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The Forever Friends Appeal - RUH Charity
Friends of the RUH
Health Information Group
Art at the Heart of the RUH
RUH Choir
Charities and volunteer organisations
Charities and Volunteer organisations play an important part in the running of the RUH. The importance of these organisations and the volunteers cannot be emphasised enough.
Wherever you are in the hospital; as a patient or visitor, you are certain to be affected by their valuable contributions.
Main contacts for the hospital
Charities and Technical Accountant, Helen Bostock:
helen.bostock@nhs.net
Financial Accountant, Matt Lowe:
matthewlowe1@nhs.net
Head of Fundraising, Tim Hobbs:
timhobbs1@nhs.net
Deputy Head of Fundraising, Richard Gyde:
rgyde@nhs.net
In Memory & Legacy Officer, Jan Witt:
jan.witt@nhs.net
General fundraising or donation enquiries:
forever.friends@nhs.net
Please send donations and correspondence relating to bequests gifts in Wills (probate and legacy administration) to:
The Charity Office (E12)
Royal United Hospitals Bath NHS Foundation Trust
Combe Park
Bath BA1 3NG
The Forever Friends Appeal is the primary charity for the Royal United Hospitals (RUH). They fund projects that make a real difference to the lives of hundreds of thousands of patients cared for by the Royal United Hospitals each year as well as the friends and family who visit them.
Fundraisers and donors make it possible for the charity to help pay for additional equipment, research and innovations, as well as finishing touches and 'extras' that complement the existing high quality care at the Hospitals.
Bath Cancer Unit Support Group
A registered charity providing facilities for cancer patients at The Royal United Hospital.
Designability is a national charity joining expertise and knowledge to enhance people's lives. We are engineering and design experts with a passion for creating life-changing assistive technologies. We conduct original research and develop commercial products that meet real needs.
Healthwatch B&NES
Healthwatch works at a local and national level. They work with charities, and community and voluntary organisations, that support people who use health and care services. Working with a network of 152 local healthwatch and other partners, they build a national picture of the trends and issues that matter most to consumers. They take these issues to the people who make decisions.
Support and volunteers
The Friends of the RUH provide amenities and comforts for patients and relatives which could not otherwise be provided by the NHS. This includes having volunteers across the hospital, fundraising and a coffee Shop and shop that are open 7 days a week.
Bath Hospital Radio is judged amongst the best Hospital Radio stations in the UK. We provide a range of programmes 24 hours a day including news, information and our listeners favourite music.
Run by local individuals and groups, Local Involvement Networks aim to give local people a stronger voice in how their health and social care services are delivered.
Art at the RUH
The importance of introducing art into a hospital environment is now well recognised. The ASG aims to create a positive environment for healing at the RUH
Soundbite: Performing Arts
An initiative from Art at the Heart of the RUH to bring a diverse range of music workshops and live performances to the hospital.
The RUH Choir
Made up of hospital staff, the RUH Choir performs regularly at the hospital. They also do concerts in and around Bath.


We worked with the Museum of New Zealand Te Papa Tongarewa, alongside Sir Richard Taylor and Weta Workshop, to create two digital pieces for the exhibition Gallipoli: The Scale of our War. The exhibition combines the best of the movie-making, museum, and digital worlds to create an immersive experience that we think is truly world-class.
One of our tasks for the exhibition was to create a life-sized, three-dimensional x-ray of a soldier that shows the impact of the various weapons used at Gallipoli, in slow motion, on a human body. Our challenge was to balance the desire to be medically accurate against the need to avoid anything sadistic or comical; to not be repulsive, and to have something that creates some empathy with the soldier on display (even though he is always shown in x-ray form).
We were well briefed on the graphic style and design of the exhibition; the wonderful details being incorporated and the historical accuracy of the imagery. An early idea we presented was to render the x-ray in the style of medical textbooks of the era. Although that idea was abandoned, this influence has helped to make the body less graphically confronting and more more at home in the context of the exhibition.
Having established a design direction, we worked with the Te Papa team and an orthopaedic surgeon to determine our four key scenarios. This included establishing the relative speed of the shockwave (ten times the speed of sound) and each of the objects seen. We determined the injuries to be sustained with each weapon, including soft tissue damage. A 3D skeleton was carefully rigged in Cinema 4D, complete with primary arteries and organs, and we began the process of animating the four scenarios. These were initially output as 3D animations which were then treated in post-production, where resulting medical notes were added to show specific real-life outcomes for each weapon.
The final result is an interactive where the visitor selects a weapon (from the actual weapons on display) and that triggers the corresponding animation of the weapon arriving and hitting our life-sized x-ray soldier in visceral slow-motion. The sequence is completed with some medical notes, in the style of the era, showing the outcomes of this weapon on actual soldiers. It has been described as "beautiful", "gruesome" and "inspirational" - which to us says we achieved the right balance.


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Oppositional, Uncooperative and Aggressive Behavior
John F. Taylor, Ph.D.
Full Course: Oppositional, Uncooperative and Aggressive Behavior
Uncovering the Motives that Drive Negative Behaviors
Strategies for Anger and Distractibility
Overcome defensiveness, lying, and defiance
Uncover the hidden motives behind misbehavior
Stay out of "ignore-nag-yell-punish" cycles
Divert and reduce hostility and aggressiveness
Make pro-social adaptive behavior an attractive alternative to acting-out
The most effective ways to improve self-control and build conscience
Get out of power struggles and win cooperation
Regain peace and harmony in the classroom and at home
Improve cooperation with chores and routines
Reduce sibling rivalry and improve family dynamics
This workshop provides a wealth of specific techniques you can implement immediately, from a master psychotherapist who has developed many of these powerful strategies in his clinical practice of over thirty years specializing in at-risk children and youth. The principles and methods cut across diagnostic lines and apply universally to a wide range of deviant acting-out over a broad age range, from early childhood to young adult. Using these techniques, you may be able to accomplish quickly what can often bemissed in months of regular talking therapies, counseling orbehavior modification reward systems.
The participants will obtain an entire tool kit of usableinterventions. Discipline attempts that merely seek compliance from externally applied incentives, rewards,time- outs and punishments don't address the underlying motivations. The real solution for children with defiant issues and special needs is to meet in a pro-social way the unmet needs triggering the misbehavior. This workshop shows you not only how to identify and therapeutically meet underlyingneeds, but also how to prevent further acting-out. Effectively resolve attention-seeking, lying, defensiveness, defiance and sneakiness by first detecting the hidden needs andmotivations. Avoid "ignore-nag-yell-punish" cycles and senseless power struggles. Learn powerful answers for hostility and aggressiveness, and introduce pro-social adaptive behaviors convincingly to help develop conscience.
Utilize at least 5 interventions to stop attention-seeking misbehavior.
Demonstrate 4 diagnostic interview retorts to "I don't care" and "I don't know."
Implement at least 5 methods to reduce power-displaying misbehavior.
Enumerate at least 6 methods to counteract hostility andaggressiveness.
List 4 strategies to decrease destructive misbehavior.
Explain why encouragement is helpful in developing conscience.
Contrast grandiosity, selfishness, and arrogance with healthy self-esteem.
Utilize 6 methods to enhance anger control andtemptation resistance.
Uncover Misbehavior's Hidden Motives
The five motives that drive all misbehavior
15 maladaptive ways teens guard against feeling hurt
14 keys to stopping misbehavior
Using High-Impact Interviewing Techniques
Respond effectively to "I don't know," "It's not my fault," and "I don't care"
Ask 10 dynamite questions to unearth hidden motives
Reduce defensiveness and build trust
Develop Strategies to Help Parents and Teachers
Develop conscience without punishing or attacking
Refine empathy skills
Prevent misbehavior more effectively
Improve Social Skills and Self-Control
Bolster temptation resistance
Sharpen decision-making and problem-solving
Upgrade apology skills
Gain Control Over Anger
Express anger in healthy ways
Handle excess anger energy
Decrease rivalry with siblings and peers
Solve Attention-Seeking Misbehavior
Deflect "class clown" showing off
Stop appeals for unnecessary "help"
Use 10 answers for "notice me more"
Solve Power-Displaying Misbehavior
Have answers for "You can't make me!"
Sidestep power struggles
Learn 16 answers for the bossy teen
Stop Malicious Misbehavior
Teach important insights about revenge
Prevent bullying and threats
Apply 9 answers for the "look tough, act tough" teen
Solve Irresponsible Misbehavior
Learn answers for "I can't do it" cop-outs
Rebuild self-confidence
Strengthen stress coping skills
Solve Destructive Misbehavior
Decrease vandalism
Deflect the need for excitement
Offer better forms of entertainment
John F. Taylor, Ph.D., is a clinical specialist and a nationally-known author and speaker. Dr. Taylor has treated hundreds of children, adolescents and adults symptomatic of Sensory Processing Disorder occurring in most individuals with ADHD and on the autism spectrum. He is a strong advocate of a multi-dimensional approach to treatment, incorporating principles from behavioral health along with sensory-motor interventions and addressing brain physiological processes. The father of four children with these symptoms, Dr. Taylor has produced 30 major works in this field including landmark publications such as Learn to Have Fun with Your Senses and The Survival Guide for Kids with ADD or ADHD. Listed in Who's Who Among Service Professionals, Who's Who in the West, and The International Who's Who of Professionals, Dr. Taylor has been a guest on nationally broadcast shows, a featured columnist and a producer of landmark video and audio learning tools to assist these children and teens, including The School Success Tool Kit and The ADD Student at School. An innovator in the field of diagnosis, he is a consultant and writer for Wechsler and other intelligence scales, the co-developer of the Taylor-Graham Simplified Version of the MMPI and the developer of the Taylor Hyperactivity Screening Checklist. Dr. Taylor has been a psychology instructor at UT-Chattanooga and has presented to clinicians, therapists, teachers and parents nationwide. He earned his Ph.D. and MA in psychology from Kent State University.
FINANCIAL: John Taylor is compensated by Summit as an instructor. He has produced many books, booklets, and audio and video CDs and DVDs, many of which are available for purchase.
NONFINANCIAL: John Taylor is the father of four children with ADHD and/or ADD symptoms.
Oppositional, Uncooperative and Aggressive Behavior |6 Hour Course
Uncovering the Motives that Drive Negative Behaviors |2 Hour Course
Strategies for Anger and Distractibility |1 Hour Course

redpajama_set_name: RedPajamaCommonCrawl


NORTHAMPTON, Mass. – The Regis College women's track and field team continued the 2018-19 indoor season Saturday by participating in the Smith Pioneer Invitational, hosted by Smith College.
Ashleigh Kelley (Stoneham, Mass.) led the Pride with a fourth place finish in the 3000 meter run in a time of 11:10.85, followed by Erin Kelley (Stoneham, Mass.) in eighth place in 11:42.73.
Malaysia Cabral (Boston, Mass.) led the Pride in the 60 meter hurdles with a time of 10.80 seconds, followed by Hannah Plamondon (Woonsocket, R.I.) at 11.70 seconds. Erin Sheehan (Pembroke, Mass.) posted a season-best time of 8.68 seconds to lead Regis in the 60 meter dash, ahead of Lourdes Jean-Louis (Haiti) at 8.79 seconds and Emily Fagundo (Dover, N.H.) at 8.94 seconds.
Sheehan also posted the team's fastest time in the 200 meter dash at 30.06 seconds, just ahead of Fagundo at 30.46 seconds. Jean-Louis was Regis's top finisher in the 400 meter dash with a time of 1:07.45, followed by Fagundo with a season-best time of 1:08.60, Sheehan at 1:12.27, Cabral at 1:13.18, and Plamondon at 1:20.17.
In the throwing events, Liz Ksepka (Calais, Vt.) finished fifth in the shot put with a season-best throw of 11.59 meters (38' 0.25"), ahead of Elliana Boebel (Bedford, Mass.) in 17th place with a season-best mark of 10.22 meters (33' 6.5") and Elisabeth Cooke (East Longmeadow, Mass.) in 18th place at 10.19 meters (33' 5.25").
Ksepka also finished 10th in the weight throw with a top mark of 13.42 meters (44' 0.5"), followed by Cooke in 22nd place at 10.69 meters (35' 1"), Boebel in 24th place at 10.51 meters (34' 5.75"), and Jacqueline Samse with a season-best mark of 8.07 meters (26' 5.75").
Regis heads to Medford, Mass., for the Branwen Smith-King Invitational, hosted by Tufts University next Saturday, Jan. 26.


The award-winning edible maker, Cheeba Chews, has out-done themselves with this delicious cannabis-infused treat. The 80mg CBD Chocolate Toffee Bar pairs decadent flavors with powerful CBD effects. If you're looking for a CBD bar to reap its numerous health benefits, then this Cheeba Chews edible is right for you. It's an ideal treat for those that don't want to feel the psychoactive effects caused by other concentrates. The CBD Chocolate Toffee bar is available for purchase at The Spot 420's recreational dispensaries in Colorado.


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Issue 85: The Great Unknown
In A Short Time This Will Be A Long Time Ago
Fran Hoepfner
"Once upon a time," a voice tells us, a fairytale beginning, "1870 to be exact, a 16-year-old kid traveled from the cold shoulder of Scotland to the baking heart of America to find his love. His name was Jay. Her name was Rose."
Slow West starts—as did the world—with stars. "Pegasus, the Great Bear, the Dragon, Andromeda…" Jay (Kodi Smit-McPhee) lists. Stars have always been a guiding light, a spiritual GPS. Every day I get a push notification with a horoscope I don't read warning me about a romance I won't have. Jay looks up to the stars for a route, for certainty. He aims a pistol, mock-shoots, whisper-sized pews coming out of his mouth. Orion's Belt, the only constellation I can identify and that's on a good day, shines above him. Flat on his back, eyes pitched up to the galaxy, the stars bid a silent farewell, and now it's just Rose (Caren Pistorius). Rose above him, Rose on top of him. She smiles, breathes like a person who doesn't mind being out of breath.
The future is the unknown. The past we don't have to worry about. The past is done. The past is clear: written in the stars. "Once upon a time," the stars tell us, a fairytale beginning, "a 16-year-old kid traveled from the cold shoulder of Scotland to the baking heart of America to find his love."
The West is violent and strange, vast and unpredictable, green and tan and painfully blue. It is nothing like the bleary grays of Scotland, in part because in the West, Jay is without everything that empowered him back home. There, he had a title and money. Here, his books and his dollars mean little more than a target on his back. The West isn't built for intellectuals; it isn't built for any of the white men traversing its plains. Everything Jay knows about the West comes from books, the past made instruction manual. But a book won't tell a boy how to shoot someone. For that, he'll need a man.
The West is not a place for love, it's a place for business. Look, who doesn't get a little weepy when they see some mountains in the distance, but if you think all these people died for a vista…uh oh. There's nothing romantic about making a quick buck, so there is nothing romantic about Silas (Michael Fassbender), the drifter Jay latches onto with urgent desperation.
We know from the moment Silas speaks (or sooner, possibly, if you have rapid-fire Michael Fassbender voice recognition buried somewhere in your brain) that it's his voice narrating the film. "Once upon a time," Silas tells us in the opening seconds, stars glittering across to the sky. To Jay, as they lope together, he's silent. "You care not why I'm headed West?" Jay asks. Nothing. The thing about the West is that it doesn't require context. You don't see a novel written out on a WANTED poster. Bounty hunters aren't interested in backstory. "There was an accident," Jay continues. "My girl and her father fled from Scotland. Settled out West. It was all my fault."
Jay's manner of speaking mimics the men he meets in America: short, curt, direct sentences. Like your standard-issue liar, however, he's still over-explaining the circumstances of his arrival in the States and his quest. This is to be expected. Jay comes from an aristocratic class, and he believes his education, his ability to articulate what he believes to be true will not only distinguish him but dictate the future. "My girl," he says of Rose. Who is she to him? She is his girl, she was his girl. Jay is writing his own history. The two men ride West––forward, towards the left side of the frame, into an unknown landscape. The audience's gaze travels from left to right, from west to east, so it almost looks like they're moving backwards.
"That kid was a wonder. He saw things differently," Silas tells us in voiceover. Differently is a kindness, a particularly generous reading of a not altogether generous person. It allows for the benefit of the doubt. Silas adds: "To him, we were in a land of hope and goodwill." This, too, is a romantic reading of Jay's naivety, one that is largely informed by his privilege. He understands in an elemental sense that the West is dangerous, but not dangerous to him. Not deadly to him. Jay carries a pistol, but he's mostly using it to take false aim at the stars. If he fires one into the sky, can he change his fate? When Jay and Silas meet, the gun isn't even loaded. He's not even ready for the future.
Jay's quest may be noble, at least at face value, but he is not. Not long after he and Silas link up, they stop at a general store for supplies. Nothing "goes well" or even "goes quietly" in the West, and so a routine errand for beans and milk ends in blood. A foreign couple—Swedish, if the subtitles are to be trusted—shows up and tries to rob the store. The store owner shoots the husband, the wife shoots the store owner, and as she then points a frantic pistol at Silas, it's Jay who fires the killing shot. It is an unspeakable act of brutality. Necessary, probably, but awful nonetheless. When Jay and Silas step back out into the sunshine, the towheaded children of the couple look up at them in confusion and despair.
Jay is not altogether indifferent to his murder, but he commits the act with a steady coldness. Silas encourages him, no doubt, guides him to focus on his breathing as he takes aim and pulls the trigger. The murder does not complicate his character. He does not grapple with his guilt alongside his journey to his love. It is one thing to be changed by an event—it is another to have grown into it. Though Jay may see the West as a lawless place, there's an assumption there that the law exists to prevent violence, instead of enhance it. "I killed a woman yesterday," Jay confesses to a stranger later on.
"Part and parcel," the man tells him. Men will justify the violence they do as a part of a system that allows it.
I'm not saying that Jay's plan is bad, but I'm asking what the future holds. What is supposed to happen if all goes correctly? He settles down with Rose and her father, adjusts to life on the plains. Here, still, the logic is faulty. In flashback, we see Jay and Rose play together on the beach, reference Shakespeare, tumble through wet sand. He professes love to her. She is his love; he is not hers. To Rose, Jay is like a little brother. To him, she is an escape from a system he feels oppressed him (when it is actually her—and her father—oppressed by him). He hides under the bed as the working folks on his father's estate drink and laugh. This is fantasy, just like his vision of the West. He seeks solace in their brutishness. He wants to be the brute.
The night that he hides and watches Rose and her father (Rory McCann) and his friends cavort comes to an abrupt end when his father storms in and puts a stop to things. Jay isn't supposed to be there. He does not make sense in the context of these people—they are below him. "I'm with Rose now," he protests. Rose averts her gaze; her father looks on in confusion. Did anyone ask for him to be with her? Jay's father strikes Rose—Rose's father strikes Jay's father—see how this begins and ends and begins and ends? The blow is fatal. The past repeats. Jay is a product of the very system that puts the bounty on his love's head. So much for a wedding gift.
Jay leaves Silas one morning in an attempt to venture out on his own. One tires of Silas's quote-unquote uncouthness. That he dared to ask Jay if he'd even bedded Rose. (Though the comment is made with a signature Fassbender smirk, it's not an entirely out of line question. It is sort of if not extremely insane to travel across the world for a person who may not even consent to sleep with you, norms of the past be damned.)
So Jay rides off, solo, until he wanders across a dry field with a lone German camped out. "I come in peace," Jay says.
The two men take solace in the other's company. "East: what news?" Werner (Andrew Robertt) asks.
Jay considers this. "Violence and suffering. And West?"
"Dreams. And toil."
Werner is a writer, working on a book about the decimation of aboriginal tribes. As Jay relays the news of a burnt Indian camp he passed, Werner grabs his book. "A race extinct, their culture banished, their places renamed…Only then will they be viewed with selective nostalgia, mythologized and romanticized in the safe guise of art and," he throws his book to the ground, "literature."
Jay and Werner are one in the same: objective observers. They are the ones who will reproduce this selective nostalgia, sitting around a campfire and connecting blurred dots. They have all the right opinions about what's happening, the educated opinions, that is, but they are useless in the face of injustice. They, too, will be victims of this selective nostalgia, and perhaps selective nostalgia is what continues to bring ruin upon the West. Jay himself travels halfway across the world on account of selective nostalgia: it has replaced history, it has replaced memory. The past is not a full picture, but a collection of stars. The bright parts shine, with a dullness surrounding them. Jay has chosen to forget Rose's rejection, replacing her power with his own supposed heroism. Literature, romance—these are not violent trades. But they are not exactly peaceful either.
Jay and Werner drink coffee. They sit on chairs. Werner is everything Silas isn't. "Til now, my sole companion's been a brute," Jay tells him.
Werner, only somewhat a liar, promises Jay an egg in the morning. There is indeed an egg in the morning—raw—sitting atop a piece of paper. When Jay grabs the egg, the paper flutters away in a crisp wind. Only when he gets ahold of it again does he read the lone word on the paper: "WEST," with an arrow beneath. Where this points, where he ought to go, a giant question mark. West is all-encompassing. Dreams and toil, but also violence and suffering. Werner is not a sage—he is a remnant of a violent European past. What could be clearer than him doing what Europeans have done for centuries: stealing all of Jay's belongings in the night? A shame, then, to be reminded of what waits for Jay on the other side of the Atlantic. And shame, always, that brutes surround us, and in the frigid morning desert air, the person who comes to Jay's rescue is Silas, the brute.
Jay and Silas are not the only men out here. There's a whole slew of bounty hunters tracking them, led by a fur coat of a human being, Payne (Ben Mendelsohn—chef's kiss). In a lesser film, the villains are villains. Here, they are mostly just more guys (and their token female bounty hunter). Payne's gang are ruthless, but to whom? To Jay? Who shot a woman? It takes more than Ben Mendelsohn to frighten me, is all I'll say. When Payne lurches into Silas and Jay's camp with a bottle of absinthe, the threat of violence wears away quickly. If he can't pump them for information, he'll settle for getting them shitfaced. Already we rewrite history. Already we feel safe in the context of someone we don't yet know. Storytelling is laying down train tracks as the train is coming, only you're not yet sure what direction the locomotive is coming from.
In a drunken stupor, Jay wanders into Payne's gang's camp. Right into the den of thieves. This group—the ones we've been warned about, who even Silas seems to fear—have taken in the Swedish orphans that Jay and Silas left behind. The group rants and raves about whether it's better or worse to be the subject of the newspapers. "What's the point in dyin' if nobody knows you're dead?" one of them spits.
It's a good question, one that prompts one of the elder bounty hunters into a long-winded story. But I'd rather stay on the question. What is the point in dying if nobody knows you're dead? It's a question that argues on behalf of notoriety, of fame, of self-invented myth. "Once upon a time," Silas tells us at the start. We begin with Jay, not Rose. We begin with violence. What's the point in dying if your story doesn't get plucked and amplified, told over a crackling fire.
It's here that we arrive at Rose and her father and Kotori (Kalani Queypo), a Native American man who appears to have taken up residence with them. We know very little about them. Rose's life is kept a mystery to the audience. Not for fear of over-explaining, but because this is how stories work. We know the mundanities of the nomad, the knight, the gunman. We know their campsite flooded. We know a German stole all his belongings. But we know nothing of Rose and her father—how they came to the West, how they've hidden, how they met Kotori, how they built a new life. Rose struggles to make butter, its formless mass melting in the sunny wooden cabin. This is not cinematic. This is not heroic. So we have been made blind to it, instead tracking the folly of Jay.
When it ends in violence, in explosive gunshots and fire, it ends on the boundary of Rose and her father's house. Everyone has converged: Silas, the bounty hunters, and running, sprinting, into the line of fire, Jay. Silas ties him to a tree, perhaps for his own safety. Jay assumes otherwise. His traveling companion, his brute, wants to kill the girl first. Or maybe he wants to do something worse. Though Silas has shown nothing but humanity towards Jay (albeit the occasional bit of verbal rudeness), Jay assumes the worst because he sees it in himself. He looks for the worst and projects it outwards.
The shootout has all the rhythm of a whack-a-mole game. Tiny explosions of blood dappled across a field of dry grass. Rose's father is killed. Kotori is killed. Silas, too, is shot twice. Jay bursts through the door of Rose's house, and she fires directly into his heart. I'm tempted to write the former sentence with a modifier. Start the story over again. "Once upon a time," etc. She fires directly into his heart without thinking. She fires directly into his heart carelessly. But she does not kill Jay without thinking. She does not kill Jay carelessly. She is a woman alone in a house beset by violence from all sides, and when yet another man with a gun bursts through her door, she acts as one would expect. She shoots the brute in the heart.
Jay sits against a wall, face paling, blood oozing out of the corner of his mouth. A lone gunshot knocks a jar of salt directly onto his wound. A metaphor made obvious. (I laugh every time, in spite of myself.) Rose sits beside him as he dies, takes his hand. A brief respite of tenderness in an otherwise brutal film. Even in his dying moments, she is quick to note his silliness—it is not her fault for shooting him, but his for following, for bursting in, for embarking on a fool's errand. His story is coming to an end quicker than he expected. The details fade away, only bright spots remain.
"He loved you with all his heart," Silas says, the two sitting over Jay's body.
"His heart was in the wrong place," Rose tells him.
"His spirit was true," he contests.
Here we see it made plain: selective nostalgia. Was Jay's spirit true? We are left with this idea—the true-spirited Jay—as the film shows us each of the dead bodies racked up over the course of its tale. These are the constellations, littered across the west. In her poem "Our Bodies Break Light," Traci Brimhall writes, "stars need a darkness to see themselves by." These old tales exist to perpetuate not truth but self-mythology. We cannot remember every star in the sky, so we remember the ones that get told to us, over and over again. "Pegasus, the Great Bear, the Dragon, Andromeda," and so on. If we are to believe the film, which is to say, if we are to believe Silas, he and Rose make a home together, take in the little orphans. It's too neat. Unlikely. Ignores the violence, ignores the suffering. Makes whole something that cannot be fixed. "Once upon a time," the film begins, "a 16-year-old kid traveled from the cold shoulder of Scotland to the baking heart of America to find his love."
That is one way to remember it.
postsSlow West
Fran Hoepfner is an Editor-at-Large at Bright Wall/Dark Room and has been contributing to the magazine since 2013. She recently completed her MFA in fiction at Rutgers in Newark, and will be launching Fran Magazine, in early 2022.
The Saragossa Manuscript: An Ode to the Journey of Digression
Jenna Ipcar·
Now and Then and Death
Jessica MacLeish·
We Have A Problem
Zosha Millman·
Finally The Punk Rockers Are Taking Acid
Kevin Curtis·
Previous Hands Off: On Lynn Shelton's Touchy Feely
Next Exile in One's Own Body


A new augmented reality gaming project, Star Wars: Jedi Challenges, was announced during the gaming panel at D23 Expo 2017.
Disney, Lucasfilm and Lenovo have developed a new augmented reality headset, which will allow players to fight with lightsabers in augmented reality form.
In addition to Jedi Challenges, other AR Star Wars games were teased including the ability to play holo chess.


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Amid coronavirus alarm, politicians defy health experts' warnings
Kuala Lumpur, Malaysia – The coronavirus pandemic is expected to get worse before it gets better, a global health expert warned, stressing the best way individuals can limit the spread is to strictly observe social distancing – the practice of avoiding close contact with other people. Swee Kheng Khor, a doctor who studies global health…
Kuala Lumpur, Malaysia – The coronavirus pandemic is expected to get worse before it gets better, a global health expert warned, stressing the best way individuals can limit the spread is to strictly observe social distancing – the practice of avoiding close contact with other people.
Swee Kheng Khor, a doctor who studies global health policies at the University of Oxford, made the assessment even as some of the world's political leaders continue to defy his advice while imposing the same restrictions in their countries.
Your coronavirus emergency kit: Preparation, symptoms, tips
Coronavirus: Which countries have confirmed cases?
What happens if you catch the new coronavirus?
"At the moment, vaccines are at least 12 to 18 months away, and there is no cure for coronavirus," said Dr Khor, who has extensive experience in disaster relief.
"Treatment is only supportive and may require intensive care in a minority of patients. Therefore, without a vaccine or effective treatment, social distancing to prevent coronavirus is the best way to fight it."
As part of the health guidelines on social distancing, mass gatherings – from rallies and concerts to religious events – are to be avoided, and individuals are advised to maintain at least one metre (three feet) distance from others.
But even if the science behind social distancing is strong, governments "find it difficult to impose" the practice, because it goes against the "instinct of humans" and it carries with it political and economic costs, noted Dr Khor, who is also a senior fellow on health policies at the University of Malaya in Kuala Lumpur.
Handshakes and selfies
The disease, which originated in China, has continued to spread around the world, with infections confirmed in at least 165 countries. As of Thursday, the death toll is nearing 9,000, while infections were about 220,000. Some 84,000 victims have recovered, mostly in China.
The health emergency has left many political leaders grappling for the most effective response, while others remain dismissive of the global threat.
Supporters of Brazilian President Bolsonaro take part in a protest on Sunday in Sao Paulo near a public sign that reads 'COVID-19 – Avoid crowds' [File: Nelson Almeida/AFP]
On Sunday, March 15, outrage erupted in Brazil after President Jair Bolsonaro bolted out of his own reported quarantine to greet supporters, shaking hands and taking photos with them in the capital, Brasilia. This, despite earlier warnings that he might have been exposed to the coronavirus through his communications secretary, Fabio Wajngarten, who had tested positive.
Bolsonaro, who claimed to have tested negative for the virus, earlier encouraged supporters to take to the streets against the country's Congress and Supreme Court – ignoring warnings from health authorities about large gatherings and recommendations on social distancing. He called the coronavirus threat a "fantasy".
He also downplayed the revelation on Wajngarten's health condition, while his son fiercely pushed back against reports from Fox News and several Brazilian media that the president himself was infected.
Trump 'not concerned'
Wajngarten accompanied Bolsonaro during his meeting with US President Donald Trump in Florida in the first week of March. At least 14 people from Bolsonaro's US entourage later tested positive for the coronavirus, according to reports.
On Friday, March 13, Trump brushed off speculation about the risk of being exposed to the disease, after his meeting with Bolsonaro and other Brazilian officials.
As he shook hands with outgoing Irish Prime Minister Leo Varadkar during their meeting at the White House, Trump said he was "not concerned" after meeting Wajngarten, who in one photo was shown standing next to the American president and vice president.
Later that same day at the Rose Garden, Trump addressed the country and declared a national emergency to combat the virus – a reversal from earlier statements in which he said it will "miraculously" go away "when it gets a little warmer" in April.
After his speech, the US president was seen patting the back of Vice President Mike Pence and brushing his right hand with the hand of Dr Anthony Fauci, the director of the National Institute of Allergy and Infectious Diseases, as both reached for the microphone set up for the news conference.
The next day, as cases of infections and deaths continued to climb in the US, Trump wrote on social media, "SOCIAL DISTANCING!"
As of Thursday, March 19, the number of infections in the US surpassed 8,300, with at least 150 deaths.
President Trump shakes hands before dinner with his Brazilian counterpart Bolsonaro at Mar-a-Lago in Palm Beach, Florida earlier this month [File: Alex Brandon/AP]
In this article:alarm, coronavirus


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Montana Student's Right of Privacy
FERPA Federal Law
Student Code of Conduct and Grievance
Authorization to Release Information
Authorization for Job or Scholarship Reference
Restriction of Release of Information Form
FERPA OVERVIEW
The Federal Family Educational Rights and Privacy Act (also called FERPA or the Buckley Amendment) affords students certain privacy rights regarding their education records. Those rights are summarized below.
FERPA protects the privacy of all education records, in any medium, maintained by Great Falls College Montana State University (hereinafter Great Falls College MSU). Although the law was written in 1974, its coverage is not limited to paper copies. All student education records, including records about students contained in computer databases, are protected. Additionally, Montana law protects students' right to privacy and is considered more restrictive in its approach to the release of dependent student information to parents.
Generally, only directory information may be released to third parties, including parents of dependent or independent students without the student's written consent.
THE RIGHT OF ACCESS
Students at Great Falls College MSU may have access to their educational records. This includes nearly all information maintained by the College which is directly related to the student. In most cases, an educational record that is "directly related to a student," consists of grades and semester enrollment. Students have the right to review their educational record within 45 days of the day the college receives a request for access. Students should submit to the Registrar written requests that identify the record(s) they wish to inspect. The college official will make arrangements for access and notify the student of the time and place where the records may be inspected. If the records are not maintained by the college official to whom the request was submitted, that official shall advise the student of the correct official to whom the request should be addressed.
Note: Students must provide photo identification in order to access their education records.
THE RIGHT TO AMEND
The student has a right to request the amendment of the student's education records that the student believes are inaccurate or misleading. Students who believe their record is inaccurate or misleading should write to the Registrar (see note below), responsible for the record, clearly identify the part of the record they want changed, and specify why it is inaccurate or misleading. If the college decides not to amend the record as requested by the student, the college will notify the student of the decision and advise the student of his or her right to a hearing about the request for amendment. Additional information about the hearing procedures will be provided to the student when notified of the right to a hearing.
Note: FERPA does not address grade disputes or grievances, which are pursued through other college policies and/or college procedures. Students should consult section 300.60 of the Student Code of Conduct.
THE RIGHT TO CONSENT
At institutions of higher education, students may authorize the release of their educational records, but the student has the exclusive right to decide whether or not to authorize the release. This means that, in most cases, even a student's parent may not demand the release of the student's educational record. Moreover, students' access to their own educational records, as well as the right to limit disclosure of those records, continues even after they graduate or otherwise leave the institution.
A student may give consent in writing to release their enrollment information to a third party; this includes a letter of verification or an official transcript. Students may also complete a release to have certain information made available to their parent or guardian.
Disclosure of Directory Information can be made without a student's consent.
Disclosure without consent is also permitted to school officials with legitimate educational interests. School officials include administrators, faculty, professional staff, academic advisors, clerical or support employees, a person or company with whom the college has contracted as its agent, acting with a legitimate educational interest, to provide a service instead of using college employees or officials (such as an attorney, auditor, collection agent, service provider); a person serving on the Board of Regents; and Great Falls College MSU Foundation offices; or a student serving on an official committee, such as a disciplinary or grievance committee, or assisting another school official in performing his or her tasks. A school official has a legitimate educational interest if the interest in an education record is justified under one or more of the following conditions:
the information or records requested are relevant and necessary to accomplish some task or determination related to the legitimate educational interest of the student
the official needs to review an education record in order to fulfill his or her professional responsibilities for the college
the task or determination is an employment responsibility or a properly assigned subject for the inquirer's determination and/or
the task or determination is consistent with the purpose for which the records, information, or data are maintained.
Occasionally, a school official may be asked, or volunteer, to write a letter of recommendation on behalf of a student.
This usually would not require the student's written release or authorization, but if the letter includes information that falls within FERPA's definition of educational records (such as grade point average or class ranking), the student's written consent to include such information would be necessary.
THE RIGHT TO FILE A COMPLAINT
If you believe Great Falls College Montana State University is not complying with state or federal regulations regarding FERPA or other privacy protections, please bring the Registrar's Office your concerns to see if we can agree upon a resolution. Every effort will be made to address your concern; if you are not satisfied; you have the right to file a complaint with the U.S. Department of Education concerning alleged failures by Great Falls College Montana State University to comply with the requirements of FERPA. A complaint may be filed in writing with the Department of Education at the following address: Family Policy Compliance Office U.S. Department of Education 400 Maryland Avenue, SW Washington, DC, 20202
Education Record — Includes any record(s) directly related to a student and maintained by Great Falls College MSU or by a party acting for the college. Education records include any information or data recorded in any medium, including but not limited to handwriting, print, computer media, video or audio tape, film, microfilm, and microfiche.
Personally Identifiable Information —Includes not only the name of the student and other personal identifiers, but also a list or description of personal characteristics or any other information that, alone or in combination, is linked or linkable to a specific student that would allow a reasonable person in the school community, who does not have personal knowledge of the student and/or relevant circumstances, to identify the student with reasonable certainty. Further, personally identifiable information includes all information about a student that is not defined as directory information, as well as any information that the student has indicated may not be released, including directory information.
Student — Includes any individual formally admitted who is or has been in attendance at Great Falls College MSU. The term does not apply to applicants for admission, nor does it apply to persons who have been admitted but who have not registered.
Students and FERPA Parents, Family and FERPA Faculty, Staff and FERPA
Great Falls College Montana State University
Excludes College Holidays
Email: admissions@gfcmsu.edu
Dena Wagner-Fossen