozilla.org/mozilla-central/source/testing/web-platform/tests/service-workers/cache-storage/resources/testharness-helpers.js#40>.  I'll update the expectation files.
Backed out in https://hg.mozilla.org/integration/mozilla-inbound/rev/d630beb006c9 - it certainly looks like you updated the wpt expectations, but was there some other step you had to take to make those updates actually have an effect? Maybe running some script, or maybe fixing the build system so that updating expectations doesn't require a clobber? https://treeherder.mozilla.org/logviewer.html#?job_id=15915635&repo=mozilla-inbound and friends, they sure don't look like the update took.
It looks like you updated the files for /service-workers/cache-storage/serviceworker/* but not /service-workers/cache-storage/window/* or /service-workers/cache-storage/worker/* ?
https://treeherder.mozilla.org/#/jobs?repo=try&revision=d62986f26f00 has the metadata updated based on the results of that Windows job.


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text:
Phonetic Masterpieces of Absurdity
by Shelly Oria, recommended by FSG Originals
EDITOR'S NOTE BY EMILY BELL
Jump to Story
Issue No 128
Written by Shelly Oria
Recommended by Emily Bell
I am not one of those editors who will tell you they always knew they wanted to work in publishing, or wanted to be a capital "E" editor. I had no idea what I wanted to be (still don't, really) but I always knew who I wanted to be around. I wanted (still want, always want) to be close to people who take risks I wouldn't dream of taking, people with talent sizzling under their skin, people whose brains are filled with magic, people who can see through to the soul, people who, frankly, scare me. And Shelly Oria scares the shit out of me. Her writing is fierce yet supple, ambitious but controlled, inspired and studied. It is scary brilliant.
Here, in "Phonetic Masterpieces of Absurdity," you'll witness Shelly Oria's scary brilliance on full display — the beauty in the brashness of the interviewer, the nuance in the guardedness of the subject. Time and space and memory have been altered ever so slightly so something otherworldly can peek through. And yet, Shelly's work is absolutely rooted in reality, informed by authentic, empathetic, interpersonal interactions. How else could she so accurately convey the irrepressible lust for personal intimacy that haunts her characters, her stories?
I'm not equipped to discuss the technical feats that Shelly Oria pulls off in her writing — I'd likely wind up embarrassing myself if I tried. But I have no doubt she will be studied in creative writing classes for years to come. I do, however, feel comfortable sharing what keeps me hooked on Shelly (this is where I'm cool with embarrassing myself): What impresses me, thrills me, scares me most is that Shelly (let's call her goddess Kali) is capable of both creating and destroying within a single story — sometimes within a single sentence. This is a phenomenon I search for, long for, in just about everything I consume. If Shelly keeps this up, I'm sticking around.
Associate Editor, FSG Originals/Farrar, Straus and Giroux
Shelly Oria
Short stories and novel excerpts by the most dynamic voices in contemporary literature delivered to your inbox every Wednesday.
Sometimes after the men leave, Nadine's body tells her to wait awhile for the water. Make that bath count more. She lies still, and her skin feels too tight on her bones, like someone gave her the wrong size. With a finger that smells of them, she looks for sharpness where she knows she will find it: elbows, knees, shoulder blades. The edges of her bones comfort her, but it's a feeling that passes quickly, and soon there is need for more, for proof. So Nadine gently touches her cheek with her knuckles; her knuckles are her secret weapon. She thinks: These knuckles could make a peach bleed.
She should probably charge more by now, but she can never figure out what to say, or how to say it.
The men smell of baby carrots, because their five-year-old son mistakes baby carrots for candy, and of sweat, because they are always nervous when they see her, even if they've been coming for years. Or they smell of ice cream, because last night their wife tried to revive the marriage with some innovative foreplay, and have Viagra breath, because they stopped trusting their body long before it failed them. It doesn't matter.
Thursdays are the busiest. She never understood why. On Wednesdays, her BlackBerry keeps buzzing with men's anticipation until she feels like there are bees inside her ears. So on Wednesdays, saying no is important. I miss you, too, Baby; really wish I could. Every man is Baby, no exception; that she learned early on. Even the sophisticated ones appreciate the gesture: the implicit warmth, the promise of anonymity. But she does know their names, of course, sometimes even their last name, and on a few occasions the name of a wife, a mother, a sister they haven't spoken to in six years. It pains them, that the sister won't return their calls. They ask, Why won't she fucking let it go already? Nadine doesn't want to look for answers. If they insist on talking, she touches their hair, lets her eyes scroll up and down their torso; she waits for their body to remember what it wants. Really, she waits for the chatter to stop, but the trick is still giving it the space it needs. Once, when it was absolutely necessary, she made tea.
Generally speaking, she remembers more than she should: the bump on the back of their neck, the sweat behind their ear right before they come, the scar on the toe of their left foot and the story behind it. There is always a story behind it. They tell the stories and then retell them. Because, well: if she doesn't truly exist, surely she doesn't remember; they desperately need to believe that she isn't real. But then there are times when she can see sadness in their eyebrows, in their lower back, and suddenly they want her to remember. Temporarily, they acknowledge her presence in the world. It's funny, but you are the most stable thing in my life, you know? In these moments, she has learned, a nod goes a long way.
The woman, the photographer, Mia, has been dominating her thoughts. Now Nadine even dreams of her. Last night, Mia was elected World President.
Nadine wants to know things like what's Mia's favorite fruit, what she looks like when she cries. Mia. She rolls Mia's name on her tongue until she sounds like a cat. Mia wants to know her, too: the first thing she said was I'd like to get to know you, if you'd let me. But Mia wants to know her the way a painter wants to know her canvas. Besides, there is always a lens between them.
Mia reached her through a friend of a friend of a friend, someone Nadine hadn't talked to in years. On the phone, Mia sounded aggressive, and Nadine wanted to say, Sorry, I don't think I'm interested. But for a few minutes she chewed the words like she chews her gum before falling asleep, unable to spit. Finally she said, Okay. She said it softly, and Mia didn't hear her, so she had to repeat. Okay. Nadine assumed they would meet at some bar or café. I work on the Lower East Side, she told Mia, plenty of places to choose from. But Mia said it would be helpful, for the project, if she could see Nadine's apartment. She may have used the words natural environment. As in: seeing you in your natural environment.
Nadine cleaned her natural environment even though it was already clean. She bought a new plant for the spot between the TV and the sofa that always looked naked. She made cupcakes, but also got cheese and wine, because she wasn't sure what the occasion called for. And all the while she was asking herself why she cared so much. People never want to come all the way up to Washington Heights, and there weren't many people in her life these days anyway, so maybe that's all it was, she wasn't used to hosting. But then, in the shower, where her thoughts are always honest, a different answer came: it was the word the photographer kept using. Interview. As in "Last week, Madonna sat down with us for an interview… " or "In a recent interview, the secretary of state expressed her concern… "
I'm conducting interviews with a few women — pretty long, thorough interviews, the photographer said in an accent Nadine couldn't quite place, the words going fast and their ends hard, and then, you know, hopefully I'll find the best fit for the project, and hopefully she'll want to go ahead and work together… She laughed what must have been a nervous laugh, but it didn't sound nervous, and Nadine would later learn that nothing Mia did appeared nervous. If the photographer chose her, Nadine would be photographed and then, if all goes well (Nadine wasn't quite sure what that meant), the photographs would be on display at some gallery for the world to see. In the shower, Nadine imagined an old Jewish couple, a young babysitter, a professor at Columbia; they were all at the gallery, looking at Nadine's body in the pictures, and even though Nadine had never met them, they now possessed an intimate knowledge of her, because that's what photographs do, isn't it? Reveal.
A photograph: Nadine is standing in her small kitchen, waiting for the water to boil. There's a yellow and tired quality to the room. Her back to the camera, Nadine is looking to the side, the left half of her face visible. She is about to make tea for herself and for Mia: green ceramic cups to Nadine's right, empty and waiting. There is nothing suggestive in the picture, nothing that tells the viewer how Nadine earns a living. What you can see is something like disappointment, and this you can see in Nadine's posture and, if you look closely, in her facial expression. Nadine is disappointed because Mia already has her camera out. All that clicking. How can you talk to someone who just click-clicks all the time? How can you get to know someone who reaches for the camera every time she feels something? You cannot. There is a brief moment in which this understanding sinks in, and the camera captures it.
Sometimes Mia forgets to ask permission. She moves things in Nadine's apartment to better situate herself — the couch, the seashell sculpture, even the TV. Nadine tenses when Mia touches the sculpture — it was made especially for her, years ago, by a man who could make anything with his hands, a man she hoped to marry — but when Mia lifts the TV with ease, Nadine feels light. She smiles, but another thing Mia sometimes forgets is to smile back. This happens when she is deep in thought. Then she catches herself. The knowledge that she was rude always passes through her like a wave, sudden and tall. By now, Nadine knows to wait for it: something like sadness in Mia's eyes, and then her spine curves, which looks a bit like she is shaking something off. Then the laughter, quick. Then, sometimes: What can I say, I'm Israeli, aggressive by nature. The only other Israeli Nadine knows is a client, a man who sells rugs on Long Island for a living. He is gentle and weak and likes to be pinched hard.
When Mia pushes the limits, Would you be comfortable taking some of your clothes off, she looks at Nadine with soft eyes that say I will look at you all the way to yes.
Maybe next time, Nadine says, because she doesn't want the eyes to stop.
One thing she wishes she could explain to Mia: she doesn't mind the moans. Or more honestly, though this embarrasses her: the moans are her favorite part. When seeing a client for the first time, that is what she's curious about, and she waits for that one moment, when the animal in him speaks to her. When the moment comes, she listens carefully — through the sound, through the exhale of it. There is information there, knowledge, for her to collect. She does. Later, when she uses this knowledge, the men moan more deeply, openly, air coming out through their throats, their teeth, their pores. This reveals more information, and so on, and so on.
She has something like a playlist in her brain; double-click on a man's photo and you can hear the sound he makes. How can she explain — to Mia, to anyone — that she understands these moans better than she understands words?
When people speak, they say things like: It is what it is, and I believe her, but I also don't believe her. Ridiculous, absurd things. But with sound you get something that language can't hide. With sound, you get the feeling underneath the words.
Feeling, for Nadine, is the place you go to when nothing makes sense. For example: a night spent on a beach, a man with salt in his hair and hands of magic, a man she loved. She said This is the end, right? And he said Not even the beginning, Deenie. As it turned out, they were both right.
All of Mia's questions are the same question. Something something sex worker something something choice something. Nadine always pauses before she answers. It appears as if she is thinking hard, she knows that. But the pause is the time when she says with no sound, Ask me something real. Every time, she waits for Mia to hear. When Mia doesn't, Nadine answers.
Would you mind repeating that, Mia asks sometimes; I'd like to record you.
A recording:
No, it's not that I don't like the question, it's just… easy to be seduced by the idea of "what if." You know? So I try not to do that.
Sure I think about it, yes. I'd have made a good social worker if I stayed in school, I think. I'd have helped people. I mean, as I've said before, I think I am helping people. But maybe I'd have helped more that way, and maybe I'd have enjoyed that job more. And I wouldn't feel… I'd be more proud. Of what I do. And I'd have more friends, probably. I had some good friends in social-work school. But when I dropped out and started… working more, we just lost touch.
When Mia is recording, when the camera is away, she is listening. Nadine wants to talk minutes and hours, talk until there's no way for Mia to leave, talk until the buses have stopped running. One thing she hates about New York — the buses never stop running.
A moment: Mia and Nadine are eating, sitting on the floor. (Can we take a break? Nadine asked. I'm hungry.
Of course, of course, Mia said, but kept shooting.)
Nadine is thinking maybe she should leave the furniture in the other room like that for a while, maybe she should eat all her meals on the floor from now on. Something about it feels like a fresh start. She wants Mia to say nice things about the quiche she made, and when Mia doesn't, Nadine asks, and the sound of her own voice is soft, too soft. How's the quiche? Good, Mia says without looking up. Then she nods a few times. What did she expect Mia to say? This quiche has changed my life? And if she said that — if she looked right at Nadine for once and said, Is it possible for a quiche to change someone's life? Because I think this is the best thing I've ever put in my mouth and nothing will be the same after this moment — what would Nadine do?
How old were you when you moved here, Nadine asks, but she forgets the question mark. She sounds like she's demanding something of Mia, and, expectedly, Mia asks back, Why? No reason, Nadine says, just curious, and Mia says, Let's talk later?
Later, while Mia is going over her shots from the day, or that's what it looks like she's doing, she suddenly says, I was nineteen, and Nadine doesn't ask, because she knows what question Mia is answering, but still Mia says — somewhat impatiently, too — When I moved here. You asked me earlier. Nadine nods, tries to think quickly what to ask next. You left school over there to come here? she asks. If she allows even a moment of silence, Mia will announce Back to work, in that voice that's just an octave too low, the voice of relief.
No, Mia says, I left the army to come here, or really came here because I left the army; I needed to get away. Nadine doesn't understand, and she instinctively tries to hide it. She's a pro, there's a thing that she does with her eyebrows — it's not a nod, which would feel like a lie, and yet it's always enough, with the men, to make them believe that she got it, that no explanation is needed. Mia stares at Nadine's eyebrows.
That's what kids over there do after high school, she says, become soldiers. Nadine feels heat in her face, she knows she is blushing, although she never blushes, hasn't blushed probably since fourth grade, but she is blushing now because Mia knew that she didn't understand, knew that an explanation was needed. And inside her embarrassment she senses a kind of thrill, a thrill she never expected, the thrill of being caught in a lie. There's a brief pause; what words can follow the word "soldiers"?
So all the kids are recruited, Nadine says finally, girls, too? And Mia nods, says, Yup, keeps nodding. After a few seconds she adds, Women do two years, men three. Oh, Nadine says again. She wants to ask Mia what it means that she "left" the army — how can you leave if you're recruited, did she escape? But she knows she can't ask that, and yet she can't think of anything else to ask, although this silence has an edge to it, the recognition in both of them that this conversation is about to end before it really started.
I need to reload the film, Mia says. Would you mind making some tea?
Nadine wants to find the joke.
The first line is: A prostitute and a photographer walk into a bar. The punch line is: Tea. She doesn't have the rest yet, but still she laughs every time. For a few seconds she can think, What is this thing, it's absurd, it's funny. And it is, just then, for a short while. It is funny, and she feels relief in her muscles. She can move her neck without feeling the stiffness.
This happens only once and happens quickly: Nadine gives Mia a massage. Mia is stiff after a long day's work — Nadine recognizes the stretching of the neck sideways, a thumb searching for pressure points. What comes over Nadine? She doesn't ask anything. She crosses the room, stands over Mia, who's sitting on a chair, says Let me help. Does she wait a beat, give Mia a chance to object? Not really. There's something in Nadine's fingers that can heal, and when Mia realizes that, feels that, everything may change. So Nadine reaches for her. Mia's skin is soft, and she smells a bit like detergent, not what Nadine expected, but Nadine can't focus on that now, only on the knotted bones. She goes deep, could go deeper if Mia let her, but Mia doesn't relax into her touch, not completely. Mia is quiet. Nadine wants her to moan, is sure she would if she let herself, and she wants to say something, Don't hold it all in. But she doesn't. This is borrowed time, she knows, and anything could make it end faster; better not to take risks. Then, for a brief moment: Mia lets go. Her muscles soften in Nadine's hands, and this sensation makes it hard to remain steady, but she does. She uses her knuckles, rows into Mia, and Mia makes a small sound then, a sigh so low anyone else would have missed it, but Nadine doesn't, and into this sigh Mia says, You're good. Does Nadine imagine these words? No, Mia says them, and right after she says them she realizes what she said, her muscles realize what she said. How long does the whole thing last? No more than four or five minutes, probably. Mia gently moves forward, stretches, says Thank you, that was so helpful. Nadine stands there, her hands holding air, looking at Mia's back.
Everything/nothing happens once again, she is maybe losing her mind probably losing her mind has probably already lost her mind. Otherwise what is this. Maybe it's simple a feeling is all maybe just a bit different because it's a woman maybe a different part in her body flutters maybe the beat of the fluttering is different but is that all that is not all. Everything/nothing is how she thinks of it she has no words not even sound. Everything is right there in your hands but it's like water so nothing is there in your hands in moments it's gone and you say was it here? It was here it wasn't here it was here. One moment here it is I am not making it up not imagining and the next moment is upside down all upside down your hands are empty and you think stop stop stop. But the feelings are so strong so fast so quick they do what they want like: lightning thunder thunder lightning lightning lightning.
She practices, out loud, before Mia's next visit.
So — how did you get out of the army… ?
Do you ever think about living in Israel again?
You know, I've been thinking. Maybe if I could ask you some things, if we talked not just about me, this whole thing would feel less strange, more… balanced.
I think it might be good for the project.
So… have you ever been with a woman?
Or, um, even just attracted to a woman?
Do you think it's possible to be gay for just one person? Or for just a few?
Because, you know, usually I'm not attracted to women, but sometimes I am.
I'm just not attracted to that many people at all, I guess.
So when I am… it's kind of powerful sometimes.
I think I might be in love with you.
I'll be gone for a bit, Mia says. I'm going to Israel to shoot. Nadine doesn't say anything, doesn't move. This trip was scheduled months ago, Mia says, it's for another show I'm working on.
Something in Nadine's body is twitching — it is gentle like a heartbeat and she doesn't wish to make it stop, only to locate it, only to touch it. She touches the wrist of her right arm, then the left, then her neck in the place where you feel the swallow. She knows this must look strange to Mia, it is strange, but the thing keeps hopping around in her body, or else she has no idea what's happening. There is a clear sensation, everywhere and nowhere.
You feeling okay? Mia asks. Nadine nods, stops searching though the heartbeat doesn't stop. Mia is looking for her eyes but Nadine keeps looking away. You know, Mia says, I wanted to thank you. Nadine looks right at her now but keeps her face frozen. This project, the other project, it's about soldiers in Israel, and I've been working on it a long time. It's been dragging. She pauses now, smiles a smile Nadine has seen before but not often. She is so beautiful. Nadine feels the urge to look away but she knows she can't, not again, not right now. She doesn't smile back, and she can see Mia's confusion clearly, what to do with this new Nadine, where has the eager pleaser gone. But she goes on. Our talk the other day helped me, Mia says. It reminded me why I started this project to begin with — the other project, I mean. You don't have to keep saying "the other project," Nadine says. Mia ignores her. It's so normal in Israel, Mia says, the idea of the military, of everyone being part of that military, a country of soldiers. Eighteen-year-old kids getting M16s, being trained, and no one sees how fucked up it is. It's, like, "What choice do we have," "we're surrounded by enemies," all that stuff. And for years I've been wanting to shout: But can you still see? Necessary or not, can you look at it? Because, well, this is all very personal to me. I'm named after a war, did you know that? My name is the initials, in Hebrew, of the Yom Kippur War. My mother was pregnant with me when my father died, so she named me after the war that took him away. Mia pauses now, looks down. But then… I'm not even sure when, but at some point I stopped seeing it, she says. I mean, I grew up there. It's all so… familiar. The past few years I'd go and shoot and talk to these soldiers, these kids, and I'd leave every time thinking, What did I want to show again? It was like I forgot. But you — you reminded me. I think it was how shocked you seemed at the idea of mandatory service, Mia says, or maybe it was just talking about it; I don't often talk about it. So thank you, Mia says, for reminding me that when people hear about it for the first time, they're disturbed. It's like I have my eyes back on now.
You're welcome, Nadine says.
How strange, to hear Mia speak so many words.
It takes some distance from Mia, hours and days spent without her, for Nadine to hear more fully what was said. She's on the A train home late at night, alone in a fast-moving car, when she understands. Mia was thanking her for her ignorance.
It's not easy, trying to get rid of a thought like that, and when Nadine tries, the opposite happens, a cramp in her stomach and a new thought, a worse thought, a word: disturbed. That's what she is to Mia, isn't it? She's the soldiers, the thing you see every day but don't see, the thing you pretend is normal even though it's sick. The disturbance.
At the end of their last session, Nadine is sitting on her bed, knees to her chest, closing her eyes so as not to hear the clicking. She makes her fingertips remember touching Mia — the back of her neck, her shoulders — while she makes the rest of her imagine how tomorrow will feel.
Nadine's closed eyes accelerate the clicking; Mia is seeing, it seems, something she has never seen before. And she must be touched, because she is doing what she does when she's touched — she clicks.
Mia leaves that day like she's going out for milk. See you later, she says.
Mia's words on her voice mail months later are garbled. Nadine hears June 5th, hears 6 p.m., hears really, really hope you can make it. Listening to Mia's voice again, Nadine feels like she's looking at an old photograph of herself in which she's wearing clothes she never owned and someone else's face.
At the gallery, after hours on a Wednesday, Nadine is standing erect looking at herself, and herself is looking right back at her from the wall. The opening was wonderful, I was sad you couldn't make it, Mia says. And then: Everyone wanted to meet you.
She looks at Mia straight in the eyes then, and there is a feeling deep inside her, the pull of a magnet toward metal. It is hard — physically hard — but she resists the pull. She sees Mia's need to reach for the camera, to click the moment away.
So… on to the next project? Nadine asks. Not really, Mia says, shakes her head lightly. And then: I'm kind of exhausted. Mia seems to be saying something, and this is the kind of moment that used to get Nadine's heart beating faster with potential. If only she asked the right thing the right way, if only she managed to open the moment, reveal what's inside. Well, you've been working hard, Nadine says. Mia nods but looks down, says nothing at first, then: I'm never exhausted from hard work. She's definitely trying to say something. A small voice inside Nadine is whispering, See? It's always been here, but Nadine tries hard not to listen.
Have you read the reviews? Mia asks. Nadine doesn't know anything about any reviews. No, she says. Don't, Mia says, and chuckles, those critics did not go easy on me. Okay then, Nadine says, I won't. Oh, I'm joking, Mia says, of course you can read them. Nadine resists the urge to take Mia's hand as she says, These are beautiful, Mia, they're all beautiful. She feels a bit strange saying this, she doesn't mean to suggest she herself is beautiful, of course, but Mia is nodding now, closes her eyes, says, I'm very happy to hear you say that. There's a moment of silence before Mia says, The critics are right, though, that's the worst part; I'm always reaching for something and not quite getting there. What is Nadine supposed to say to that? Look at you, she wants to say. Dare to look at you, and maybe you'll get there. But she says nothing.
Outside the gallery they hug, and a car screeches and comes to a full stop for no apparent reason. For a moment they both look at the driver, then Nadine looks at Mia and shrugs, and the car is back on its way. They hug again, because it is easier than saying goodbye, and at the end of that hug Mia grabs Nadine's shoulders, looks straight into her eyes, says, Thank you. Nadine shakes her head and looks down.
Then there is nothing to do but for Mia to take her hands off Nadine's shoulders, and when she does there is a sensation between them, a balloon letting go of the air inside it. Nadine wants to stand there with that feeling a bit, but she knows that if she does the next thing that happens will be restlessness, Mia's restlessness. And she knows this: she needs to leave before the restlessness comes, or restlessness will be the last thing they ever share. Goodbye, then, Nadine says, and Mia says, Bye, and her eyes seem to tear up a bit, but Nadine isn't sure, it might be from the wind. And on that thought Nadine turns around and walks away, hoping that Mia is standing there looking at her. If she is, she is no doubt noticing the composition — the widening of the street toward the end of the block, the sprawling streetlights and brown skies, Nadine's back getting smaller — and she is squinting and gently biting her lip, regretting that she doesn't have her camera.
About Recommended Reading
Recommended Reading is the weekly fiction magazine from Electric Literature, publishing here every Wednesday morning. In addition to featuring our own recommendations of original, previously unpublished fiction, we invite established authors, indie presses, and literary magazines to recommend great work from their pages, past and present. Sign up for our Recommended Reading newsletter to get every issue straight to your inbox, or join our membership program for access to year-round submissions. EL's literary magazines are supported in part by the Amazon Literary Partnership, the New York State Council on the Arts, and the National Endowment for the Arts.
Shelly Oria was born in Los Angeles and grew up in Israel. Her fiction has appeared in The Paris Review, McSweeney's, TriQuarterly, and Quarterly West, among other places, and has won a number of awards, including the Indiana Review Fiction Prize. Shelly curates the series Sweet! Actors Reading Writers in the East Village and teaches fiction at Pratt Institute, where she also codirects the Writers' Forum.
About the Guest Editor
Launched in 2011, FSG Originals is an imprint of Farrar, Straus and Giroux.
FSG Originals are driven by voices that insist on being heard, stories that demand to be told, writers who are compelled to show us something new. They defy categorization and expectation. They are, in a word, original.
Excerpted from NEW YORK 1, TEL AVIV 0: Stories by Shelly Oria, to be published November 2014 by Farrar, Straus and Giroux, LLC. Copyright © 2014 by Shelly Oria. All rights reserved.
"The Morning After the Sixties" — an Interview with Darcey Steinke, Author of Sister Golden Hair
Oct 30 - Annie DeWitt Read

redpajama_set_name: RedPajamaCommonCrawl


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7 Things You Can Only Do in San Marcos, Texas
Take a Glass-Bottom Boat Tour on Spring Lake in San Marcos. San Marcos Convention and Visitor Bureau
San Marcos is a charming college town halfway between Austin and San Antonio known for the country's largest outlet mall, a historic downtown square, and tons of waterways to kayak, paddleboard or float on. But you might be surprised by what else this town has to offer. Have you ever heard of unicycle football? Or seen water run uphill? San Marcos also has its share of fun and interesting activities that you may not know about.
Here are seven things that can only be found in San Marcos.
1. Take a Glass-Bottom Boat Tour
Spring Lake in San Marcos is known for its clear water, so it just makes sense to put a glass bottom on a boat to explore the vast underwater ecosystem. In 1946, Paul Rogers led the first tour of Spring Lake on a homemade glass-bottom rowboat. Today the folks at The Meadows Center for Water and the Environment at Texas State University run educational tours that allow visitors to explore the river's depths without getting wet. Chances are you'll see huge bass, turtles, and the occasional snorkeler before the boat hovers over the exact spot where the aquifer bubbles up to form the lake. You probably won't see the endangered Texas Blind Salamander (they burrow under the ground), but you can see one inside Discovery Hall. Glass-Bottom Boat Tours are offered daily and run continuously every 30 minutes.
2. Go Paddleboarding at Night
An evening stand-up paddleboard trip features LED lighting that produces a rainbow of colors. San Marcos Convention and Visitor Bureau
Paddle SMTX offers one of the most impressive ways to take a ride on a stand-up paddleboard, with a nighttime trip on boards that lights up the river with a rainbow of color. Each paddleboard is equipped with colorful, waterproof LED lighting. Paddlers slowly make their way down the river during the SUP Glow Night Tours of the San Marcos River leaving a stream of red, green, blue, or purple in their wake. The boards illuminate the crystal clear water showcasing the river's aquatic plants and wildlife.
3. Visit the Lyndon Baines Johnson Museum
Lyndon Baines Johnson, the 36th president of the United States, grew up in the Texas Hill Country. He moved to San Marcos in 1927 to attend college where he earned a history degree and teaching certificate at Southwest Texas State Teachers' College (now Texas State University). After college, he worked for a year at a poverty-stricken Mexican-American school in Cotulla. His passion for civil rights, education, and poverty elimination developed during this time. The LBJ Museum of San Marcos (not to be confused with the LBJ Presidential Library in Austin) focuses on how his experiences as a college student and school teacher impacted his landmark presidential legislation. Located on San Marcos' historic square, the museum uses period news clippings, photographs, memorabilia, and oral histories to tell Johnson's story. Admission is free, which is fitting for the president who declared a war on poverty during his first State of the Union address.
4. See World War II Aircraft
The Central Texas Wing of the Commemorative Air Force features a number of historic airplanes. San Marcos Convention and Visitor Bureau
Housed in a 1943 vintage hanger, the Central Texas Wing of the Commemorative Air Force (CAF) is home to many historic warplanes. Its prized possession, however, is the That's All, Brother, a C-47 military transport plane that led the formation dropping thousands of American paratroopers into Normandy on D-Day during World War II, paving the way for the liberation of France.
5. Stand at the Corner of LBJ and MLK
Walk a few blocks south of the LBJ Museum to see the Lyndon Baines Johnson and Martin Luther King Jr. Crossroads Memorial. The sculpture is an oval gazebo with a screened roof featuring a replica of the famous photo of MLK and LBJ hunched over in the Oval Office discussing Civil Rights legislation. The sculpture sits on the crossroads of LBJ Drive and MLK Drive, the only American intersection bearing the names of both of these leaders.
6. Watch a Unicycle Football Game
Unicycle football is sport unique to San Marcos. San Marcos Convention and Visitor Bureau
What is unicycle football? It is exactly what it sounds like—an American-style football game played while you balance on a unicycle. "Pedestrian football is outdated' is the official tagline of the Unicycle Football League. Rules for the five-on-five game are similar to flag football, but with a few variations unique to the league. Instead of a coin-flip the initial possession of the ball goes to the winner of the pre-game joust, and a player can tackle by pulling another player's flag or by knocking them off their unicycle. Eight teams play every Sunday from August until April. The league is a brainchild of Marcus Garland who in 2008 convinced San Marcos locals to form two teams and compete against each other. Since then it has grown into a highly competitive and entertaining sport.
7. Tour an Earthquake-Formed Cave
San Marcos is known for all its water formations above ground, but there is a vast network of caves underground. The Balcones Fault Line Cave is the nation's only true example of an earthquake-formed cave. Go deep underground during the hour-and-a-half tour to see up close the devastation of the earthquake along with fossilized prehistoric creatures. The cave resides in Wonder World Park, a one-of-a-kind theme park that features a number of unique attractions like the Topsy-Turvy World of the Anti-Gravity House where water flows uphill.
Written by Jennifer Simonson for RootsRated Media in partnership with San Marcos CVB.


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MTI Bitcoins Sent to Privacy Mixers as New Data Breach Exposes the Ponzi Scheme's Top Earners
news.bitcoin.com 2021-01-10 22:30
In another twist to the Mirror Trading International (MTI) bitcoin Ponzi scam, the blockchain intelligence firm Whitestream says bitcoins from wallets associated with the company are being sent to Wasabi privacy mixers. According to Whitestream's update, this pivot to mixers suggests that operators of the Ponzi are trying to obfuscate the movement of the bitcoins.
Conspiracy to Hide Funds
The reports of MTI bitcoins going to mixers follow the recent disappearance of the company's CEO, Johann Steynberg late last year. This also comes after a South African court granted a liquidated order against MTI.
In an update on January 2, Whitestream explains that in the weeks preceding its report, about 75 BTC (or over $3 million) was sent to this address. Following that transaction, the blockchain intelligence firm claims it then observed the transfer of about 10 BTC from this address to a Wasabi Mixer.
Meanwhile, Whitestream Co-Founder and CEO, Itsik Levy tells News.bitcoin.com that these transfers to mixers should concern MTI investors who are trying to recover their funds. Levy says:
This can maybe indicate a pattern that shows us that the operators of Mirror Trading International are trying to hide some of their funds on the Blockchain.
The CEO adds that this strategy has been a common tactic used by "other popular Ponzi schemes we already saw this year." Bitcoin mixers are designed to allow users to mix their coins with other users in order to preserve their privacy. When coins are mixed, they become much harder to trace, and this makes mixers appealing laundering tools for cybercriminals elements.
Another Data Breach
Meanwhile, adding more woes to the MTI executives, are reports in the South African media of another hacking of the online trading company's servers. According to one report, this latest breach has exposed the obscene earnings of some of the MTI Ponzi scheme's founders and executives. The breach, which was perpetrated by a group calling itself Anonymous, has resulted in the publishing of "names, addresses, contact information, and account information of each of the top 200 members."
According to this data dump, sitting at the top of this list is Clynton Marks who apparently has two accounts on MTI's top ten earners' list. Marks' first account shows that he has earned bonuses totalling 532.39 BTC to date and while the other one has total bonuses of 148.48 BTC. Other names that feature in the top ten of the high earners include Ignatious Bell who similarly has more than one account. Cheri Marks, wife to Clynton Marks and the missing CEO Steynberg also make the list.
Lastly, as the report explains, the timestamps in the transaction histories suggest that this breach occurred on December 24, 2020.


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Home / Entertainment / Entertainment. :: Actress Ini Edo set to become a second Wife amids Pregnancy rumours
Entertainment. :: Actress Ini Edo set to become a second Wife amids Pregnancy rumours
Bestarewa August 04, 2018 0
Actress Ini Edo set to become a second Wife amids Pregnancy rumours
dailyadvent.com
Nollywood Diva Ini Edo is currently in the news after reports claims that the actress is engaged to a Millionaire who is married.Although the actress is yet to confirm or debunk the rumor, but it is said that the actress has been wearing the ring since July 3rd last year. Eye brows are been raised on her engagement due to the fact that her spouse, Stanley Uzochukwu is married to a northern socialite, Irene and blessed with three kids.Meanwhile, the diva is currently in Dubai for vacation and enjoying herself to the fullest.
But then, if this rumor is true, can't Ini Edo do without married men? If you recall, her ex-husband, Philip Ehiagwina was allegedly married too before meeting her.To Sum it all, there have been so many rumor of her been romantically connected to some top politicians in the country who are married.Ini Edo is not only beautiful with an average height, she is also a classy lady who has access to the good things of life. Nollywood actress, Ini Edo has always showed great taste in her fashion sense.
She is a stunning sight to behold as she stepped out in a lovely shirt tucked in a thigh high slit skirt. Apart from the photo above, the 36 year old whose marriage failed shows that she is still very much in good shape as she dresses in a youthful way with her jeans and sneakers.Ini Edo has featured in over 100 local movies over the years but it appears she is on a lengthy career recess.
As revealed to fans from the media, one of the main problems in their marriage was that Philip lived in the United States. The fact that he is not based in Nigeria made this union inconvenient for the actress. She had to travel to another country to see her husband. It really does not match the standards of a regular family where the spouses live in the same territory, share everyday routines and see each other almost every day.
For some time Ini Edo tried to hide the problems, but they eventually became too obvious; then rumors started emerging that the couple had called quits on their marriage. The marriage finally came to an end in 2008, the couple had no children together. There were no reasons to believe that the problems in their marriage could have been resolved peacefully, so it came as no surprise to fans when they separated.
There were several reports online that an anonymous person was talking about infidelity and deception between Ini Edo husband and herself. However, at that time there was no reliable evidence to prove it. According to one version, the actress was cheating on her husband and lying about it. Ini Edo shoved this off as an absolute lie and said such statements were made by mischief makers in an absurd attempt to damage her reputation.
However, judging by the rumors, it is also difficult to describe Phillip as the ideal spouse too. His ex-wife, Ruth Okoro, at the beginning of this couple's relationship in 2007, wrote a letter to Ini Edo advising her to stay away from Phillip. According to her, he has deceived many women. Ruth did not show any aggression but only tried to caution the actress. At that time there were rumors going around that Ini Edo was pregnant for Philip; Ruth Okoro also went ahead to call her manager to plead with the actress to not be deceived by empty promises into falling in love with Philip.