text:
Novels Are Not the Only Books
April 20, 2012 • By Audrey Bilger
Oranges Are Not the Only Fruit
Why Be Happy When You Could Be Normal?
... all time is always present, but buried layer by layer under what people call Now.
— Jeanette Winterson, Tanglewreck
IN THE FALL OF 1996, I traveled from Southern California to London to interview Jeanette Winterson for the Paris Review. I was in my mid-thirties (one year younger than the author) and had recently left a heterosexual marriage to embark on what would become my new life as a lesbian. I had been teaching Winterson's novel Oranges Are Not the Only Fruit in my college English classes since its appearance in 1985, when it catapulted Winterson onto the international stage as a serious literary figure, and so I was elated when I got this assignment.
During the weeks preceding my journey halfway around the world, I prepped by rereading all of the Winterson books I had in my possession. By that time, she had already penned a fairly substantial oeuvre: in addition to Oranges, her works included Boating for Beginners (1985); The Passion (1987); Sexing the Cherry (1989); Written on the Body (1992); Art and Lies: A Piece for Three Voices and a Bawd (1994); and Art Objects (1995), a collection of essays. I was unable to obtain a copy of her 1986 health manual, Fit for the Future: The Guide for Women Who Want to Live Well, but I didn't think it would come up in the interview. I had plenty to work on with the material at hand. I took notes, wrote out questions, and imagined how I might prevent myself from gushing, "I'm a big fan," or, "I'm a lesbian, too," or some other ridiculous phrase that would betray my utter lack of sophistication. I purchased a cassette recorder, extra AA batteries, and an ivy green wheelie bag from T. J. Maxx.
When I arrived at Hazlitt's Hotel in Soho — an eccentric structure of interconnected Georgian-era buildings, where I had booked a room because Winterson's agent recommended it as a place frequented by writers and artists — the galleys of the latest Winterson novel, Gut Symmetries, were waiting for me at the front desk. I had less than 24 hours to make sense of the new book before my appointment with the author, and as I discovered right away, it was not a light read. I stayed up most of the night in a room with floorboards tilted at odd angles and worked through the following morning, trying to wrestle the novel into submission. Because of the slanted floor, my water glass kept sliding toward the edge of the table every time I set it down; I'd have to catch it in between furiously jotting down notes and underlining. After a few hours of disoriented jetlag sleep, I got up, reviewed my materials, checked to make sure my recorder was working, and caught a cab to the Granta offices. Inside, an assistant showed me to an office, where I took a seat on a couch. Punctual to the minute, Jeanette Winterson emerged from a door in back, walked across the room, and sat down beside me. She was 5 feet tall, to my 5'6", with short, curly red hair and a fierce expression as if she were prepared to do battle on the spot. We got right down to business.
I felt at the time that I understood where Winterson was coming from as a writer. Like her, I was from a working-class background; I, too, had survived a dysfunctional family life and a domineering mother. Also like her, I believed early on that books and learning could supply you with a new, greatly improved existence and that if you were an author you could tell your own story. What I couldn't have fully understood then was just how tumultuous her life in the late nineties had become.
Our paths crossed for a few short hours during a period in which Winterson was falling out of favor with the literary world, and she was in for some additional negative criticism in the years ahead. Even though I knew she had been having a rough time, I didn't want to talk about scandals when we met. I had been told to think of the Paris Review piece as destined to become the "interview of record" — something that would stand the test of time — so I stayed away from messy personal details and posed mostly big questions about life and literature. I didn't, for instance, ask her about the 1992 controversy over how she had named herself as her favorite living author. Nor did I ask about the infamous incident in 1995, when Winterson and a girlfriend showed up on the doorstep of a critic who had written a somewhat negative review, hurling insults and allegedly spitting, not knowing that said critic was hosting a dinner party that night for journalist friends. And I most certainly did not ask whom she was sleeping with — even if, sitting beside her on the couch that autumn afternoon, I was most definitely ... intrigued.
Winterson would later say in The Guardian of this period of her life: "About 1992 I should have had an operation to sew up my mouth, and kept it closed till 1997." In her new memoir, Why Be Happy When You Could Be Normal?, she chooses to keep her mouth shut about an even longer stretch of her life. She narrates her life story up to the point of Oranges Are Not the Only Fruit and the permanent estrangement from her adoptive mother that took place after the book became a success, and then skips ahead to the relatively recent present when she meets, for the first time, her birth mother and begins to process what it means to have blood relations. Oranges infuriated Mrs. Winterson (what the author calls her adoptive mother throughout much of the book) because she said it wasn't the truth, and although Winterson has frequently assented to her mother's assessment, saying that the book is a work of fiction and not strictly true, the memoir gives us an even clearer sense of just how authentic the novel is on a higher plane.
In the interview, Winterson described Oranges to me as "in many ways a very loving portrait of a monster":
[M]y relationship with my mother was operatic; it was Wagnerian and tempestuous. She was this huge, huge creature, physically and emotionally demanding, and I am quite small physically. So immediately there was this contrast and this tension ... This great thing constantly bearing down on this very small thing, along with the manipulations and the brutalities.
She told me that the secret to happiness was forgiveness and that she had learned to forgive and let go of bitterness; "which is why," she said then, "I am actually happy now."
But happiness, it would seem, is something she has won and lost repeatedly in her life (and who hasn't?). The memoir revisits Winterson's origins as an adopted child growing up in a Pentecostal religious circle beneath the crushing weight of her mother's indomitable will, and in this version we learn that if there were things in Oranges that horrified readers — the way the protagonist is locked up and tortured when her church finds out she's a lesbian — the truth about Winterson's early years was probably even worse than the novel made out. She was forbidden to read all but a handful of authorized books (she hid contraband reading under her mattress), was routinely shut up in a coal cellar overnight or longer, and was repeatedly beaten up by kids at school. Whereas Oranges punctuates its narrative with retellings of myths and Bible stories, departing into fantasy when the going gets tough, Why Be Happy takes us inside Winterson's head and heart and gives us deeper insight into who she was then and who she is at the present.
As much as Winterson seeks to revisit the past in Why Be Happy, she also transforms it through the alchemy of storytelling and tries to find peace. She looks back at the "monster" and sees her as a struggling individual with limited resources: "She was such a solitary woman. A solitary woman who longed for one person to know her. I think I do know her now, but it is too late." There's a one-line gap here, followed by a reconsideration:
Freud, one of the grand masters of narrative, knew that the past is not fixed in the way that linear time suggests. We can return. We can pick up what we dropped. We can mend what others broke. We can talk with the dead.
On the one hand, the memoir represents as absolute and irrevocable the rift between the author and the woman who raised her:
"Goodbye, Mum."
She didn't answer. Not then. Not later. I never went back. I never saw her again.
On the other hand, here the mother is, in the pages of this book. Not seen again in life, but never fully left behind either. It's fitting that the book's interrogative title comes from the mother's response to young Winterson's coming out as a lesbian. The question appears at a crucial moment when things could have been different, if only the mother had said something else. After Winterson explains to her mother what she knows for sure about her relationship with her first girlfriend — "When I am with her I am happy. Just happy" — the story holds its breath and lingers over the mother's reaction.
She nodded. She seemed to understand and I thought, really for that second, that she would change her mind, that we would talk, that we would be on the same side of the glass wall. I waited.
She said, "Why be happy when you could be normal?"
Breaks, fissures, and injuries have marked Winterson's history, but her impulse has always been simultaneously to acknowledge the potential for fragmentation and to seek to transcend loss through the act of creation. In a chapter titled "Intermission," she declares, "I am halfway through my biological life, and about halfway through my creative life." Directly after that last goodbye to her mother she fast-forwards into the 21st century: "I measure time as we all do, and partly by the fading body, but in order to challenge linear time, I try and live in total time. I recognize that life has an inside as well as an outside and that events separated by years lie side by side imaginatively and emotionally."
Because memoirs invite us to look back over an author's life, as soon as I finished reading Why Be Happy I wanted to take stock of the Winterson canon. I realized that I had lost track of her in the last decade, and I sought to follow the path that brought her to this new place of disclosure and revelation. Naturally, I thought back to our encounter and the 15,000-word record of it in The Paris Review. Many of the grand themes we discussed remained relevant to her work over the ensuing years: autobiography as fodder for fiction, the metaphorical dimensions of life as seen in the Bible and myth, and the proper role of the artist; also, love, forgiveness, loss, and heroism. Looking over the stack of her books on my desk — 21 in all — I could see a pattern emerge, a coherence arising from seemingly disparate elements. And I could measure the distance this now-major author has traveled as an artist in the 27 years since Oranges Are Not the Only Fruit.
It makes sense to subdivide Winterson's career into three periods. From 1985 to 1992, she enjoyed literary celebrity, publishing to great acclaim Oranges, The Passion, Sexing the Cherry, and Written on the Body, the four books that sold more than any of her others and that are still featured in college classrooms, dissertations, and monographs as her representative works. In this first phase, she was hailed as a literary lesbian with a gift for the fabulous. The second period, extending from 1993 to 2000, was characterized by rampant experimentation. This period includes Art & Lies, Gut Symmetries, the short-story collection The World and Other Places, and The PowerBook. In the work of this period, references to quantum physics and aesthetic theory abound, and linearity is defiantly absent. It was a time of bad press and diminishing sales figures. In her most recent phase, she has made the voyage back from those wilderness years and into the spotlight. This phase began in 2003, with a slim children's picture book, The King of Capri, continued with the novel Lighthousekeeping (2004), and then took some intriguing — but not far-fetched — turns when Winterson published a retelling of the Atlas myth, Weight (2005); two novels for young readers, Tanglewreck (2006) and The Battle of the Sun (2009); and a fantasy novel, The Stone Gods (2007), in between. An additional children's book, The Lion, the Unicorn and Me, appeared in 2009, followed by this year's memoir. Why Be Happy may usher in yet another phase for Winterson, a new era that, one only hopes, will allow her to be comfortable with fame as she evolves and writes whatever she pleases.
As I grappled with Winterson's entire body of work, my admiration for her increased. Back in 1996, focusing primarily on the books from her celebrity days, I was, indeed, a big fan, dazzled by the high-wire acts she performed in the service of storytelling, and mesmerized by her work's oracular elements. I began my introduction to the Paris Review interview with a line from Oranges: "I cannot recall a time when I did not know I was special." That assertion of ego propelled her through those early years. "The writer is at once the most abject of people and the most arrogant," she told me. "Because the person who really knows, knows the glories of the past and how significant they are to him or her, is at the same time prepared to say, And now I will add to them."
I asked about her penchant for experimentation, and, like a true lover of literary modernism, she spoke of wanting to move beyond 19th-century realist fiction:
I love those books and wouldn't want to be without them ... But it's this business of reproduction furniture. You cannot keep producing the things that have been successful in the past or that have expressed the human condition in the past. You have to move forward; you have to make it new for every couple of generations, because otherwise it's not a living thing anymore.
The former Jeanette Winterson probably wouldn't have written children's books or adventure novels for young readers or a sci-fi fantasy novel.
Throughout her career, Winterson has soldiered on in the face of acclaim and of condemnation. I see her now as having responded to early success by withholding from readers her biggest strength: the ability to spin a good yarn. She always knew she could do that, and so, in her earlier phases, she kept upping the level of difficulty. She broke up the form and shook her fist at linearity. She was a trickster, a thief, an escape artist. Catch her if you can.
Immediately following Why Be Happy's "Intermission" comes a chapter called "The Night Sea Voyage": an indirect homage to the "Time Passes" section of Virginia Woolf's To The Lighthouse. Here she offers a brief career retrospective by way of comment on her writing process; if she's going to skip over 25 years, she apparently wants to lend us a few stepping-stones as we follow her from one side to the other. "Whenever I write a book," she says, "one sentence forms in my mind, like a sandbar above the waterline." She then presents key phrases that appear in a selected bibliography of her works:
The Passion: "I'm telling you stories. Trust me."
Written on the Body: "Why is the measure of love loss?"
The PowerBook: "To avoid discovery I stay on the run. To discover things for myself, I stay on the run."
Weight: "The free man never thinks of escape."
The Stone Gods: "Everything is imprinted forever with what it once was."
She goes on to name Lighthousekeeping as a book in which she had been "working with the idea of a fossil record." This list of six books, chosen from among other possibilities, is one way of mapping her output, and it's significant that she jumps over much of what she wrote during her most experimental period.
Yet Winterson does provide a rationale for her experimental temperament:
Life is layers, fluid, unfixed fragments. I never could write a story with a beginning, a middle and an end in the usual way because it felt untrue to me. That is why I write as I do and how I write as I do. It isn't a method; it's me.
In her most recent creative period, she hasn't stopped playing around with form. Lighthousekeeping bounces back and forth between the narrative past and present, and The Stone Gods time-travels even more widely, going from a post-apocalyptic future to the 18th century and eventually looping back on itself in imitation of the curved nature of space. But her imagination seems less in thrall to her intellect in the books of the past decade than in some of those mid-period ones. Maybe that's because she's no longer writing about obsessive love triangles and out-of-control emotions. When she writes of love in her more recent books — and she frequently does — she does so in a big-hearted way: as connection, an exit out of the prison of the self, a path to salvation.
Take, for example, her two books for young readers, which I confess to not having read until the memoir had me wondering what Winterson had been up to lately. I found them to be highly entertaining tales with life lessons that benefit adults as well as kids. In Tanglewreck, a boy finds rescue when he learns to travel "at the speed of love," and the moral of the story — delivering a moral being a good thing to do in a children's book — is that "one true heart can change everything." In The Battle for the Sun, the villain wants to change the whole city of London into gold, and the book affirms the higher value of "a rare gold, an inner gold, that is of the spirit." As one particularly wise character explains, "The inner gold of which we speak cannot be bought and sold or traded in the market place. It is yours and yours alone. And the sun is its emblem. And the battle is fought and lost every day. And sometimes, it is won."
Atlas, condemned, as we know, to forever holding up the cosmos, becomes in Winterson's Weight a stand-in for the author herself. "My girlfriend says I have an Atlas complex," the narrator/author tells us. "The more I did the more I carried. Books, houses, lovers, lives, all piled up on my back, which has always been the strongest part of my body. I go to the sun. I can lift my own weight. I can lift my own weight." These lines helped me make sense of her 1980s fitness book (which I now own), where she writes, "Weights will retrain you ... You will have to focus on your body in quite a different way. For a while it will be like watching a stranger and then you will realize you are becoming a new person." If Atlas can walk away at the end of Weight — and who's to say he can't? I won't give anything away — it will be because he learns, with the help of a little dog, how to drop the weight of self and expand into the power of love.
Why Be Happy reverberates with affirmations of the power of love and forgiveness. Although the shadow of Mrs. Winterson's radical unhappiness hangs over the book, as in many of the author's fictional works, there is a battle between the forces of darkness and light. This time it's personal:
The night I left home I felt that I had been tricked or trapped into going — and not even by Mrs. Winterson, but by the dark narrative of our life together.
Her fatalism was so powerful. She was her own black hole that pulled in all the light. She was made of dark matter and her force was invisible, unseen except in its effects.
What would it have meant to be happy? What would it have meant if things had been bright, clear, good between us?
It was never a question of biology or nature and nurture. I know now that we heal up through being loved and through loving others.
All her life, Winterson suffered the pain of being simultaneously bound to and alienated from her adoptive mother, the woman whose worldview consisted of an absolutism that, as the narrator at the beginning of Oranges puts it, divided the world into "friends" and "enemies." Having moved into the enemy column when she fell in love with a woman, Winterson could never go back. In the process of writing the memoir, though, she ends up being able to return to a time before this bond was forged and broken. She loses Mrs. Winterson and finds a mother she never knew she had.
In order to do so, however, she must first stay alive. One of the book's saddest revelations is that of the author's attempted suicide in 2008, when Winterson fell into a depression, induced, as she recounts it, from an excess of torturous feelings. Like a hero who descends into the netherworld, she sank further into darkness and became so alienated that she came to paradoxically view suicide as a life-affirming gesture:
Herman Hesse called suicide a state of mind — and there are a great many people, nominally alive, who have committed a suicide much worse than physical death. They have vacated life.
I did not want to vacate life. I loved life. I love life. Life is too precious to me not to live it fully. I thought, "If I cannot live then I must die."
She recounts how she locked herself in the garage and turned on the car engine. And that's when life came back to her in the form of a cat she'd inadvertently locked in, too. This cat, clinging to life with all of its cat tenacity, brought the author back to consciousness: "My cat was scratching my face, scratching my face, scratching my face."
In the renewed strength that comes from this near-death experience, Winterson does some scratching of her own, pen-on-paper-wise, and writes her way into the future. She falls in love with psychoanalyst and author Susie Orbach, who helps her through the challenging process of searching for her birth mother. Even though the memoir accelerates when it reaches this section, which takes up less than a quarter of the book, what we learn of Winterson's meeting the incredibly nice woman who gave birth to her is earth-shattering. Whereas the author had believed she was abandoned as an infant by a mother who didn't want her, it turns out that her birth mother simply couldn't afford to take care of her. Whereas Mrs. Winterson had said that her birth mother was dead, she finds out that this was a lie. As for her being a lesbian, something that ended all contact with Mrs. W., the birth mother didn't mind at all. Things could have been different, and the book implies that from now on they might be:
I suppose it is because of the forking paths. I keep seeing my life darting off in the different directions it could have taken, as chance and circumstance, temperament and desire, open and close, open and close gates, routes, roadways.
And yet there feels like an inevitability to who I am — just as of all the planets in all the universes, planet blue, this planet Earth, is the one that is home.
I guess that over the last few years I have come home.
Winterson's meeting with her birth mother, Ann, takes place in one of the memoir's final chapters. It is both touching and awkward. The author is even surprised to feel protective of Mrs. Winterson when Ann criticizes her. "She was a monster," Winterson notes, "but she was my monster."
By the late 1990s, around the time I met Winterson, people were wondering if the once-celebrated author's career was at an end. In a profile piece in Prospect Magazine in February of 1998, Angela Lambert traces what she views as Winterson's downward spiral. Lambert recounts the numerous scandals and other details of the author's private life that had earned her notoriety as a literary bête noir in England and looks back over the Winterson publication history, praising the early novels and identifying a steep decline after Written on the Body that portended the worst. "Perhaps it is the fate of literary shooting stars," Lambert speculates, "to plummet spectacularly to earth, above all if they are young, combative and female." She concludes, "It would be premature to say that she has shot her bolt. But for the time being Winterson does seem to have lost her way — perhaps through striving too hard for new effects."
Why Be Happy When You Could Be Normal? has brought Winterson back into the critics' good graces, having so far received glowing reviews in major venues like The Guardian and The New York Times and in mainstream publications such as O: The Oprah Magazine, Elle, Vogue, and Newsday. Most reviewers take pleasure in the author's return to the landscape and storyline of Oranges Are Not the Only Fruit. For those who meet her in this book for the first time, the story of a supposed orphan who survives childhood, an eccentric family, literary success, and near-suicide before reuniting with her lost mother will certainly be a heartening one. It's clear from the reviews that few critics have stayed with Winterson over the course of her career, but what's equally clear is why they took notice when she hit the literary scene in the first place: She has a serious talent for making us want to know what happens next.
"[A]ll my characters are on a quest," Winterson said in our 1996 interview. "They're looking for something that they don't have, and then, of course, they find that it is within themselves. But not until the end of the book." When we separated later that evening after sharing a cab part of the way, I was in such a state of euphoria and distraction that I didn't notice until she was out of sight that she had left behind a blue wool sweater. Unsure of how best to get it back to her, I decided to pack it with my things in the green wheelie bag as I prepared for my trip back to L.A. Would she mind if I kept it? I couldn't help but wonder. It smelled faintly of wood smoke with a trace of floral perfume (hers? someone else's?). But I've never been much of a souvenir-hound, and besides, I had my cassettes. And the interview, once published, would connect us in a small way that would continue over time. I had her agent's address. I would send the sweater there later. As I stuffed the tapes inside my baggage, I thought of a line from The Passion I had written in one of my notebooks: "There will be a moment (though of course it won't be a moment) when we will know (though knowing will no longer be separate from being) that we are a part of all we have met and that all we have met was already a part of us." I closed my suitcase and headed home.
Audrey Bilger
Audrey Bilger is the Faculty Director of the Center for Writing and Public Discourse and Professor of Literature at Claremont McKenna College. She is the author of Laughing Feminism: Subversive Comedy in Frances Burney, Maria Edgeworth, and Jane Austen and editor of Jane Collier's 1753 Essay on the Art of Ingeniously Tormenting for Broadview Literary Texts. She writes for Ms. magazine and the Ms. blog and is a frequent contributor to Bitch: Feminist Response to Pop Culture. Her latest book, which she coedited with Michele Kort, is Here Come the Brides! Reflections on Lesbian Love and Marriage. She is the Gender and Sexuality Editor of the Los Angeles Review of Books.
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In 7D this afternoon we have begun learning about cells. We found out that every living thing is made from cells, and that all cells have a nucleus, cytoplasm and a cell membrane, as well as lots of other parts. This is very complicated, so we will do lots more work on this topic over this half term. We then enjoyed making models of cells, and think they look great!
Pupils in 7D have enjoyed a session of Kwik Cricket this afternoon with Ollie. First they worked on some throwing, catching and running skills before moving on to playing a game. Everyone had a turn at batting and running, and some pupils were very enthusiastic when fielding! Well done, 7D.
On Thursday morning, we were invited to a Zoo Lab session. We learned about different types of animal and were able to touch and interact with them; we enjoyed learning about corn snakes, hedgehogs, hissing cockroaches and giant snails.
This morning 7D enjoyed a visit from Zoolab. We had the chance to stroke a giant snail, a hissing cockroach, a snake and a very cute hedgehog!
Pupils in 11L enjoyed their Zoolab experience this morning!
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This Article presents a brief summary of the available research on those students who have used computers throughout their entire educational careers, including their strengths, their weaknesses, and how they differ from their instructors-many of whom did not use computers to any significant degree for research during college and law school. This Article asserts that these differences are cultural and argues that, in the interest of better educating and preparing our students to become lifelong learners who are equipped to self-assess their research, law school teachers must adjust their teaching styles to not only teach to these students' strengths and enlighten them about their weaknesses, but to also teach in a manner that reflects the way the students think and learn.
Because students are always plugged into technology and are always searching the internet, this Article advocates the incorporation of research throughout the entire semester as a fluid, ever-present component to teaching all other skills and concepts. Several examples are presented, including a closed-memorandum problem illustrating its dual function as a vehicle for introducing a deductive, analytical paradigm for written analysis and its use as a guide to, and self-assessment of, research. A second example involves a statute that can be used to introduce statutory analysis and interpretation as well as the close reading skills necessary to conduct an informed and complete research process.


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text:
A multi-layer approach to disinformation detection in US and Italian news spreading on Twitter
Francesco Pierri*, Carlo Piccardi and Stefano Ceri
Dipartimento di Elettronica, Informazione e Bioingegneria, Politecnico di Milano, Milano, Italy
* e-mail: francesco.pierri@polimi.it
We tackle the problem of classifying news articles pertaining to disinformation vs mainstream news by solely inspecting their diffusion mechanisms on Twitter. This approach is inherently simple compared to existing text-based approaches, as it allows to by-pass the multiple levels of complexity which are found in news content (e.g. grammar, syntax, style). As we employ a multi-layer representation of Twitter diffusion networks where each layer describes one single type of interaction (tweet, retweet, mention, etc.), we quantify the advantage of separating the layers with respect to an aggregated approach and assess the impact of each layer on the classification. Experimental results with two large-scale datasets, corresponding to diffusion cascades of news shared respectively in the United States and Italy, show that a simple Logistic Regression model is able to classify disinformation vs mainstream networks with high accuracy (AUROC up to 94%). We also highlight differences in the sharing patterns of the two news domains which appear to be common in the two countries. We believe that our network-based approach provides useful insights which pave the way to the future development of a system to detect misleading and harmful information spreading on social media.
Key words: Computational social science / Disinformation / Multi-layer networks / Twitter
Quantifying echo chamber effects in information spreading over political communication networks
Early detection of promoted campaigns on social media
Tampering with Twitter's Sample API
Collective behaviors and networks
Fake news propagates differently from real news even at early stages of spreading

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Bookmark Expiry in Victor 5.3+ :: Media :: learn.
The 5.3 release of Victor sees the introduction of a configurable Bookmark Expiry period.
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College is something that you need to be thinking about now. A college education will help you take charge of your future. A college degree means more career opportunities and a greater earning potential; but, it takes some planning and preparation. Don't wait! Now is the time to take charge and aim high! Beginning where you are now, plan your high school program using the checklist below.
The most important step is to get started.
Develop an organization system to log your assignments, exams, social events, appointments, job interviews, etc. This will help you manage your time and develop organizational skills.
Be sure the courses you sign up for are "college prep." These courses will best prepare you for college. Seek the advice of your parents and/or a counselor. Challenge yourself! Take honors and advanced courses when appropriate.
Begin to explore careers and talk to people in jobs that interest you. What education do those jobs require? Your school library or career center are good places to start.
Get involved in school and community activities. Develop leadership skills. Involvement may lead to scholarships and/or summer jobs. But don't overdo it; your grades are very important!
In the 10th Grade, register for the P-ACT (Preliminary American College Test). This will help identify areas for improvement and give you a chance to strengthen future courses.
Discuss with your parents now about college costs. You can help too by starting to save money from part-time jobs, gifts, etc. Start learning about college costs and financial aid. It is not too early to investigate information.
Read books continuously. Reading helps you to build your vocabulary and has been proven to help increase math ability as well. Just think, if you read a lot about the things that interest you, you will eventually become an �expert� in those areas.


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ETFs Holding BC » BC Split History »
Home Free Dividend Report BC Dividend History BC Historical Stock Prices BC Preferred Stock BC Options Chain Stock Message Boards
BC Historical Price Range
01/10/2022 $99.49 $100.09 $97.41 $98.98 487.60K
01/13/2022 $98.34 $101.08 $98.34 $100.27 568.90K
About Brunswick
Brunswick is a designer, manufacturer, and marketer of recreation marine products, including marine propulsion products, parts and accessories, and boat brands, and operates service and shared access businesses. Co. operates in the following segments: Propulsion, which manufactures and markets a range of outboard, sterndrive, and inboard engines, as well as propulsion-related controls, rigging, and propellers; Parts & Accessories, which manufactures and markets parts and accessories, including engine parts; and Boat, which consists of the Brunswick Boat Group, which manufactures and distributes recreational boats, and Business Acceleration.
Brunswick (BC) has the following price history information. Looking back at BC historical stock prices for the last five trading days, on January 10, 2022, BC opened at $99.49, traded as high as $100.09 and as low as $97.41, and closed at $98.98. Trading volume was a total of 487.60K shares. On January 11, 2022, BC opened at $98.82, traded as high as $99.45 and as low as $97.66, and closed at $99.12. Trading volume was a total of 282.00K shares. On January 12, 2022, BC opened at $99.15, traded as high as $100.01 and as low as $97.45, and closed at $97.96. Trading volume was a total of 478.10K shares. On January 13, 2022, BC opened at $98.34, traded as high as $101.08 and as low as $98.34, and closed at $100.27. Trading volume was a total of 568.90K shares. On January 14, 2022, BC opened at $98.92, traded as high as $99.65 and as low as $96.78, and closed at $99.13. Trading volume was a total of 486.20K shares.
BC Historical Stock Prices By Date:
Below, we examine the compound annual growth rate — CAGR for short — of an investment into Brunswick shares, starting with a $10,000 purchase of BC, and working forward through the historical stock price information to today.
With Dividends Reinvested
Start price/share: $20.42
Starting shares: 489.72
Ending shares: 546.30
Dividends reinvested/share: $6.34
BC Historical Closing Prices
01/13/2022 $100.27
Consumer Historical Prices
BC is categorized under the Consumer sector; below are some other companies in the same sector:
BDBD Historical Stock Prices
BDE Historical Stock Prices
BEAM Historical Stock Prices
BETR Historical Stock Prices
BGS Historical Stock Prices
BLBD Historical Stock Prices
BLDP Historical Stock Prices
BNNY Historical Stock Prices
BOBE Historical Stock Prices
BORN Historical Stock Prices
Also explore: BC shares outstanding history
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January stormed in yesterday. The ash trees certainly knew his presence. Like masts of tall ships they rocked in the wind.
Today we peer out at the world from under a watery blue sky. No menacing weather fronts threaten on the horizon and the garden is still.
Time to head to the fields beyond the copse.
Along the edges of streams the past reveals itself, through fossilized shells and ancient mare's tail. The dank undergrowth is lit with the bright berries of the deadly nightshade.
Words bubble up to the surface as I walk. Some find fellows and are strung into sentences. Others prefer to stand alone.
At the foot of an oak tree we discover a hoard of golden cups.
From there we process up the hollow way, shielded by elder and ivy. Sunlight slants across our path: a groove worn deep between the fields. Enveloped by overhanging branches we continue on our way, enclosed in a woody tunnel. Sheltered.
Who knows of the people who have trodden this path before us?
A kestrel waits for us at the top, hovering as if in mind to tell us the answer, but then darts off at speed above the fields.
To take another turn and walk along the icy road he knows so well.
Thanks Anna. Enjoy your walk and give Bea a good rub from me!
Good thing you had your canine familiar to keep you to the safe path!
Absolutely! Thanks for dropping by and commenting.


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PREVIEW: The TakeOver
ActionBrawlerCo-opEarly AccessPCSave
by Aurumlamina22 October 20196 min readAdd comment
An old-fashioned beat 'em up that takes a great deal of inspiration from the classics and still manages to secure its own place as a unique and worthwhile experience in modern gaming.
Released: Steam Early Access
Type: Single-player, Local co-op
Genre: Action, Arcade, Beat 'Em Up
Developer: Pelikan13
Publisher: Pelikan13
The TakeOver is a modern beat 'em up that will scratch every itch that you have for the classics of days gone by. You'll punch, kick, jump, and shoot your way through a number of environments while encountering new foes at every turn. While it certainly feels like a classic, there are a number of features that keep the formula fresh for long-time fans of the genre as well as those newcomers picking it up for the first time.
Hitting The Mean Streets
Starting from the character select screen, the nostalgia ball keeps on rolling for those familiar with the genre. There are three characters available to choose from and each of them lines up perfectly with the precedent set by those that came before it. The burly Connor fills the role of the "bruiser" with most impressive reach, damage-per-hit, and durability, but his agility and speed are about on par with a tree stump. Ethan fulfills the role of the "main guy" with his balanced stats, Leon Kennedy-style 90's hair, and profession as a police officer. Finally, we have Megan, "the girl," with her impressive speed and agility but reduced damage-per-hit. A fourth character can be unlocked who brings along a fighting style that emphasizes reach but does not suffer the speed penalty to the same level as Connor, but I'll leave the specific details out of this review as they are not immediately available.
The locations and enemies certainly live up to what is expected of them in the genre. Although the earlier levels are trips through the varying locales in a city, they soon evolve into a number of exotic areas that are clearly inspired by other themes such as feudal Japan and horror. Each new stage introduced a number of new enemy types that showed up to be beaten to a pulp and each of these foes brought something different to the table to that kept them fresh. For example, at one of the stages of the mid-game, mercenaries began to show up with assault rifles and, although they were not the toughest foes in a fistfight, ending up on the wrong side of their assault rifles was an experience that I would not recommend. Many of these foes and levels were reminiscent of the classics but the majority of them had unique gimmicks that made them stand out and feel different from one another. I was particularly entertained when a pair of werewolves showed up that needed to be knocked around a bit and put in their place.
Perhaps most importantly, the mechanics involved with fighting provided even more than I had hoped for. The combo system is certainly worth mentioning as it is a drastic improvement and creates an experience that is more than button-mashing. By the end of the game, I had identified two combos that I preferred: one that I used for knocking down groups of foes so that I could quickly deal with other foes that were swarming my character and one for when I was in a one-on-one fight that would stun-lock most foes until they were defeated. Of course, neither of these tended to work on bosses but that would be a serious flaw in the game if they did.
Technical Side
To start off on a particularly good note for an Early Access title, I did not experience and bugs that impacted gameplay in any way. The sound design worked, although it didn't leave a lasting impression on me in any way. I won't be racing to buy the soundtrack but it certainly didn't get in the way of my enjoyment of the game, either. On the other hand, the graphics and art style actually impressed me. When the first level begins, you're introduced to the camera making its way through the impressively designed environment until it stops in the position that the game is played and your characters walk into the field of view. The rest of the game that follows is of high-quality visual design that I thoroughly enjoyed from start to finish.
What Could Still Be Improved?
First and foremost, the final cutscene's subtitles and voice lines are not synced up and are several seconds apart. It's safe to say that most players aren't playing a beat 'em up for the story but this certainly ruined any immersion that there might have been. The length of the game was also a bit short for the asking price. I played through the game in local co-op and we finished it in just over two hours at a casual pace and the survival mode, though a good choice to add some replayability, is not something that would bring me back to the game often when so many other games offer more bang for your buck. However, if there were a few more modes added to the game, such as another story in the arcade or additional levels, it would absolutely be worth the full price. A level designer feature might be an additional avenue that could be explored as well as I would love to fight through the creations of other players, though such an idea may be a pipe dream.
If you're looking for a beat 'em up that feels like a classic design for the modern era of gaming, you can't go wrong with The TakeOver. In its current state it is a full-featured game that does everything that the old games like Streets of Rage and Final Fight did but does so even better as it clearly pays homage to those but brings forth a number of new ideas as well. The only caveat to my recommendation is that the $20 asking price is a little steep as far as the amount of content that is involved goes unless you feel that the endless survival mode is something that could keep playing for hours after you've put down the final boss in the arcade mode. And yes, you can get a hamburger that recovers all of your health when you pick it up after punching a table to pieces.
Tagged as90s, action, arcade, beat 'em up, brawler, local co-op, local multi-player, nostalgia, Pelikan13, side-scroller, single-player, The TakeOver
Aurumlamina is always looking for new games to try out and will dive into just about any genre though he has a special place in his heart for strategy titles. Outside of PC gaming, he's a writer, world-builder, and tabletop game designer.
Steam Profile / Twitter
Physical GameSave
REVIEW: Things from the Flood (Physical game)
27 December 2021by Fnord


Some people collect stamps; I critique Christian blogs for fun. So it was that I came across this little gem from the ever-delightful "Resurgence" site (yes, the stomping ground of that delightful man, Mark Driscoll), entitled "All Truth Belongs to God" [http://theresurgence.com/2012/04/11/all-truth-belongs-to-god]. Oh, I thought, this is going to be good.
The very second sentence in the blurb was the most astonishing nonsense I'd heard in months: "Nothing that is true ever contradicts God's revealed word in the Bible." If that isn't Orwellian doublethink, then what is? The author (Matt) might as well just come out and say, "Whatever the Bible says is true... even if it isn't". It reminds of a statement I recently read from the Pope (quoted in http://bigthink.com/ideas/the-radicalism-of-obedience?page=2) in which he spoke of the "radicalism of obedience" (what in the metaphorical-god's name is that?) It concerns me more than a little that Christians can reach a point where even uttering a blatant contradiction in terms is no longer a problem.
"In our age, science and faith have become pitted against each other, like polar opposite magnets, as if there were no overlap, as if we must choose one or the other. The Scriptures don't present truth that way though. God owns all of it and is so high above our brightest minds that they seem brain damaged in comparison."
Now I understand that "Matt" really wishes that science and faith didn't contradict one another. Having been an earnest intellectually-leaning Christian myself, I used to share his wish. But wishing something doesn't make it so. This article neatly represents the attitude of so many Christians when it comes to this problem, which is why I find it so fascinating: it is a study in denial, diversion and wilful self-delusion, which are apparently essential features to being a thinking Christian these days.
"So we should never freak out about people who claim to have discovered truth. If it's true truth, God owns it and has already accounted for it..."
"God owns it and has already accounted for it". Translation: "You scientists think you know everything, but God knew it all along! Nya nya nya nya nya!" This is the kind of attitude that allows the Pope to declare, about 400 years too late, that Galileo was right after all, without feeling the need to answer the implications this has for belief in inerrancy of the Scriptures and the Church. Or modern evangelicals who claim that the Bible never condoned slavery, ever - tell that to their Bible-believing forebears who fought to the death for the exact opposite point of view!
"...While nothing that is true ever contradicts God's revealed word in the Bible, discovered truth sometimes contradicts the words of Christians."
Wow, there are some interesting word games going on there. We have yet another bifurcation of the supposedly unitary "truth": "revealed truth" and "discovered truth". And, in another corner, we have "the words of Christians". This is a beautiful system for filtering out any potentially threatening facts. Notice how, in his formulation, he does not put "discovered truth" (presumably, evidence-based reasoning) up against "God's revealed word". He doesn't even allow them to get in the same boxing ring. No, if evidence/science wants to pick a fight, it must go batter the Badass Bible's poor sibling, the weakling "word of Christians". Matt and BibleGod can stand by and watch science beat the living crap out of Christian "interpretation" or "opinion", then walk away arm in arm saying, "You see, those mere human understandings didn't stand a chance against truth - which of course you had all along, Big Guy".
"The truth is that the truth is ours—all truth is our truth because we are of Christ and Christ is of the sovereign God."
In other words: "All your truth are belong to us!" In case you hadn't noticed, Matt believes that what God says is true because if God says it's true, then it's true, OK? And if you don't like it then you can just go jump. In a lake. Of fire. Forever.
I agree that if there really was an omniscient God, he would have to be one seriously impressively complex and enormous Dude of all Dudes. He would, as Matt says, have to know "every atom and every molecule", "their positions, their locations, their functions" and so on. But that is precisely what makes the whole thing so unbelievable. Richard Dawkins' "Ultimate 747" metaphor comes to mind: to explain the creation and existence of an exceedingly complex Universe by proposing an even more complex all-seeing "creator" behind it all is to replace one stupendous mystery with an even greater one. If complex things can "only" be created by an intelligent agent (hint: this is not true), then it logically follows that God, who is even more complex than the Universe he is said to have created, needs to have been himself created by an even greater intelligence. And so on, ad absurdum.
"From the velocity of every butterfly's flapping wings at every second to the exact amount of magma to the microgram flowing out of every volcano above and under sea level, he spans it all simultaneously and precisely."
So, Goddy-Boy here knows about the movement of every microgram of magma beneath the sea? Gosh, you mean the kind of movement that causes earthquakes and tsunamis? Those things that kill thousands upon thousands of people? AND HE DOES NOTHING TO STOP THIS? Really, Matt, if there is a great Architect of this Matrix running the whole damn thing, I don't see much evidence that he's doing it for our benefit. He might just as well be a malicious Evil God (thanks, Richard Carrier) running the whole thing for some sadistic pleasure.
Ah yes, the faith of Job. The guy who by all rights should have become an atheist but just wouldn't let go. The guy who could stand tall with the motto, "God gives and He takes away". Let's make a virtue of not understanding. Then terrorise all who dare to understand even a little. When all else fails, when all the evidence suggests that the Bible is a hopeless guide for truthful living, and that Christianity is a load of nonsense, just take the transcendental Magical Mystery Tour of "Gee, I don't understand why the world looks nothing like the Bible says it should, but God must know and I'm just too scared to see it any other way".
ExChristian.Net: All Your Truth Are Belong to Us!


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Bruce Springsteen Set to Make His Long-Awaited Stern Show Debut
"He's gonna bring his guitar, we're going to sit, we're going to talk, it's going to be very nice," Howard says of his upcoming October interview with "The Boss"
After years of anticipation, Howard will soon be crossing off a major name from his list of desired guests — Bruce Springsteen. On Monday, he announced the Rock and Roll Hall of Famer and sometime E Street radio host will be making his Stern Show debut later this month. "This is so fucking great," an excited Howard noted of the booking. "He's gonna bring his guitar, we're going to sit, we're going to talk, it's going to be very nice."
"Wow!" enthused co-host Robin Quivers said upon learning the news. "I thought that was never going to happen."
According to Howard, he's already deep in preparation for the sit-down. "I think I'm up to 500 questions now," he said before jokingly adding, "Bruce better bring a tent and camp out."
Stern Show executive producer Gary Dell'Abate, who not only booked Bruce but is also a huge fan of his, vowed to keep things above board. "I'm going to be beyond professional," he promised, before taking a dig at actor Michael Rapaport, who for years has been critical of Gary for not getting an interview with the Boss. "But I do want to say, 'Fuck you, Michael Rapaport.'"
Jason Kaplan Flaunts the Form-Fitting Clothes He Scored After Starring in a Weight-Loss Commercial
Michael Rapaport Willing to Spank Richard Christy Over Fantasy Football League's Injured Reserve Rule
VIDEO: Ronnie Mund Autographs an Outdated Photo at a NASCAR Event in Las Vegas


text:
Q: Tabela com array de dados Por que a tabela só aparece dados se definir a posição do elemento no array?
import React from 'react'
import Head from 'next/head'
import { Table } from 'reactstrap'
import axios from 'axios'

import Menu from '../components/Menu'

import 'bootstrap/dist/css/bootstrap.min.css'

const AreaTematica = (data) => (

            <title>Áreas Temáticas</title>
            <meta name='robots' content='index, follow' />
            <meta name='description' content='Módulo de Áreas Temáticas' />

        <Menu />

                    ID
                    Nome

                    {data.response.areatematica.docs[0]._id}
                    {data.response.areatematica.docs[0].nome}

)

AreaTematica.getInitialProps = async () => {
    const response = await axios.get('http://localhost:8080/areastematicas')
    return { response: response.data }
}

export default AreaTematica

A: Parece que os dados então vindo em array...
é por isso que você precisa dizer a posição. Se for um array de dados mesmo o que você quer, você deve percorrer esse array ...
renderRows() {
        return array.map(d => {
            return (

                    {d.id}
                    {user.name}

            )
        })
    }

depois pode chamar o metodo dentro da tag

{this.renderRows()}

claro, você você deve fazer as adaptações necessárias. no lugar do array deve ser esse seu array que vem do axios

A: crie o metodo em algum lugar e chame do tbody. Pode ser em outro arquivo component.
renderRows() {
        return array.map(d => {
            return (

                    {d.id}
                    {user.name}

            )
        })
    }

se quiser component de classe, seque o exemplo (que eu acho melhor)
https://github.com/TXTDBR/react-crud/blob/master/src/components/user/RenderTable.jsx

A: Consegui resolver.
No
return {response: response.data}
acrescentei areastematicas.docs, ficou assim:
return {response: response.data.areastematicas.docs}

redpajama_set_name: RedPajamaStackExchange


DBMS successfully secured a dismissal on behalf of a defendant rheumatologist involved in a case in which a woman accused multiple doctors of failing to timely diagnose her with AIDS.
During a May 2011 hospitalization, two co-defendant specialists not represented by DBMS assessed the plaintiff, who was then in her 30s, and diagnosed her with lupus. The plaintiff was in and out of the hospital for more than 18 months following this diagnosis.
In June 2012, DBMS's defendant rheumatologist saw the plaintiff for the first time and again when she was readmitted a week later. The defendant saw her four additional times in his office through October 2012.
In November 2012, the plaintiff was hospitalized with MRSA pneumonia and evaluated by a different team of doctors who had difficulty determining its cause. An infectious disease team tested her for HIV, and she was subsequently diagnosed with AIDS. Experts determined that the plaintiff had HIV as far back as 2005, as she had tested negative for HIV in 2003.
The plaintiff's counsel claimed that she was not diagnosed with HIV or AIDS in a timely manner, which resulted in cognitive and physical disabilities that have required her to receive nursing home care since April 2012.
DBMS contended that the plaintiff reported no risk factors and exhibited no opportunistic infections that would indicate HIV or AIDS. The plaintiff showed symptoms of other infections, and over the course of her treatment since 2011 a number of AIDS specialists had examined her and did not suspect the disease. DBMS also showed evidence that harm from the plaintiff's misdiagnosis occurred before the defendant rheumatologist was involved.
After DBMS presented multiple experts who gave testimony damaging to the plaintiff's theories, the defendant rheumatologist was dismissed from the case.


When it comes to organizing a flower delivery online, we've all heard the horror stories – like flowers showing up dead on arrival or not even showing up at all. Of course, these are worst-case scenarios, but it's always good to be certain the flowers you're ordering are coming from a trustworthy place.
Here are a few tips to keep in mind to ensure the flowers you order arrive on-time and beautiful for your special someone!
Make sure that the website you order flowers from has their contact information public and readily available just in case something should go wrong.
At Zinnia, we're available 24/7 to answer any questions and we send you a confirmation email to keep you updated on the status of your flower delivery. This way, you can make sure the flowers you ordered are delivered on time and to the right place or person!
With traditional services, sending flowers can be pricey. Therefore, most people reserve purchasing a bouquet of flowers for a few special occasions each year.
However, with Zinnia, we've cut out all of the unnecessary costs so you can send beautiful blooms from local florists more often without breaking the bank.
It's common for flowers stems to arrive in a nice wrapping. The problem is, if you're sending flowers to an office, a vase might not be readily available to keep the flowers fresh.
With Zinnia, every bouquet comes with Arrival Alive to ensure the flowers you're sending remain lively throughout the day until they can be put into a vase.
There are many "flower stereotypes" out there. For example, roses are the only flowers people love to receive on Valentine's Day. However, this couldn't be further from the truth! Every flower has a special meaning and sending someone flowers can be even more meaningful if you choose an arrangement that consists of your recipient's favorite flowers, or flowers that are in season.
Typically, flowers that are in season tend to be cheaper and will arrive in better condition. At Zinnia, we curate a handful of unique arrangements that rotate throughout the season so you can be sure you're getting the freshest flowers available at affordable prices.
Many flower delivery websites advertise same-day delivery or the option to order flowers in advance. Especially around holidays like Valentine's Day or Mother's Day, selecting a flower delivery service that allows you to plan ahead and schedule in advance is a good way to go. Things can get hectic for florists around major holidays and many will offer free or discounted prices if you complete your order ahead of time.
With Zinnia, you can select the date you want to send flowers in advance and we'll have your bouquet ready to go on that day. However, we won't penalize you for any last-minute decisions either. Our speedy delivery will have your recipient thinking you placed your order weeks in advance.