text:
Karel V. Rypáček (9. ledna 1885, Hodětín – 11. března 1957, Brno) byl český novinář a překladatel.

Život
Narodil se v rodině Tomáše Rypáčka (1860–1917) učitele v Budislavi a Anny rozené Rypáčkové (1859–1943). Svatbu měli 23. 2. 1884. Karel měl sestru Boženu, ženu Jaroslava Radimského.

Studoval Právnickou fakultu Univerzity Karlovy.

Překládal z polštiny, ukrajinštiny, norštiny a ze švédštiny.

Je pochován na Ústředním hřbitově města Brna, skup. 81, hrob 4–5.

Dílo

Spisy

 Björnstjerne Björnson: k stému výročiu jeho narodenín – Bratislava: Slovenská liga, 1932

Překlady
 Vasyl Stefanyk: Povídky, Knihy dobrých autorů, svazek 7, Kamilla Neumannová, Praha, 1905
 Dno bídy a jiné sibiřské povídky – Wacław Sieroszewski. Praha: Máj, 1906
 Povídky – Stefan Žeromski. Praha: Jan Otto, 1907
 Ukradený hoch – Waclaw Sieroszewski; in: 1000 nejkrásnějších novel... č. 4. Praha: J. R. Vilímek, 1911
 Zapomenutí – Stefan Žeromski; in: 1000 nejkrásnějších novel... č. 11. Praha: J. R. Vilímek, 1911
 Železniční hlídač Thiel – Gerhart Hauptmann; in: 1000 nejkrásnějších novel... č. 38. Praha: J. R. Vilímek, 1912
 Ve zříceninách – Wacław Sieroszewski. Praha: Antonín Svěcený, 1912
 Zámořský ďábel – W. Sieroszewski; s illustracemi Stanislava Hudečka. Praha: J. R. Vilímek, 1912
 Podivuhodná cesta Nilse Holgersona s divokými husami Švédskem – Selma Lagerlöfová. Praha: Jan Laichter, 1913
 Dvě povídky – Selma Lagerlöfová. Praha: A. Svěcený, 1914
 Chłopi: román – Władyslav St. Reymont. Praha: Československé podniky tiskařské a vydavatelské, 1920–1921
 Z povídek a legend – Selma Lagerlöfová; přeložili K. V. Rypáček a Vojtěška Vaněčková; úvod napsal Arne Novák. Praha: František Topič, 1921
 Löwensköldův prsten – Selma Lagerlöfová; doslov napsal Josef Knap. Turnov: F. J. Müller, 1927
 Charlotta Löwensköldová: román – Selma Lagerlöfová. Praha: Družstevní práce, 1928
 Anna Svärdová: román – Selma Lagerlöfová; s 5 dřevoryty a obálkou Antonína Majera. Praha: Družstevní práce, 1930
 Jaro – Sigrid Undsetová. Praha: Ladislav Kuncíř, 1930
 ... a loď pluje dále – Nordahl Grieg. Praha: F. Topič, 1931
 Gymnadenia – Sigrid Undsetová. Praha: L. Kuncíř, 1931
Smrt Ďurka Langsfelda: drama o třech dějstvích – Josef Gregor-Tajovský. 1932
Hořící keř – Sigrid Undsetová. Praha: L. Kuncíř, 1932
Jednoho dne v říjnu: román – Sigurd Hoel; z norštiny. Praha: Mánes, 1933
Liljecronov domov – Selma Lagerlöfová. Bratislav: Bibliotheka, 1933
Muž, jehož jsi zavraždil – Gustaf Ericsson; ze švédštiny; typografickou úpravu navrhl J. Hesoun; vazbu provedl A. Nepevný podle návrhu J. Hesouna; ochranný obal vytiskl E. Grégr podle návrhu J. Štyrského. Praha: Bohumil Janda, 1934
Mrtvý mezi dvěma živými – Sigurd Christiansen; z norštiny. Praha: B. Janda, 1934
Modré pobřeží – Kristmann Gudmundsson; z norštiny. Praha: F. Topič, 1935
Pestrá volnost – Amelie Posse-Brázdová; dřevoryt a grafická úprava Cyrila Boudy. Praha: F. Topič, 1935
Marbacka, vzpomínky z dětství – Selma Lagerlöfová. Praha: Družstevní práce, 1937
Selambové – Sigfrid Siwertz; ze švédštiny; dřevoryt a grafická úprava Cyrila Boudy. Praha: Topičova edice, 1937
Ida Alžběta: román – Sigrid Undsetová. Praha: Vyšehrad, 1937
Předjaří – Kristmann Gudmundsson. Praha: Topičova edice, 1940
Jitro života: román – Kristmann Gudmundsson. Praha: Ferdinand Holas, 1945
So smrtnej hory fúka – Trygve Gulbranssen. Bratislava: Spoločnosť priateľov klasických kníh (SOKK), 1947
Niet inej cesty: román – Trygve Gulbranssen. Bratislava: SPKK, 1949
Večne spievajú lesy; Zo smrtnej hory fúka; Niet inej cesty – Trygve Gulbranssen. Bratislava: Slovenský spisovateľ, 1973

Odkazy

Literatura

Reference

Související články
 Kamilla Neumannová
 Knihy dobrých autorů

Externí odkazy

Narození v roce 1885
Úmrtí v roce 1957
Čeští překladatelé
Čeští novináři
Čeští překladatelé z polštiny
Čeští překladatelé z ukrajinštiny
Překladatelé z norštiny
Čeští překladatelé ze švédštiny
Překladatelé do češtiny
Muži
Narození 9. ledna
Úmrtí v Brně
Úmrtí 11. března


text:
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Aesthetics: Encyclopedia of Aesthetics
The Encyclopedia of Aesthetics is a comprehensive survey of major concepts, thinkers, and debates about the meaning, uses, and value of all the arts, from painting and sculpture to literature, music, theater, dance, television, film, and popular culture.
Art: Oxford Art Online
Covers architecture, painting, sculpture, graphic arts, and photography. Full text of 34-volume set of the Grove Dictionary of Art as well as the Oxford Companion to Western Art, the Encyclopedia of Aesthetics, and the Concise Oxford Dictionary of Art Terms.
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Alphabetically arranged entries on critics and theorists; critical schools and movements; and the critical and theoretical innovations of specific countries and historical periods.
Music: Oxford Music Online
29-volume set of the Grove Dictionary of Music and Musicians, the Grove Dictionary of Opera (4 volumes), and the Grove Dictionary of Jazz (3 volumes)
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Appointment with O'Hara
The Hat On The Bed
by John O'Hara
Random House, 405 pp., $5.95
Elizabeth Appleton
John O'Hara; drawing by David Levine
In 1938, writing to a friend, George Santayana described his first (and presumably last) encounter with the writing of Somerset Maugham. "I could read these [stories], enticed by the familiarity he shows with Spain, and with Spanish Americans, in whose moral complexion I feel a certain interest; but on the whole I felt…wonder at anybody wishing to write such stories. They are not pleasing, they are not pertinent to one's real interests, they are not true: they are simply graphic or plausible, like a bit of a dream that one might drop into in an afternoon nap. Why record it? I suppose it is to make money, because writing stories is a profession…" In just such a way, the Greek philosophers condemned the novels of the Milesian school. Unpleasing, impertinent, untruthful, what else can one say about these fictions? except to speculate idly on why grown men see fit to write them. Money? There seems nothing more to be said.
Yet there is at least one good reason for a serious consideration of popular writing. "When you are criticising the Philosophy of an epoch," wrote Alfred Whitehead in Adventures of Ideas, "do not chiefly direct your attention to those intellectual positions which its exponents feel it necessary to defend. There will be some fundamental assumptions which adherents of all the various systems within the epoch unconsciously presuppose." Writers of fiction, even more than systematic philosophers, tend to reveal unconscious presuppositions. One might even say that those writers who are the most popular are the ones who share the largest number of common assumptions with their audience, reflecting, subliminally, as it were, prejudices and aspirations so obvious that they are never stated and, never stated, never precisely understood or even recognized. John O'Hara is an excellent example of this kind of writer, and useful to any examination of what we are.
Over the last three decades, Mr. O'Hara has published close to thirty volumes of stories, plays, essays, novels. Since 1955 he has had a remarkable burst of activity: twelve books. His most recent novel, Elizabeth Appleton, was written in 1960 but kept off the market until 1963 while five other books were published. His latest collection of short stories, The Hat on the Bed, is currently a best seller and apparently gives pleasure to the public. In many ways, O'Hara's writing is precisely the sort Santayana condemned: graphic and plausible, impertinent and untrue. But one must disagree with Santayana as to why this sort of work is done (an irrelevant speculation, in any case). Money is hardly the motive. No man who devotes a lifetime to writing can ever be entirely cynical if only because no one could sustain for a lifetime the pose of being other than himself. Either the self changes or the writing changes. One cannot have it both ways. O'Hara uses himself quite as fully and obsessively as William Faulkner. The difference between them lies in capacity, and the specific use each makes of a common obsession to tell what it is like to be alive. But where Faulkner recreated his society through a gifted imagination, O'Hara reflects his, making him, of the two, rather more interesting for our immediate purpose, which is to examine through his books the way we live now.
O'Hara's work is in the naturalistic tradition. "I want to get it all down on paper while I can. The U.S. in this century, what I know, and it is my business to write about it to the best of my ability with the sometimes special knowledge that I have." He also wants "to record the way people talked and thought and felt, and to do it with complete honesty and variety." In this, he echoes Sinclair Lewis, Emile Zola, and (rather dangerously) the brothers Goncourt.
The Hat on the Bed is a collection of twenty-four short stories. They are much like O'Hara's other short stories, although admirers seem to prefer them to earlier collections. Right off, one is aware of a passionate interest in social distinctions. Invariably we are told not only what university a character attended but also what prep school. Clothes, houses, luggage (by Vuitton), prestigious restaurants are all carefully noted, including brand-names. With the zest of an Internal Revenue man examining deductions for entertainment, O'Hara investigates the subtle difference between the spending of old middle-class money and new middle-class money. Of course, social distinctions have always been an important aspect of the traditional novel, but what disturbs one in reading O'Hara is that he does so little with these details once he has noted them. If a writer goes to the trouble to say that someone went to St. Paul's and to Yale and played squash, then surely there is something about St. Paul's and Yale and squash which would make him into a certain kind of person so that, given a few more details, the reader is then able to make up his mind as to just what that triad of experience means, and why it is different from Exeter-Harvard-lacrosse. But O'Hara is content merely to list schools and sports and the makes of cars and the labels on clothes and he fails to do his own job in his own terms, which is to show us why a character who went to Andover is not like one who went to Groton, and how the two schools, in some way, contributed to the difference. O'Hara is excited by fashionable schools in much the same way that Balzac was by money, and perhaps for the same reason, a cruel deprivation. Ernest Hemingway (whose malice was always profound) once announced that he intended to take up a collection to send John O'Hara through Yale. In his own defense, O'Hara has said that his generation did care passionately about colleges. Granting him this, one must then note that the children and grandchildren of his contemporaries do not care in the same way, a fact he seems unaware of, and one which undermines his claim to be putting it all down just the way it is.
The technique of the short stories does not vary much. The prose is plain and rather garrulous; the dialogue tends to run on, and he writes most of his stories and novels in dialogue because not only is that the easiest kind of writing to read but the easiest to do. In a short story like "The Mayor" one sees his technique at its barest. Two characters meet after three pages of setting up the scene (describing a hangout for the town's politicians and setting up the personality of the mayor, who often drops in). Then two characters start to talk about a third character (the mayor) and his relationship with a fourth, and after some four pages of dialogue—and one small uninteresting revelation—the story is over; in Santayana's image, a davdream. One has learned nothing. Felt nothing. Why record it?
Another short story, "How Can I Tell You?," is purest reverie. We are shown a car salesman who by all worldly standards is a success; he even gets on well with his wife. All things conspire to make him happy. But he suffers from accidie, as the latins say. The story begins in mediasres. He is making an important sale. The woman buying the car talks to him at great length about this and that. Nothing particularly relevant to the story is said. The dialogue wanders aimlessly in imitation of actual speech as it sounds to Mr. O'Hara's ear, which is good but unselective, with a tendency to use arcane slang ("plenty of glue") and phonetic spellings ("wuddia"). Yet despite this long conversation, the two characters remain vague and undefined. Incidentally, Mr. O'Hara almost never gives a physical description of his characters, a startling continence for a naturalistic writer, and more to be admired than not.
The woman departs. The salesman goes to a bar where the bartender immediately senses that "You got sumpn eatin' you, boy." The salesman then goes home. He looks at his sleeping wife who wakes up and wants to know if something is wrong. "How the hell can I tell you when I don't know myself?" he says. She goes back to sleep. He takes down his gun. He seems about to kill himself when his wife joins him and says, "Don't, please?" and he says, "I won't." And there the story ends. What has gone wrong is that one could not care less about this Richard Cory (at least we were told that the original was full of light and that people envied him), because O'Hara's creation has no face; no history. What the author has shown us is not a character but an event, and though a certain kind of writing can be most successful dealing only with events, this particular story required character shown from the inside, not a situation described from the outside, through dialogue.
Elizabeth Appleton, O'Hara's latest novel, takes place in a Pennsylvania university town. Will the dean, Elizabeth's husband, be made president of the college? That is the donné. He is in line for the post and a popular choice. Elizabeth has been a conscientious faculty wife, in spite of being "aristocratic" (her family used to go to Southampton in the summer). Elizabeth also has money, a fact which her patrician good taste insists she hide from her husband's world. But hidden or not, for those who know true quality Elizabeth is the real thing. She even inspires the reverence of a former New York policeman who happens to be sitting next to her during a plane trip. There has been had weather. Danger Each is brave. The danger passes. Then they talk of…what else do O'Hara people talk of in a pinch? Schools. "You're a New York girl, even if you did get on at Pittsburgh." Elizabeth allows that this is so. Then with that uncanny shrewdness the lower orders often demonstrate when they are in the presence of their betters, the flat-foot asks, "Did you ever go to Miss Spence's Finishing School? I used to help them cross the street when I was in that precinct." No P.S. 6 for him. "I went to Miss Chapin's," says Elizabeth quietly, as if declaring, very simply, that she is Plantagenet. Needless to say, the fuzz knows all about Chapin, too. He is even more overcome when he learns her maiden name. He knows exactly who her father was. He even recalls her family house "on the north side of Fifty-Sixth between Madison and Park. Iron grillwork on the ground floor windows…Those were the good days, Mrs. Appleton, no matter what they say,' he declares in an ecstasy of social inferiority.
Like so many of O'Hara's novels, the book seems improvised. The situation is a simple one. Appleton is expected to become Spring Valley's next president. He wants the job, or nearly, (Readers of the late John P. Marquand will recognize with delight that hesitancy and melancholy which inevitably attend near-success in middle age: was this all there was to it? Where are my dreams, my hopes, my love?) Elizabeth wants it, too, partly for her husband's sake, partly because she is guilty because she has had an affair. It is over now, of course. The lover has taken to drink. But with the aid of flashbacks we can savor the quality of their passion, which turns out to have been mostly talk. Sometimes they talked about schools, sometimes about games, occasionally they discussed the guilt they felt toward her husband, and the possibility of their own marriage one day. But aside from talk nothing happens. In fact, there is almost no action in O'Hara's recent work. Everything of consequence takes place offstage, to be reported later in conversation: perhaps his only resemblance to classical literature.
The dialogue is more than usually copious. One is reminded of Sinclair Lewis' attempt to capture the flat trivia of American speech. But Lewis at his mimetic best was able to seize upon that one detail which illuminates character in a phrase and moves the narrative forward. Lewis also had a savage sense of humor. Perhaps the most remarkable thing about O'Hara is that for one who is in many ways a typical American writer, both in his virtues and faults, he has practically no sense of humor, the one gift our culture most liberally bestows on its sons. He is never anything but dead-serious about his adulterers and their schools and their clubs and their cars. Now one does not mind the absence of wit in his writing. He is not that sort of writer. Yet accepting him for what he is, a reliable recorder, one still longs for a flash of humor, of irony, of the sense that the preoccupations of his characters (and himself) might just possibly be absurd if only in the sight of eternity.
To be effective, naturalistic detail must be not only accurate but relevant. This is a tiresomely obvious thing to say, but repetition does not seem to spoil the novelty of it as criticism. Each small fact must be fitted to the overall pattern as tightly as mosaic. Yet the temptation to add more details than are needed is irresistible. And O'Hara seldom resists. His recent work is over-loaded with names, places, prices, brand-names, reflecting his own pleasure in getting them down simply for their own sake. If he can come up with the exact name of the jazz singer who sang in a certain club of a certain city in a particular year he seems to feel that his work as recorder has been justified. This might do for a social historian or magazine profile writer, but in a novelist it is a deadly preoccupation which, paradoxically, can make for great popularity, and that brings us to the audience and its unconscious presuppositions.
Right off, one is struck by the collective narcissism of his readers. Until our day, popular writers wrote of kings and queens, of exotic countries and desperate adventures, of worlds totally unlike the common experience. No longer. Today's reader wants to look at himself, to find out who he is, with an occasional glimpse of his next door neighbor. Now, at best, fiction is an extension of actual life, an alternative world in which a reader may find out things he did not know before and live in imagination a life he may not live in fact. But I suggest that never before has the alternative world been so close to the actual one as it is in the novels of John O'Hara and his fellow commercialites. Journalism and popular fiction have merged, and the graphic and the plausible have become an end in themselves. The contemporary public prefers mirrors to windows.
The second unconscious presupposition O'Hara reveals is the matter of boredom. Most of the people he describes are bored to death with their lives and one another. Yet they never question this boredom, nor does their author show any great awareness of it. He just puts it all down. Like his peers, he reflects the tedium vitae without seeming to notice it. Yet it lurks continually beneath the surface, much the way a fear of syphilis haunted popular writing in the nineteenth century. One can read O'Hara by the yard without encountering a single character capable of taking pleasure in anything. His creatures are joyless. Neither art nor mind ever impinges on their garrulous absorption in themselves. If they read books, the books are by writers like O'Hara, locked with them in their terrible self-regard. They show little curiosity about other people, which is odd since the convention of each story is almost always someone telling someone else about so-and-so.
Finally, there is the matter of death. A recent survey among young people showed that since almost none believed in the continuation of personality after death, each felt, quite logically, that if this life is all there is, to lose it is the worst that can happen to anyone. Consequently, none was able to think of a single "idea," political or moral, whose defense might justify no longer existing. This, to put it baldly, is to me the central underlying assumption of our society and one which makes us different from our predecessors. As a result, much of the glumness in our popular writers is that of a first generation set free from an attitude toward death which was as comforting as it was constraining. At his level, O'Hara reflects the fear that death is extinction, particularly in a short story, "The Trip," from the collection Assembly. Here the method is flawless. An elderly New York clubman is looking forward to a boat trip to England, the scene of many pleasures in his youth (the Kit Kat Club with the Prince of Wales at the drums, etc.). He discusses the trip with his bridge partners, a contented foursome of old men, their pleasant lives shadowed only by the knowledge of death. An original member of the foursome died some years earlier, and there had been some criticism of him for he had collapsed "and died while playing a hand. The criticism was mild enough, but it was voiced, one player to another; it was simply that Charley has been told by his doctor not to play bridge, but he had insisted on playing, with the inevitable, extremely disturbing result." But there were those who said how much better it was that Charley was able to die among friends rather than in public, with "policemen going through his pockets to find some identification. Taxi drivers pointing to him. Look a dead man." Skillfully O'Hara weaves his nightmare. Shortly before the ship is to sail for England, one of the foursome misses the afternoon game. Then it is learned that he has died in a taxi cab. Once again the "inevitable, extremely disturbing" thing has happened. The trip is called off because " 'I'd be such a damn nuisance if I checked out in a London cab.' " This particular story is beautifully made, and completely effective. Yet Boccaccio would have found it unfathomable: isn't death everywhere? and shouldn't we crowd all that we can into the moment and hope for Grace? But in O'Hara's contemporary mirror, there is neither Grace nor God. And despite our society's nervous, intermittent religiosity, death has been accepted not only as man's inevitable end, but as the one "extremely disturbing" fact.
In his way, O'Hara reflects our society's self-regard, boredom, terror of not being. Why our proud Affluency is the way it is does not concern us here. Enough to say that O'Hara, inadvertently, is a reliable witness. Also, he has many virtues. For one thing he possesses the narrative gift, without which nothing. He has complete integrity. What he says he sees he sees. Though his concern with sex has troubled many of the Good Gray Geese of the press, it is a legitimate concern. Also, his treatment of sexual matters is seldom irrelevant, though touchingly old-fashioned by today's standards, proving once again how dangerous it is for a writer to rely too heavily on contemporary sexual mores for his effects. When those mores change, his moments of high drama become absurd. "Would you marry me if I weren't a virgin?" asks a girl in one of the early books. "I don't know. I honestly don't know," is the man's agonized response, neither suspecting that even as they suffer, in literature's womb Genet and Nabokov, William Burroughs and Mary McCarthy are stirring to be born. But O'Hara, with his passionate desire to show things as they are, is necessarily limited by the things he must look at. Lacking a moral imagination and not interested in the exercise of mind or in the exploration of what really goes on beneath that Harris tweed suit from J. Press, he is doomed to go on being a writer of gossip who is read with the same mechanical attention any newspaper column of familiar or near-familiar names and places is apt to evoke. His work, finally, cannot be taken seriously as literature, but as an unconscious record of the superstitions and assumptions of his time, his writing is "pertinent," in Santayana's sense, and even "true."
More by Gore Vidal
The Ashes of Hollywood
Barbara Epstein (1928–2006)
You Can Look It Up
Gore Vidal (1925–2012) was an American novelist, essayist, and playwright. His many works include the memoirs Point to Point Navigation and Palimpsest, the novels The City and the Pillar, Myra Breckinridge, and Lincoln, and the collection United States: Essays 1952–1992.
Louis Begley
Ariadne's Own Story
V. S. Pritchett, 1900–1997
'Animal Farm': What Orwell Really Meant
Midge Decter
New Novels
A Children's Story


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New product development might be done to establish a product to contend with a specific product/service or might be done to enhance a currently developed product. New product development is vital to any service that should keep up with market patterns and modifications.
In company and engineering, new product development (NPD) is the total procedure of bringing a new product to market. An excellent understanding of consumer requirements and desires, the competitive environment and the nature of the market represent the leading necessary aspects for the success of a new product.
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The Idea: Every product has to begin with a concept. In some cases, this may be relatively basic, basing the new product on something comparable that currently exists.
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Analysis: Looking at the feedback from customer screening allows the maker to make any required modifications to the product, as well as choose how they are going to introduce it to the marketplace. With info from genuine customers, they will have the ability to make a variety of tactical choices that will be important to the product's success, including exactly what cost to cost and how the product will be marketed.
Finally, when a product has actually made it all the method through the new product development phase, the only thing delegated do is present it to the marketplace. Great product life cycle management will make sure the maker makes the many of all their effort and financial investment as soon as this is done.
Countless new items go on sale every year, and producers invest a great deal of time, effort and cash in aiming to ensure that any new items they introduce will be a success. Producing a rewarding product isn't really almost getting each of the phases of new product development right, it's likewise about handling the product when it's been introduced then throughout its life time.
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text:
NEGRONI NECKLACE
A Drink with Something In It
There is something about a Martini,
A tingle remarkably pleasant;
A yellow, a mellow Martini;
I wish I had one at present.
Ere the dining and dancing begin,
And to tell you the truth,
It is not the vermouth -
I think that perhaps it's the gin.
FAVORITE TIPPLES
ARTICHOKE NEGRONI
LA JEFA
PINEAPPLE MAI TAI
CHERRY BLOSSOM MARTINI
Lady Crush - Abbie Zuidema
It all started with a watercolor painting of a sticky bun. I almost ate the paper. I've become obsessed with the work of artist, Abbie Zuidema, who splits her time between painting the most deliciously beautiful watercolors (that often have food as the subject) in her art studio and waitressing at one of my favorite Brooklyn restaurants, Vinegar Hill House. If life imitates art, then perhaps Abbie's work imitates life.
Miss Zuidema
I jumped at the chance to sit down with Abbie and get her thoughts on her favorite things to cook, discuss her work, and to see what's cooking in her creative future. Herewith, a Q&A that will leave you wanting to run out and buy paint supplies, lobster, and even Chef Boyardee. Trust me.
Beyond food, what inspires your work?
A lot of my work is about tapping into the nostalgia of childhood that we can't describe with language. It's so integral why we're drawn to the things that we're drawn to, and the things that we desire. Food, smell, taste, I don't know how to totally describe them because they're intangible, but it's what I'm after. Trying to define that for myself and tapping into that for other people through painting is the biggest gift.
We love your watercolor paintings of Crisp Kringle Chocolate Santa and Chef Boyardee. How did these become subject matters in your work?
I started thinking about creating a series of watercolor paintings about people's secret indulgences. So initially, I kept asking myself, "what is the thing that you eat that you can't admit out loud for comfort?" For me, it's a peanut butter and jelly on an English muffin, and no one needs to know about that. For my friend Lindsey, it is a can of Chef Boyardee spaghetti and meatballs. When I painted the Chef Boyardee watercolor, it was a little bit evil and scary looking, but I was also playing with color and keeping things very simple on purpose.
You're currently creating state maps with all sorts of amazing fun facts and imagery. How do you decide on what to include, and what is it about maps that you love?
I love finding the history of places. In Alaska they have big foot sightings. In Montana, the names of the mountains are just so cool. In each state there is so much information. The more I've done them, the more I find amazing facts and the harder it is to decide what to include in the maps, but as you can tell, food always makes it's way into each one. I'm trying to keep it as simple as possible, but it's challenging because there's so much stuff to include in each map.
What's your blog, A Curious Nose, all about?
It's a collaboration between my dear friend, Lindsey Robinson and myself that encompasses our different sensibilities in the pursuit of procuring any kind of knowledge whether it's history, food, or if you want to know about something in particular. It sniffs out everything, and it goes everywhere, (good and bad smells). The title itself is taken from MFK Fisher's chapter, The Curious Nose, in "The Art of Eating." We're very inspired by her quote from that story, "…taking
pleasure where it is found & loving life with all of it's challenges," which is where we draw life philosophy & inspiration from.
Do you two collaborate on food projects?
Yes. We've done a couple of different things, but one in particular that I loved doing was an illustrative watercolor recipe of making gelatin from scratch (featured in Diner's Journal). It was great because you get to find out about all of this cool stuff that's talking about something that's in cooking trends right now, but is also something from the past, in this case, a classic French technique. I find it reassuring to go back to a practice that's tried and true.
Abbie and Lindsay's gelatin recipe collaboration, featured in Diners Journal
What do you like to cook at home?
I'm really obsessed with Nigel Slater right now. I like going through his seasonal cookbook and trying different dishes that require marinating. I'm also into salsa verde, chimichurri and fresh herbs because of how they can pop your dish that create an incredible dimension to any dish.
What's your favorite type of food to paint?
I dig crustaceans, and red and pink things.
We've been told that you create customized paintings of people's wedding cakes. Is it true?
Yes, I create customized watercolor paintings of menus, maps and wedding cakes. The personal connection is what drives me. I love collaborating with my clients and coming up with an end result that I could have never envisioned.
Above, wedding cake, commissioned by Abbie's sister in law.
What can we expect to see from you in the near future?
Right now I'm working on a map of Greenpoint because the hurricane gave me plenty of time. It's sort of an ode to Irene. I'm currently collaborating on designing menus for a new restaurant, and my map of Little Thailand in Queens is printed in the new issue of Edible Queens, currently out on newsstands in the New York area.
xx Miss Helen Hollyman
www.ulookhungry.com
at Tuesday, September 20, 2011
Labels: food in art, ladycrush, you are what you drink
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text:
« November 30 Energy News
December 2 Energy News »
December 1 Energy News
¶ New research from Ohio State University determined that a calving event creating an enormous iceberg in West Antarctica in 2015 was even more notable than first thought. It was the result of a deep, subsurface rift that formed approximately 20 miles inland. This implies that the glacier is deteriorating faster than thought. [CleanTechnica]
Rift in Antarctic glacier
¶ The European Commission unveiled a reform of Europe's power grid after 2020 on Wednesday. The draft law, which still needs to be approved by member states and the European Parliament, sets a binding target to cut energy use by 30% by 2030 and for renewable energy to make up at least 27% of the bloc's power mix by 2030. [Zawya]
¶ The recently completed Kamuthi Solar Power Plant in Tamil Nadu is the largest solar power plant in the world. Since Delhi, Mumbai, and many other Indian cities have chronic pollution problems, this news brings the much-needed respite for India. The Kamuthi power plant is will supply enough power for over 150,000 homes. [Northbridge Times]
Kamuthi solar power plant
¶ Nuclear energy and wind power remained the top two sources of electricity generation in Spain for the first 11 months of 2016, with shares of 23.1% and 19.9%, respectively. According to the provisional figures released today by grid operator Red Electrica de Espana, renewables accounted for 42.2% of total generation.
[SeeNews Renewables]
¶ The oil cartel OPEC has agreed its first supply cut in eight years, after more than two years of depressed oil prices because of a supply glut on the market. OPEC's president said that a cut of 1.2 million barrels a day would start from January. The price of Brent crude jumped 10% to $51.94 a barrel, and US crude rose 9% to $49.53. [BBC News]
Oil prices since 2014
¶ The frigid North Dakota cold hasn't stopped thousands of protesters from camping outside, trying to halt construction of the Dakota Access Pipeline. Now, leaders of "Veterans Stand for Standing Rock" said they're ready to go to North Dakota to join them, even though it was 29° Fahrenheit there on Wednesday afternoon. [CNN]
¶ A survey by Republican polling firm Public Opinion Strategies, conducted for the Conservative Energy Network, found that strong majorities supported increasing their states' use of wind, solar, and hydropower, while a plurality supported the increased use of natural gas, and a majority opposed the increased use of coal. [Morning Consult]
Wind turbines (toddarbini iStock.com)
¶ Michigan's largest utility, DTE Energy, is moving ahead with efforts to phase out its use of coal and will not be swayed by any potential changes to federal energy policy. DTE Energy intends to embrace renewable energy more aggressively in the coming years regardless of what changes come from the recent election. [Hydrogen Fuel News]
¶ American Electric Power is asking regulators for $52 million to build eight to ten microgrids in Columbus, Ohio. The microgrids are to be installed at critical facilities, such as hospitals, shelters, water plants, grocery stores and gas stations. AEP intends to let other nearby customers to connect to the on-site generation for a fee. [Greentech Media]
Columbus, Ohio (American Electric Power)
¶ Active Energy Group plc developed CoalSwitch, a biomass fuel that can be mixed at any ratio with coal as a drop-in fuel, or replace it altogether, in existing coal-burning powered plants. The company is building its first production facility in North America following recent testing and endorsement by Rocky Mountain Power. [Renewable Energy Magazine]
¶ The New York State Energy Research and Development Authority may become the first US state entity to participate in a federal auction for an offshore wind site. NYSERDA submitted documentation and a bid deposit to take part in an auction for a 79,350-acre Wind Energy Area 12 miles off the Long Island coast. [Windpower Engineering]
¶ The US EPA has published a proposed decision on the CAFE (Corporate Average Fuel Economy) fuel efficiency standards. The CAFE standards were set by the current Obama Administration back in 2012. The proposed decision simply maintains the current standards for vehicles in model years 2012 through 2025. [CleanTechnica]
¶ A Texan under consideration to lead the EPA wants to end subsidies for renewable energy and said it's not clear how much human activity contributes to global warming. Kathleen Hartnett White, the head of a conservative Texas think tank, confirmed that she is being considered to lead the EPA after meeting with Donald Trump. [Sacramento Bee]
This entry was posted on	December 1, 2016 at 6:31 am	and is filed under nuclear power, renewable power, solar, wind.
One Response to "December 1 Energy News"
Christina MacPherson Says:
Reblogged this on nuclear-news.


Zoe sits with Fezzi between her feet at the base of a banyan tree at a local park.
Born with bilateral colobamas, Zoe Garcia's low vision and lack of depth perception seemed normal growing up—until she realized that it wasn't. She noticed it more as she got older, particularly when her friends were learning to drive.
As a child in Puerto Rico, Zoe witnessed guide dogs working and decided she wanted one when she turned 18. But when the time came, her aging golden retriever, Kiara, didn't get along with other dogs so Zoe waited to apply. "I couldn't do that to her," she says. "I felt sad when she passed away—she made everyone happy. That's when I asked my parents about getting a guide dog." Meanwhile, Zoe's vision recently deteriorated further from a retinal detachment.
Fezzi is sponsored by Bill and Karen Barker and named after Fezziwig, a character from Charles Dickens' classic novel, A Christmas Carol. The Barker's own rescue dog is also named Fezzi.
Do you know someone like Zoe that could use a guide dog? Encourage them to apply today.


Clea comes back into Doctor Strange's life as he's picking up the pieces from the worst beating he's ever taken. And she's going to make that battle look like a walk in the park. Also in this issue… WHO ARE THE SORCERERS SUPREME?!


text:
Antonio J. Hopson
Poetry + Blog + Emotion = MC^ 2 + Space + Time + Human Heart.
Nefarious: A Novel
Nefarious Sample Chapters
Select Poems
Seven Press Release
Fiction Writer/ Poet
Available as an audiobook on Audible
Copyright © 2017 by Antonio J. Hopson
http://www.antoniohopson.com
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from Antonio J. Hopson. Writers are welcome to quote brief passages in their critical studies, as American copyright law dictates.
This is a work of fiction. Names, characters, businesses, places, events and incidents are either the products of the author's imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.
Front Cover Design: Anew Kyle.
Nefarious: A Novel Antonio J. Hopson—1st edition ECOPY.
ASIN: B074MHMWNR
1. Sports & Recreation—Sailing—General. 2. Fiction—Action & Adventure. 3. Fiction—Romance—Contemporary.PN3311-3503: Literature: Prose fiction813: American fiction in English
Wildboy Concepts | Seattle Washington
AntonioHopson.com
antoniofiction@gmail.com
Thank you Dan, for showing me the race boats.
Thank you Craig, for showing me the words.
If you don't know where you are going, any road will get you there. I can't go back to yesterday—because I was a different person then.
You're so vain—you probably think this song is about you.
I've often thought the Bible should have a disclaimer in the front saying, 'This is fiction.'
For no good reason, people tended to become a friend or a foe of Dan Swardstrom. He was not particularly benevolent, nor was he physically or intellectually intimidating, but there was something chancy about him. Perhaps it was the crookedness of his smile, the boyish, cocksure gleam in his mercury eyes, the way he positioned his body while sailing as if he were about to take a punch on the chin, or the way he somehow, through no fault of his own, ended up with your girlfriend sitting on his lap at the end of a party.
Despite his modest demeanor, Dan Swardstrom stood out among his peers; a consummate gentleman among pirates, assholes, vandals, and picaroons—words that accurately describe every one of his friends. His wintery hair and smart, mercurial eyes were deceiving. Your only warning of what he was truly capable of lay just below his right eye where a broken halyard once lashed out and left him with a compelling story to tell over a drink. When he smiled from the other side of a bottle of rum, the little scar frowned at you.
Today, he proudly steered his race boat through picturesque Lake Union, a Farr 30—a class of sailboat well regarded in the Seattle fleet. It was sleek and fast, designed to carve through water as smoothly as a Ferrari devours blacktop on a racecourse. The wind was at his back, blowing his thinning hair out in front of him, obscuring a fresh, excited face. Only a few scattered cumulous clouds speckled the sky. The sun was out, and the day was young.
"Sir, I need you to kill your engine!"
Harbor 1, the Marine Patrol unit that operates a 37-foot, cabin cruiser with twin diesel engines patrols the busy waters of Lake Union. It was called to the area to intercept a party boat, but what the captain found instead was S/V Nefarious; its sails stowed, motoring speciously along the cut at an easy pace. No wake. Five knots, not fast enough to disturb the charming houseboats or the posh, float restaurants with diners enjoying an early lunch. Why would a broken dock be tied to the hull of a sailboat? The captain put away his binoculars and picked up his bullhorn.
"Sir, did you know—"
"Yes," Dan said, nodding at the flotsam. "It's mine. My bowman neglected to untie us, and my crew didn't notice it until you started tailing us."
"Well, that solves one of our problems."
"Problem two?"
The captain motioned his pilot to close the distance.
"Have you been drinking, skipper?"
"Most definitely," Dan said. "Problem three?"
Harbor 1 drifted closer and the captain was not amused by the smirk on the skipper's face: a handsome face with a neatly trimmed, silver beard stuck to it. He set down his bullhorn and turned off his flashing lights.
"A woman reported that someone on your vessel yelled 'hot soup' and then emptied a bucket of urine overboard onto her kayak."
Dan scratched his beard.
"Yes, that's true," he said, "but, to be fair, she did not give me right of way while approaching my vessel."
The crew was quiet, like refugees caught in the night, and it was a miracle that they resisted the urge to sip their beers or drink from the lucky bottle of rum.
"Isn't your vessel equipped with a head?"
"Let me ask you this," Dan said. "Would you ask the owner of a Ferrari if there was a commode under the seat?"
The captain boarded Nefarious. When he stepped on a beer can, he sneered. This was unsafe. This was sloppy yachting. He removed a fresh citation from his pocket and looked hard at the refugees as they pretended to be sober.
"Skipper," he said while scratching his pen on the citation. "What is the destination of this vessel?"
"Race Week," Dan said.
The pit-girl stepped up to the bar. Pink, fuck-tower, six-inch-heels with little tassels tied into bowline knots. Pink lipstick. Pink pantyhose, lacy and torn for fun. Pink eyelashes, and for good measure, a pink satin ascot.
"What're you having?" the bartender asked.
The pit-girl's blouse was a vintage navy uniform with silver first class stars buttoned to the sleeves, borrowed from Esther, her adorable godmother whose closet was full of swooshy, jazzy, swing-town fun. In her day, Esther took zero-shit from the world, lived free and loved free; she dated Negros, Degos, Wops, and, as it turned out, she had a real special thing for sailors in uniform.
"Let me ask you something," the pit-girl said to the bartender. "What do you think a woman dressed like me would order?"
The bartender looked her over slowly, pausing thoughtfully. Her sheer skirt was pink. Her vinyl nail polish was pink. Her blush was pink, and it sparkled on her pink, freckled cheeks like the Fourth of July.
"A Pink Pussy," he said.
"Good!" the pit-girl said and smacked the bar. "I'll have twelve."
The bartender began pulling out martini glasses and lined them up one by one.
"You're not from around here are you?" he said. "Mind if I ask you why you're in town?"
"Race Week," the pit-girl said.
Ortun Hurley kissed his sleeping girlfriend on her fair-skinned cheek. He was restless and drowsy because the night before he'd dreamt of a watery chasm swirling downward into a warm, pinpoint of eternal light. The vision wasn't terrifying, but it awakened him suddenly, and for the rest of the night he grappled with an itch in his arm that radiated outward from his bones. Ortun knew it was that time of the year again, and there was only one of two ways to scratch the itch.
She awakened; reluctantly opening one eye and then the other.
"Good morning," she said skeptically.
Ortun was busted. He was already carrying his guitar, slung over his shoulder like a rock star, his canvas bag, and a six pack of Coors Light—on account that he was a diabetic.
"Where are you going?" she said sleepy and sweet, as if she didn't already know.
"Race Week," he said.
The writer sipped coffee at Starbucks. He was irritated with the company for removing the nipples from their little mermaid insignia, and was busy drawing them back onto his paper cup when he received a text.
HI, DARLING, his girlfriend texted.
HIYA, he replied.
WHAT RU DOING? she asked.
WRITING, he replied.
The phone rang and he answered.
"No, you're not," she said. He could barely hear her through a crowd of singing sailors on the other end. "Are you drawing tits on coffee cups again?"
"Well, yes."
"Awww," she said sympathetically. "Pack your shit and meet me in Oak Harbor."
"What's going on?" he asked.
"Race Week," she said.
Kai opened the curtains and went over the numbers again, this time without a calculator. A calculator could not gauge emotion. It could not approximate passion. Once you considered these intangibles, there was no other way around it. He gazed at the rising sun as it crested the rough-hewed Cascade Mountains. The scene was just like the sunrises he'd seen back home: golden-amber, glorious. He poured a fresh cup of Ceylon tea, creamed it, and watched the sun's colors brighten. In the courtyard, a tent was being perched and the morning's amber light made it look magical. Another year had passed and Oak Harbor was coming alive.
No, there was no other way around it. Not when you factored in heartbreak, envy, false hope and pain. The time had come to make a run at it. A real run. This year, there were no columns for hope or wishes on his spreadsheet. That kind of calculation, he had learned, was for sentimental fools.
Yes, Jupiter was a passion.
Ney, he thought, a fetish.
A pet tiger shark restrained by a studded, leather leash—which required blood sacrifice.
By his new estimations, being the owner of a Farr 30 triggered the same neural pathways as taking a cold shower while burning thousand-dollar bills; only each time you lit one on fire, the dominatrix you'd hired pointed at your junk and laughed. That's what it was like to sail a Farr. And the other skippers knew it, too. They used their boat as an extension of their cocks and every year a new gaggle of novices lined up in the crew-circle; all of them doe-eyed and ready to sail. So what if he only selected the pretty ones? Sure, the smart ones moved on, like Nefarious' pit-girl, but some of them stayed. Robin Mac Brádaigh was too good for the fleet anyways, so when she jumped ship after racing for Jupiter, he didn't take it personally. But crewing a woman had a tactical advantage. If you found a sturdy woman to man the pit, it equated to less weight on deck, allowing for larger men, who easily outweighed their counterparts in the amount of beer and steaks they consumed alone. Mac was a prize, and would soon turn pro. Earning her salt on a Farr 30 would get her a spot on a Santa Cruz 70 next season, then maybe a sponsored boat, then maybe America's Cup. Everyone around Mac knew what she was after, and it didn't take her long to master Jupiter, or its skipper.
Kai speed dialed his broker.
"Fly the kite," he said into the phone, the slang for raising a spinnaker with the wind at your back. "Fly it, now!"
"I haven't changed my mind," the broker said. "Numbers don't lie."
"You work for me, big guy!" he barked.
Kai called everyone 'big guy,' on account that he was short.
"You're not my boss," he said. "I'm the Skipper."
"Very, well," the broker said. "I'll deposit twenty-seven thousand into your Seattle account."
"Forty," Kai said.
"Fine," the broker said, and Kai could hear him typing on his computer. "That leaves you with little room, sir."
Kai looked down on the courtyard where Scamp Rum, the event's premier sponsor was untangling the main event tent. He sipped his tea and watched as the workers erected it, a hideous, maroon and gold monstrosity that looked like afterbirth. In Thailand, only the poor peasant farmers and fisherman, whose sad eyes misted in the sweltering heat, worked as hard as these flunkies.
"I don't need a lecture from you, big-guy," Kai said. "I worked my way up from the bottom rung! Lest you forget, you work for me. Now, give me my money or I'll pull everything! No more ballet classes for your pretty blonde daughters." The idea that his broker wouldn't have enough money to afford dance classes was ridiculous, but he cursed at him anyway." They'll have to learn square-dancing with hillbilly Bob, or 'drop it like it's hot' with boys from the south end."
The broker hung up the phone.
By now, the fleet was headed to Oak Harbor and the skippers would moor their boats in little rows resembling rice paddies along the harbor, but he had the best spot in the marina: Dock 1A. It was the spot where billionaires like Gates and Bezos parked their yachts, right in front of the bay side window of the clubhouse. Five hundred dollars per day for five days; chump change for the elite. Kai was not elite, not financially, and tuning the boat cost him a shit-load. In a month's time, he had replaced Jupiter's sails with faster Mylar sails, re-rigged her with halyards, glassy Kevlar, speed waxed the hull and hired a diver to clean her before every race. A halyard was a rope, and he learned the hard way that a real sailor never called them that. A halyard had a job, it was used for raising and lowering a sail, spar, flag, or yard on a sailing ship. His uncle taught him this on a junky Macgregor, a sailboat with a large enough engine to cruise long distances without raising a sail. No one ever took the boat, or his uncle serious. Uncle Aat was only a cruiser, but he loved the water. Upon immigrating to America, he opened a Thai restaurant in Tacoma and was content to make enough money to live aboard his boat the same way he did back home on the muddy Pak Nam Pho.
It was time to kick it up a notch. Money was a means to an end. Use it, or die not spending it.
But half of his Race Week funds had already been spent on the non-material, professional sailors he'd hired to sail Jupiter to victory, and housing them was a small fortune. To keep them from consorting with the other sailors, he put them in Oak Harbor's finest establishment, far away from the marina. At this moment, they were probably eating Dungeness crab cakes and caviar like it was cornflakes.
Jupiter would win the day.
At last.
The flunkies in the courtyard pulled hard on the corners of the rum tent, filling it with air and space.
Kai smiled as he imagined the air being sucked right back out as he took the trophy into his hands at the annual, post regatta bash. As the winning skipper, he reserved the right to throw a themed party, and this year it sure as hell wasn't going to be a Dan Swardstrom toga party.
The devil was bored, so he took up sailing and made friends with Dan Swardstrom. He mastered the craft instantly, of course. Really, there was no place better for him to be other than Race Week. July in Oak Harbor—when after the steeping tide had washed up a carcass—wrapped it in its clutches—left it to rot in the water that these men would sail upon—well, let's just say, he wasn't homesick.
The devil walked the shore looking for things that made him smile; a seagull tearing out the abdomen of a live crab, an eel that had culled flesh from a dead baby seal after a transient killer whale took a bite out of its flipper, played with it like a beach ball in the surf and then left it bleeding on a muddy flat. In a tide pool, he chased a sculpin into the waiting arms of an octopus. Bedazzled, he surveyed the cephalopod as it murdered the fish with its secret beak. When the butchery was complete, the water stilled and the octopus' skin changed from cinnamon to bright red.
"What ch'a doin' here, mister?" A group of teenagers with skateboards approached him and with eyes the color of the octopus, he turned to face them. "You a tourist? This is my ol' man's beach. No trespassers!"
"If we forgive those who trespass against us," the devil said, "our Heavenly Father will in turn forgive our trespasses."
The teenagers stopped.
"Never mind," one of them said, and they all backed away.
The devil smiled, looked them up and down and focused on one of the boys in the group who showed promise. The boy was wearing a leather flight jacket, stolen from a retired airman stationed on the island. The airman was a Vietnam vet who flew more than five hundred strafing missions and dropped thousand-pound bombs on villages, leaving only tears to fill the craters he left in his wake. In that jacket, the airman had fathered a dozen bastards, left their mothers with diseases, and once, on a dare, he drank enough whiskey to beat a nun. But this morning when the jacket embroidered with a laughing devil suddenly went missing, the sins of his past crept through his veins like poison, and crystals of fear took root in his heart.
"I haven't seen this in years," the devil said, and he slowly approached, touched the jacket and transported the teenager to a garage where the airman was coughing and gagging in a cloud of smoke. In that instant, the teenager understood who was touching him, and he saw how the jacket had insulated the airman from the hell he personally raised on earth. The airman had sealed his garage with wet towels so that the fumes from his running car would stop the pain that was caught in his heart, forever. The teenager coughed, tried to tear away from the devil's touch, but he was frozen, and the air was thick with poison and the motor droned like a death rattle. The airman fell to his knees and then to the floor. He called out, but there was no sound, no sweet air to inhale or scream into, and no one left in this world to care about him, or forgive him—only the teenager standing above him, cloaked in the flight jacket, gazing at him in horror.
"Don't worry," the devil whispered in the teenager's ear. "I'm only here for Race Week."
The devil walked down Main Street admiring the quiet little stores that busied themselves for a week of sopping up the last dime of every sailor. Soon, the taverns would be filled and he imagined the whispered secrets and deeds to be done. Beer, amber to golden, would flow into pint or pitcher. Good whiskey would be ruined in syrupy cocktails and decorated with those awful little umbrellas. The odor of sex, salt, and fried things would linger and impregnate their clothing. They would carry the scent home with them and not recognize it until they were clean again, and caught a whiff of it on their pile of reeking laundry.
At the end of Main Street, he stopped at a vista and congratulated himself.
Even by his standards, Deception Pass was a marvel. These sailors would have to navigate it, a narrow pass that injected two hundred and forty-five cubic feet of icy-water through a rock infested inlet. It was forbidden for boats to race here, but sometimes the conditions were just right and a skipper might be tempted to catch a rogue wind and ride in on its tidal surge. If they weren't mindful, The Eye would appear, a whirlpool caused by an ebbing tide as the water drained back into the Salish Sea. Anything it saw was taken forever into its bottomless dream.
The Eye was not evil. There was no such thing as "evil," only carelessness. It was the actions of people who decided to be near the channel that were evil.
On the beach, the devil smoked a Marlboro and watched a sand castle disappear into the sea. The tide was coming in and the waves would not be large in the protected bay, so he stayed long enough to watch the entire thing fall flat. First the waves lapped at the walls, slowly eroding the base as bits of it slipped under the murky water; drowning and dissolving into silt.
The devil sighed.
This was only the edge of space and time; just one tiny portion of it, merely a fractal, imbedded in a fractal that stretched out into an ocean that opened into a sky filled with chaos. Outside of the bubble, there were stars hotter than hell, and nebulas tearing at them, pulling them apart, and recycling them into new stars. There were planets and mountains and oceans for sailors to die upon, and for their loved ones to write stupid sea shanties.
Power they could never understand. Not in verse, or song, or craft.
The sea was a force, but the violence it was truly capable of took its own sweet time, and this is exactly why no one believed in him anymore. Real destruction takes its sweet time. There were no rivers of blood, or demons, or hellfire or brimstones. All those things were figments of human imagination. Real destruction was beyond their comprehension.
The devil spotted Dan in the marina and smiled.
"Captain," he said and saluted. "Reporting for duty."
"You again," Dan said. "I already have a tactician."
"Ah," the devil smiled, trying to make Dan smile so that he could see the little scar under his eye. "Ortun! The musician. But will he actually show up?"
"He texted me an hour ago," Dan said, not returning the smile. "Says he's on his way."
"Is he up to the challenge this year?"
Dan knew what the devil was talking about, but he didn't let on. Sometimes before your very eyes, Ortun was known to go AWOL, even while you were talking to him. He was moody and emotional, which on a good day made him a good sailor. But on a bad day, he was aloof and required coddling. Dan was no good at coddling. He'd sooner massage a fish.
"He did a fine job for at Swiftshore," Dan said.
"Swiftshore is for pussies!" the devil cursed.
"Listen," Dan set down his box of supplies. He'd heard enough. The devil of all people, knew better than most that offshore racing along British Columbia wasn't for pussies. It was premier racing; dangerous and fast. The only reason he liked racing here was because most of the sailors were not professionals and therefore, easily tempted by distractions. In the winter they did not train, they did not travel to latitudes that suited their talents; instead, they drank, they slept, they remained walled by their professions. Some of the better ones moved up to more serious programs, but most were content to remain semi-pro. "You give me the willies, you really you do. Why don't you head over to the crew circle, see if some of the other skippers need an extra hand?"
"Oh, I only sail with Nefarious, you know that, captain."
Dan picked up his box of supplies again.
"Boat's full," he said.
"I can do mainsail," the devil said.
"That's like asking the Pope to officiate a farmer's wedding," Dan said. The devil could surely handle the position, no problem. Mainsail was more brawn than brain, a position that required a strong crewmember to keep the sail in its full, powerful shape. This was the gas pedal and what gave a sailboat it's power to accelerate or to slow down when needed.
The devil flinched and put his hand on Dan's shoulder.
"How are you this year?" he said, frowning.
The devil knew the news before Dan, and he decided to let the surprise catch up to him at a better time.
"You know, Kai is really gunning for you this year," he said changing the subject. "He's got new sails, new rigging, new crew."
"Unless he's received a brain transplant," Dan said. "I'm not worried."
"Our deal is that you sail and you throw a party in my honor when you win," the devil said. "That's all I ask."
Dan straightened.
"I know the deal," he said. "I always sail to win."
The devil looked off into the perfect, blue sky.
Then he gazed out at the lovely green water.
"Have you ever built a sand castle?" he asked.
Dan stopped and opened one of the beers he was loading onto the boat, looked at the water with the devil.
"Sure, when I was a kid."
"When did you realize it was a futile endeavor?"
The devil took a beer from the case.
"You know, when did you realize that no matter your efforts, the tide would soon come and wash your work away?"
Dan thought this through for a moment. "Honestly, I never stopped making them," he said. "I made that one over there just a little while ago."
"Ah, yes. A fine effort," the devil said spotting the lumpy mess. "But why?"
Dan thought again.
"I don't know," he was getting annoyed, and the scar on his face started twitching. "I suppose because every time I build one, I want it to be better than the one that was washed away."
The devil smiled.
"And how long could you go on doing this? Rebuilding and rebuilding, chasing after some ideal castle that can never exist?"
"Forever," Dan said and pulled a swig from his beer.
"Exactly," the devil said. "That is why I can only sail on Nefarious."
"A smart, sassy & sexy novel about sailors - and non-sailors - thrown together for a week of intense competition.
Nefarious is a story of the fragility of human existence and the power of the natural world. With beautiful prose and vivid characters, Antonio Hopson explores what it means to be human. Step into a world of intrigue and magic in the Salish Sea.
~Jenn Tree Book Blog"
""A flash fiction writer turns to poetry and speaks of biting love seen in a cosmic light."
—Washington Independent Review of Books"
email: antoniofiction@gmail.com


text:
Home / Podcasts / HIV-Related Challenges Facing Women & Minorities – with Dr. Adaora Adimora
HIV-Related Challenges Facing Women & Minorities – with Dr. Adaora Adimora
By jake2
Women and minorities often face extra challenges related to preventing and treating HIV, especially for those in a high-risk environment or who have difficulty accessing medical care. Dr. Adaora Adimora describes specific ways to help these individuals have better outcomes. Dr. Adimora is a Professor of Medicine in the Division of Infectious Diseases.
Adaora Adimora, MD, MPH
"People should frankly discuss with their partners whether they have been tested, not just, 'Oh, do you think you have HIV?" but "Have you in fact been tested for it?'
They should ask about other things a person may be doing, like, 'Do you have other partners? When was the last time you had another partner? Do you intend to have other partners? What's the status of our relationship? Do you inject drugs? What other things do you do that could cause you to get HIV infection?"
– Dr. Adaora Adimora
Factors that increase risk for HIV
Challenges in prevention
Perception of risk
Talking to your friend about their risks
Asking the right questions of your partner
Challenges to getting and paying for treatment
Women participation in research
Ron Falk, MD: Hello, and welcome to the Chair's Corner from the Department of Medicine at the University of North Carolina. This is our series for patients where we talk about HIV. Today, we'll talk about some of the challenges facing women and minorities related to HIV prevention and treatment, and specific ways to help these individuals have better outcomes. We welcome Dr. Ada Adimora, who is a Professor of Medicine in our Division of Infectious Diseases. Welcome, Dr. Adimora.
Ada Adimora, MD, MPH: Thank you.
Falk: Throughout this series, we've talked about PrEP. We've talked about our ID clinic, and treatment and staying healthy. Sometimes there are greater challenges for some individuals for actually making the best choice for preventing or treating HIV. What are some of the factors that makes one individual more vulnerable to HIV risks in the first place?
Adimora: Well, that depends. Throughout much of the twentieth century, a lot of epidemiology was what was called "risk factor epidemiology." There was a lot of—and there still is—a lot of emphasis in epidemiology research on the individual factors and the individual things, the characteristics of an individual that placed them at increased risk for having any given disease.
Falk: With respect what are some of those risks?
Adimora: Some of those risks, for example, are who you have sex with, the types of sex you have, all of those things are associated with different risk. In addition, the other major risk characteristic is the environment—the situation in which the person finds themselves.
If you're in a situation where a lot of people have HIV infection around you, and it's untreated, then you're certainly at substantially greater risk than if you have very risky behavior in a situation where no one had HIV infection. If no one around you has it, you cannot get it. If no one you're having sex with has it, you can't get it.
On the other hand, if you're in a situation where lots and lots of people have HIV or most people have it, it's obviously going to be considerably easier for you to get it and much more of a challenge for you not to get it. One of the things that turns out is important, is not only individual characteristics, like the type of sex you have and whether you're using condoms—and these things are important—but also, your environment, if a lot of people around you are at risk.
Also, what are your partners doing? You might not be doing anything particularly high risk yourself, but if your partner is doing something that puts them at high risk and they get HIV infection, and they don't know it and you don't know it, you are vulnerable to getting HIV infection. Those are some of the issues—that is, the environment and what's going on in a person's environment.
Falk: Right. You actually specialize in this unique challenge in barriers that confront women and minorities when it comes to HIV prevention and treatment. Let's talk a little bit about prevention first, and what are some of these challenges for women and minorities?
Adimora: That's an interesting question. We could look at some of the macro issues and then we can look at some of the medical issues. First of all, there's PrEP, pre-exposure prophylaxis for HIV infection. What that consists of right now is a medicine called Truvada, it's a combination of two medicines used to treat HIV infection, and actually has been used for treatment of HIV infection for many years. It's been demonstrated that that combination drug can be effective in preventing people from actually getting HIV infection when given to a person who does not have it but is susceptible to getting it.
It's quite effective, it's especially effective for men. It's also effective for women, but it's important to take it every single day. As it turns out, the tissue levels in the vagina and other parts of the female genital tract are not as high as they are in the rectal tissues, which is how gay men typically get it—men who have sex with men. It's more of a challenge for women since the drug levels are lower in the female genital tract, you need to make sure you get higher drug levels, and you have to be very religious and aggressive about taking it every single day.
Falk: You can't miss.
Adimora: You can't miss doses, so that's a challenge. The other challenge is people knowing about PrEP in the first place. I suspect that perhaps people listening to this podcast may know about it, but my guess is if you went out into the general population, and asked people and did a survey to find out how many people know about this, you'd probably find a certain proportion of gay, bisexual and other men who have sex with men who know about it, but I bet there would be a nontrivial proportion of those people who don't know about it, and a huge proportion of women who don't know about it. Most women actually have very little information about this. That's another challenge—having the knowledge that this prevention tool exists.
Falk: What suggestion do you have to solve the conundrum of, there's a wonderful drug that can prevent HIV infection, especially if used really regularly, and yet, so many people don't know that it's there?
Adimora: That's a difficult problem. One way is making sure that physicians know about it and actually evaluate and screen their patients to see if they are people for whom this drug could be useful, so that's one way: continuing education of physicians. Another thing though is that, many of the people who are at risk don't necessarily go to the doctor that often and don't get regular health care, which is a whole other problem. One other way of increasing people's knowledge is the media. I think CDC, Centers for Disease Control, devotes a certain amount of attention to making information available to people, but I don't know how effective that always is. There was a big flurry about this in the news cycle when this drug was first approved years ago, but as you know, the news cycle is about four days, and if you miss it, that's the end of that.
Falk: One of the responses though could be for patients to make sure their physician at least talks to them about their sexual history. We teach in medical school that physicians in training should learn how to ask these questions, but I think in common practice, the vast majority of physicians don't ask patients about sex history, and even a greater proportion of patients don't bring the subject up. What you're suggesting is with some degree of awareness, it would be important for the patient to say, here are some behaviors that perhaps you as a physician should know about it, and there is an approach to preventing HIV.
Adimora: I do agree with that. I think patients should bring that up with their physicians. I hate to put the onus on patients, of course. I think you're completely right. Physicians do have an obligation to ask about their sexual history, and that's what we're teaching people in medical school, but as you said, it does not always happen.
Falk: Although, patients typically ask us about, "What's my cholesterol? How's my blood pressure?" As a kidney person, of course I want them to ask, "How are my kidneys?" So, you could suggest that if a person is concerned about having had a risky behavior, at least they should bring that issue to the attention of their doc.
Falk: Do some people see themselves as being low risk for getting HIV, when really, they're at high risk?
Adimora: I think that's often true, actually. Certainly, there are some people who are at high risk and know they're at high risk—they know that they're injecting drugs and that they don't know the HIV status of some of the people they're sharing needles with, so some people know.
I think it's an all too common scenario that people evaluate their own personal risk as being low, considerably lower than it actually is. For example, we've done surveys in the community and focus groups in the community. It is very common for people to agree, "HIV is a huge problem in this community. People out here have really risky behavior, they're doing all kinds of things." They perceive other people as being at risk, but they don't necessarily perceive themselves as being at risk.
Falk: You've already talked with us about the concern that you have to know what your partner may have been up to, because your partner may have been having risky behavior, and even if you're monogamous, you're now exposed to that risk that you may or may not have known about that. How to stop the disconnect, then, between the individual thinking they're at low risk, knowing there's this drug out there that can prevent HIV, and asking the community to really enforce the idea of at least asking the question, Should I be on PrEP?
Adimora: This doesn't directly answer your question, but one thing that we did, a few years ago, is we developed a radio campaign in eastern North Carolina and the goal of this campaign was to inform people of the risk of having partners who had concurrent partners. That is, a situation where your partner has other partners aside from you. It was a fun campaign to do, it was a series of radio ads with vignettes and a story line, continuing story line.
That's actually a pretty common thing. We hear about it in media, partners who are having other partners, but obviously it's pretty common in the population. The danger is, though, just as you said, that is a situation that can help spread HIV infection throughout a population more easily, because people are connected by these various partners. In addition, it is a risk for the person whose partner has other partners.
So, the goal of this campaign was to educate people about this, and to also educate them about the dangers of it related to HIV and STDs. In the course of this radio campaign, we talked about the importance of condom use, but we didn't talk about pre-exposure prophylaxis, because at the time that we did it, PrEP didn't exist, but were we to do it again, I definitely would insert that in the campaign. That was the goal—stick to one partner at a time and make sure your partner does as well.
Falk: Make sure you get tested along the way.
Adimora: Make sure you get tested and make sure you use condoms.
Falk: If someone is sitting there listening to this podcast, and knows they have a friend or loved one who is engaging in risky behavior but does not understand that they really are at risk for getting or spreading HIV, what would you suggest that friend do or say to that person?
Adimora: I think that their friend could gently suggest that they evaluate their activities and their situation, and the consequences of it. This could be a little controversial I guess—it could break up people's partnerships and marriages—but if somebody has an awareness that somebody's partner or husband or whatever, is stepping out on them, they could suggest that they get HIV testing. If they're comfortable talking about that person's partnership, they could suggest that that's a risk for them to get HIV infection. As I said, to get tested, to think about using things like PrEP, to get tested for other STDs—those are some things they could do.
Falk: At least getting tested would be useful. As you pointed out, there could be other sexually transmitted diseases in addition to HIV.
Adimora: Another thing that would be important for them to do—because sometimes people don't want to know whether or not they have HIV infection—a big thing to point out would be, that HIV infection today is very, very different from what it was in 1990. It is still a serious disease, but it certainly is a treatable disease. It's relatively easy to treat—there are one pill combinations that you can take. You can live a long and successful life. It's really very different from what it was in 1990. That information is something that may motivate people to get tested, I think.
Falk: An ounce of prevention is worth a pound of cure.
Adimora: Exactly.
Falk: Outside of a monogamous relationship, in an ideal world, what are some things that a person could do before engaging in sexual activity with another person?
Adimora: There are several things they could, and should probably do. One of them is to know their HIV infection status. They should frankly discuss with them whether they have been tested, not just, "Oh, do you think you have HIV?" but "Have you in fact been tested for it?" They should ask them about other things a person may be doing, like, "Do you have other partners? When was the last time you had another partner? Do you intend to have other partners? What's the status of our relationship? Do you inject drugs? What other things do you do that could cause you to get HIV infection?" That's the first thing, is making sure that the person has had a recent HIV test, knowing their activities, and certainly, the person themselves should know their own HIV infection status. If the person does have HIV infection, then the individual should think of PrEP as an option. Finally, of course, they should use condoms.
Falk: Safe sex practices are really required.
Adimora: Right. I want to make it clear that trust is not enough. You should use condoms.
Falk: Dr. Adimora, you recently testified to Congress about the skyrocketing cost of one of the medications used to treat HIV, Daraprim. Certainly, the cost of these medications can be a huge burden. What can help?
Adimora: For individuals, UNC is great in terms of providing help for patients with pharmacy assistance programs so that the individual, the patient can get access to the medicine if they have no insurance of any type, commercial insurance or Medicaid.
Then there's the larger societal problem, which is what I assume you were getting at. How is it that drugs can cost so much in the first place? HIV is the canary in the coal mine for other diseases. The price of drugs in general is an enormous problem, for cancer and other things as well. I don't know that there is actually an easy fix for that, other than evaluating and changing the laws that govern drug development and drug pricing in this country. One other thing that would be a major help to people is if everyone had insurance. It would help our hospitals to stay open in North Carolina if patients could actually have payers for their care. It would enable people to get access to medicines so they don't spread infection to other people, so that they don't end up getting sick and ending up in the ER. So, there are a bunch of things—changing the structure of drug development and drug pricing in the nation, which takes an act of Congress, or multiple acts of Congress probably and the collaboration of the pharmaceutical industry— and also making sure people have access to care in the form of payers for their care.
Falk: What special challenges do minorities face with treating HIV?
Adimora: Minorities face a bunch of challenges. One is, minorities in this country, particularly black people and Latinos and other minorities, Native Americans, are often disproportionately poor. The insurance problem we were just talking about is often a major problem for them. The insurance issue is a problem for many white people as well, so it's not just minorities, but a lot of people are the working poor, minorities and others. The working poor really get shafted—they're the ones who are in the insurance gap. Another thing is there's still an exceptional amount of stigma that's associated with HIV infection, and then there's the discrimination that minorities face. This double slam of racial discrimination and HIV-related stigma is highly problematic, and it often prevents people from getting into care. Those are among the big problems that I see minorities facing in terms of treatment of HIV.
Falk: You talked earlier about issues that women face regarding treatment, especially the need to make sure that they take prevention, Truvada, each and every day. Are there other issues that women are challenged with?
Adimora: A lot of the problems that we're talking about are what I think one would call "syndemics," where you have a perfect storm of problems that come together, so that many women with HIV—although not all—are minorities, and they're also poor, and they face the problems associated with those things. Then there's the gender inequity issue. Those are some of the difficulties that people have in terms of getting to care, getting access to care, et cetera. Also, people have problems with child care—what to do with their children while they're getting treatment, who's going to take care of their kids. Another big problem for people, here in North Carolina, in the South at least, is more HIV infection in the rural areas than there is for rural areas in the north. One obvious problem is transportation – we really don't have mass transit. People may not have working cars or reliable cars—this is a problem for men as well as women, but you can imagine this would be a problem for women.
This is not simply a problem of women, but it's a problem of poor people. But given this issue of syndemics, poverty and racial discrimination coming together, having a synergistic effect—one big problem is that people who are poor are often working in low wage jobs where they don't have much autonomy. They can't simply take a day off from work or a few hours from work to go to the doctor. Lost time at work, for many of them, means lost money. For some of them, it may mean getting fired. If you're not here for whatever reason, just go hit the bricks. Go ahead, we'll hire somebody else, we're not giving you the time off. I actually see that not uncommonly in patients. So, that can be a big challenge for women, but it's not restricted to women, it's poor people in general and people who have little autonomy at work.
Falk: So, they don't have easy access to care in the first place. There are societal barriers that have not been solved.
Falk: Let's talk about HIV research and women participation. What are some of the challenges that a woman might have with getting involved in one of your studies, and why is it so important for women to participate?
Adimora: The reason it's so important for women to be involved in HIV research, and in clinical research in general, is that—news flash, women are not men. So, their physiology, their bodies are different. Much of the time, drugs and therapies work the same way, but there can be critical situations in which they do not. A number of years ago, it was noted that when people have heart attacks, the clinical presentation can be quite different for women than it is in men. It's really, really important if therapies are to be extended to women, that the research be done in women, to make sure it's going to work in them and work as well in them as it does in men. There can be a lot of problems in terms of study participation. Among them are things that I mentioned before; those things include transportation, especially if you live in a rural area.
You can imagine that if this is a problem in terms of getting your own clinical care, this is going to be an even bigger problem in participating in research, which is sort of an altruistic venture, rather than something that's necessary for your own care.
Another problem women often have is, what am I going to do with my child during this four-hour visit? In our studies, we try to alleviate or mitigate some of those problems by doing things like paying for their transportation, in some cases picking them up to bring them to the study, helping them pay for child care, if the study requires a number of hours and they have to be there early in the morning, paying for a hotel. Of course, they need to be compensated for their time, just like you or I or anyone else would want to.
These are all things we do, but these things cost money. It's important to do them, though, if you want to include people who represent the population you're trying to treat and generalize the results of the research to. If you really want to get people who look like that population, you don't want just the most convenient people you can find a lot of the times. But as I said, these things cost money, so it's important for funders to understand this is why the budgets of some of these studies are higher, but they're important to do.
Falk: It's interesting, the National Institutes of Health requires human studies now to include both men and women.
Adimora: They do require that; they need to require that they pay for that and take that into account, given its importance.
Falk: Dr. Adimora, thank you so much for participating in this podcast.
Adimora: Thank you. It was a pleasure.
Falk: Thanks so much to our listeners for tuning in. Stay tuned for next time, where we'll talk about HIV cure research with Dr. David Margolis and with a study participant. If you enjoy this series, you can subscribe to the Chair's Corner on iTunes or like the UNC Department of Medicine on FaceBook.
Visit these sites for more information:
Dr. Adaora Adimora's School of Medicine profile
Infectious Diseases (ID) Clinic at UNC
North Carolina AIDS Training and Education Center
TheBody.com
UNC Institute for Global Health and Infectious Disease
Categories: Featured Podcasts, HIV Matters, Podcast
Tags: Dr. Adaora Adimora
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Advancements in HIV treatment and prevention have come a long way since the virus first appeared three decades ago. While there is not yet a cure, people with HIV are enjoying longer and fuller lives, through treatments that also prevent the chance of HIV being transmitted to others.
It is because of these advancements that UNC's HIV cure researchers believe an end to this disease is possible. UNC experts talk about HIV prevention, treatment, the social stigmas and the latest research in our new Chair's Corner podcast series,"HIV Matters."
Please follow us on Facebook and subscribe on iTunes to stay connected, and bookmark our site to listen and find transcripts.
Preventing HIV with PrEP – with Dr. Christopher Hurt
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Participating in HIV Cure Research – with a UNC Study Participant & Dr. David Margolis
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Well my booth is open! I haven't solved the problem of display units yet, so a lot of my knick-knacks won't be making it to the space until I get some shelves up. And when that happens, I'll take the Oaxacan rug tapestry down and bring it back home where it belongs.
My booth just looked so pathetic without something up.


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Where can I buy Mustang Safety Boots?
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All Mustang Safety Boots product styles are designed by our local staff with trades background and made by our factory in China which has 27 years of footwear manufacturing experience.
What's the relationship between Mustang and other companies?
We are WA based PPE (personal protective equipment) wholesaler. We have no relationship with any other businesses named similar to us.
Are prices listed from your website uniform prices?
No. Prices from our website are recommended retail prices for Australian market, we don't make decision for our retailers.
Do Mustang Safety Boots come with warranty?
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Why are my new boots so stiff in their sole?
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text:
Q: Attempting to use the Sitecore Web API to create an object causes BadRequestException I've written some code to call the Sitecore Web API and create folders and other objects, using HTTP POST requests.  These calls used to work for Sitecore v6, but now that I'm running them against Sitecore v7.2, they no longer work.  GET requests still work fine.
An example of the POST that I'm doing is as follows:
URL:  http://sitecore.testsite/-/item/v1/sitecore/Content/Home/Abc?template=Common%2fFolder&name=Def&sc_database=master
Headers:

*

*X-Scitemwebapi-Password = sitecorepassword

*X-Scitemwebapi-Username = extranet\remote

Here is the exact error description from the log:

ERROR [Item Web API] The specified Content-Type is not supported.
  Exception: Sitecore.ItemWebApi.BadRequestException Message: The
  specified Content-Type is not supported. Source: Sitecore.ItemWebApi
  at
  Sitecore.ItemWebApi.Pipelines.Request.ResolveAction.ExecuteCreateRequest(RequestArgs
  args)    at (Object , Object[] )    at
  Sitecore.Pipelines.CorePipeline.Run(PipelineArgs args)    at
  Sitecore.ItemWebApi.Pipelines.HttpRequest.LaunchRequest.Process(HttpRequestArgs
  arguments)

Let me know if you'd like some C# code, or a screenshot of Postman.

A: I managed to figure this out by decompiling Sitecore.ItemWebApi.dll:

*

*Set the Content-Type to application/x-www-form-urlencoded

*The body of the request must contain fieldId=
(I don't know what fieldId should be set to, but using blank seems to work fine)

A: I was able to make this work with by just passing the correct Content Type.
Content-Type: application/x-www-form-urlencoded

redpajama_set_name: RedPajamaStackExchange


Airfix released this Supermarine Spitfire F.24, along with a late-model Seafire, in the late 1990s, and much acclaimed they were. This is a very nice kit which went together with no problems at all. The only thing I could detect that was not quite right is that the canopy sits too high — it should have its lower lip down on the rails. This example is finished in Gunze Sangyo acrylics and Johnson's Klear with an oil wash, and the kit decals were used. As you can see, the decals are quite translucent. The fuselage stripes should continue around the whole fuselage; I can't recall why mine don't! The rockets come with the kit, and overall it was a nice build. If I'd toned down the finish with a matt or satin finish I think it would look quite good. This kit was built straight from the box (apart from the seatbelts). I have built the same kit more recently in its F.22 guise (see here).


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