text:
[Interviewer's Note: The following interview was recorded late on a hot August afternoon in the lounge-cum-bar of a commercial traveller's hotel in Huddersfield. As a result both interviewer and subject had to compete with early evening drinkers chilling out at the end of the working day and with the television news and sports reports. Kenneth Koch was unfailingly helpful and courteous throughout despite being clearly exhausted after along car journey from Ipswich where he had opened the exhibition 'Kenne th Koch: Collaborations with Artists' curated by latter-day New York poet Paul Violi. Kenneth Koch was also in England to promote his book of short stories Hotel Lambosa (Coffee House Press). The interview was recorded and transcribed by David Kennedy and then corrected and edited by Kenneth Koch.]
David Kennedy: I wanted to start by asking you to tell me something about your background - do you come from a literary or artistic family?
Kenneth Koch: Well, I was born in Cincinnati, Ohio. My family was not nationally known as being a literary family, though my mother and my mother's side of the family in general were interested in literature. My mother actually gave talks about books ever y now and then but...And one of my great uncles wrote a novel or two but I don't know of any very literary members of the family...
David Kennedy: Was literature a very early interest of yours or something you came to later?
Kenneth Koch: There was a form of literature that I was interested in immediately, nursery rhymes and children's stories. The first poem I remember writing was when I was five years old. I don't know if I wrote it down - I don't know if I was able to writ e then but I was five years old so perhaps I was able to write it out a little bit. It was a poem about something that was not true. I don't know where I got the idea for it. It rhymed and everything. As I remember it was: I have a little pony / I ride hi m up and down. / I ride him in the country / I ride him in the town. I didn't have a pony, I didn't want a pony really so it must have come, been inspired by some poems I'd read. And I showed it to my mother and she threw her arms around me and kissed me and said "O, that's wonderful!" I suppose this was a positive experience but actually...And then I was sort of a class poet when I was a little boy in school and when there was a holiday I would sometimes be asked to write a poem.
I remember that my uncle Leo and my grandfather both encouraged me in writing. My poetry changed when I was fifteen years old. One of my uncles, Leo, had written poetry when he was a young man and he took me down to the family business and he opened a saf e and showed me some poems he'd written when he was nineteen and he also gave me a book of the collected poems of Shelley. And I still have that book and I remembered always this picture of Shelley at the front of the book with an open collar and wild hai r and a wild look in his eye. I read those poems as well as I was able and started writing poems that I thought were Shelley-like. In fact, they merely had some of the lofty attitude and some of the nineteenth century language - they weren't really [Laugh ing] very much like Shelley. And, er, I discovered modern poetry I think quite late, when I was seventeen, through an anthology, a Louis Untermeyer anthology. Of course, I was crazy about modern poetry as soon as I discovered it. Then I had a very sympath etic, intelligent teacher when I was a junior in high school - I don't know what the equivalent is here [UK] but I was seventeen years old - who encouraged me, who liked the poems I was writing influenced by modern poetry. I was also at that time when I w as sixteen or seventeen, I was reading a trilogy by John Dos Passos, U.S.A. It was a very famous book at the time. I was particularly inspired by the stream-of-consciousness sections. I was...I didn't know that he'd gotten this technique from Joyce and I suppose when one's a young writer it doesn't matter if one knows those things. I was excited by just saying anything that came into my head without thinking about it. And I wrote some rather shocking, crazy things but I found a kind of music that I liked that sounded more like my own voice than the rather stilted sonnets I'd written in my Shelley period. And my high school teacher, whose name was Katherine Lappa, encouraged me to write free, crazy things and that's the story of my early poetry.
David Kennedy: Do you remember when you first wrote a poem when you thought 'That's it! I've really got something, I've made something that's really my own'? Did that happen fairly early or much later?
Kenneth Koch: I think I started writing poems I liked more when I was seventeen or eighteen. I wrote poem when I was just eighteen, maybe on my birthday, called 'For My Eighteenth Birthday' or 'Poem For My Birthday' and it was influenced by French surreal ism in so far as I understood it. I understood it mainly from a surrealist magazine called View. It was edited by Charles Henry Ford and Andr' Breton had something to do with it too. Some of the French surrealists at the beginning of the war had come over to New York and they brought out this magazine. It was a big, glossy magazine full of surrealist things and I wrote this poem when I was eighteen beginning, I can only remember part of, "At eighteen I walk on the surface of things, I tread in my stocking feet in houses of soft love..." [Laughs] and other sort of surrealist lines. So I liked that poem and I liked a poem I wrote I think when I was seventeen called 'Schoolyard in April'. That one was actually published in Poetry magazine in Chicago. And the n when I was eighteen years old I had to go in the Army - it was World War Two - and I didn't write very much at first but when I was actually in combat in the Philippines I managed to write a few poems. Again I wrote a birthday poem I remember which was also published in Poetry magazine, it was 'Poem For My Twentieth Birthday', and I wrote some other poems. It was reassuring to be able to write poems while I was in this terrible war.
David Kennedy: Like a reminder of home, perhaps?
Kenneth Koch: Well, it was an escape from where I was, in any case. [Laughing]
David Kennedy: Changing direction, you've written in a wide variety of styles - is there an essential Kenneth Koch?
Kenneth Koch: For whom would there be this Kenneth Koch?
David Kennedy: For you and for the reader.
Kenneth Koch: Well, I certainly have the feeling that I'm the same person even though I've changed a great deal. I can't speak for the reader. Picasso said once when being interviewed that one should not be one's own connoisseur. As I look over my work, I mean every time I look over my early work, I see yes I could do that then and then I could do that and that...That may be the hardest thing for a writer, at least for a poet, to tell what the identity of his work is. It's very hard to know what one reall y looks like or how one moves because one poses in front of the mirror and, erm,...I mean, it's really a question for you and others to answer if there's an essential Kenneth Koch. Of course I think there is...
David Kennedy: I was interested to know what you thought because certainly critics over here [in the UK] have just said "Kenneth Koch the comic poet" and that's really as far as it's gone.
Kenneth Koch: I've had trouble with criticism, I guess. It's hard to know what role criticism plays in either encouraging poets or in getting other people to read them.
David Kennedy: Have you ever found it helpful yourself?
Kenneth Koch: Well, it's enormously cheering to get a good review by someone who seems to understand your work. I remember being enormously cheered when a friend would say something intelligent about my work. I'm trying to think if there's any written cri ticism that has made a difference to the way I wrote but I don't think so. Some people who write about poetry seem to have had trouble with my poetry because it is sometimes comic. I don't think the nature of my poetry is satirical or even ironic, I think it's essentially lyrical but again I don't know if it's my position to say what my poetry is like. The comic element is just something that it seems to me enables me to be lyrical in the same way - not to compare myself qualitatively to these great write rs - but in the same way that it enables Byron to write his best poetry and certainly Aristophanes and certain others too. Ariosto is very very funny...
David Kennedy: Changing direction again, the so-called New York School has been enormously influential on recent generations of young British poets and I wanted to ask you a couple of questions about that. Looking back at the Fifties, how much do you thin k that the poetry that you and Ashbery and O'Hara and Schuyler wrote then was a reaction against the climate of the Cold War?
Kenneth Koch: If it was a reaction, I didn't know it at the time. I think we all influenced each other and we were also influenced by certain other poets. I think the influences on us were not mainly political or of the decade or of the political situatio n but of other writers. I think there was a kind of originality about what we wrote. We didn't seem to have any sort of poetic father figures. There was no-one whom we worshipped and said 'yes, he is our leader'...[Pause] I can only speak for myself. Actu ally, in that catalogue I gave you [Kenneth Koch: Collaborations with Artists] there's a poem which has not been in a book yet called 'Time Zone' which is all about - it's about a ten page poem - all about my friendships and collaborations and excitements with other poets and painters in the Fifties and early Sixties. As I recollect, our political involvement, certainly mine, I would say it was mainly indifference. I became involved in politics really in 1968. I was a professor at Columbia when the studen ts rebelled about the Vietnam War when they took over some university buildings and one had to take sides either with the students or with the administration. I took sides with the students. And after that I marched in parades and even went to jail briefl y for one night in the cause of peace in Vietnam. But I was...and I wrote a rather long poem called 'The Pleasures of Peace' though truly it seems to me that - I don't know whether this is just true for me - but I certainly think it's worth making an effo rt to write about certain important things as I made an effort to write about the war. I wrote hundred of pages of that poem but all the parts that were directly about the war didn't seem to me good enough as art and it ended up being a poem which rather than about the war was about the peace the peace movement and the pleasure, excitement and joy of being with many other people who were in favour of peace and so on.
David Kennedy: And, of course, there's the line where you say "To my contemporaries I'll leave the horrors of war"...
Kenneth Koch: Well, it's not that I was indifferent ot the horrors of war because that's what inspired the poem to a large extent but I couldn't write about them. Also, some of my contemporaries, it seemed to me, were perhaps profiting in that rather path etic way that poets profit from things because we practice an art in which there's no money [Laughing] by pretending to, I don't know, pretending to care more about certain things than they were able to write about effectively. I mean, I don't know what o ther people were feeling, I just know what I was able to write about.
I don't know if you read my poem 'Seasons on Earth' which is the last one in the Selected Poems and which is a poem about looking back on having written 'Ko' and 'The Duplications', two long poems I wrote. And [Leafs through book] I talk about the Fifties here, about when I was living with my wife in Little Villino in Florence when we were first married in the early Fifties and I say
It was the time, it was the nineteen fifties, When Eisenhower was President, I think, And the Cold war, like Samson Agonistes, Went roughly on, and we were at the brink. No time for Whitsuntides or Corpus Christis - Dread drafted all with its atomic clink. The Waste Land gave the time's most accurate data, It seemed, and Eliot was the Great Dictator Of literature. One hardly dared to wink Or fool around in any way in poems, And critics poured out awful jereboams To irony, ambiguity, and tension - And other things I do not wish to mention.I think that what I say there is that I simply was ignoring the fact that The Waste Land indeed made it seem to many poets that one had to be depressed - not that The Waste Land is a bad poem, it's a wonderful poem - that one had to feel despair, that one had to think that the modern world was terrible. I was quite happy there in Florence in the Fifties when I wrote my poem 'Ko' and it wasn't consciously a reaction against the time. It came from having read Don Juan about three years beforehand and having conceived the idea that someday I wanted to write a poem like that. I suppose it was partly a reaction against what seemed to me the deadness and narrowness, the stultifying narrowness of the poetry that was being published in all the quarterlies which I wrote about in a poem called 'Fresh Air'. It seemed to me that life was, I mean here I was in my twenties and life seemed to me so exciting and full of girls and gardens and steamships and drinks and tennis games and countries and cathedrals...I mean, it seemed absurd to be writing these drabs, depressed little poems. I knew there were things like death and poverty and injustice but they weren't everything...
All this fell sideways past our Florence windows - That it, it had not much attention paid to it. Dry, stultifying words, they were horrendous, Inspiring in the breast a jolly hatred - And then new lines arose, like snakes to Hindus, That for depressed spelled out exhilarated.
David Kennedy: In your poem 'Some General Instructions' you say "The days of irony are here, irony and deception. But do not harden your heart." It seems to me that could be read as a political statement.
Kenneth Koch: That instructional poem like my other instructional poems 'The Art of Poetry' and 'The Art of Love' is...it contains things that I think are true. It's also somewhat comic and somewhat ironic. Obviously, it would be a very pompous and preten tious thing to say "the days of irony are here, irony and deception" and say it in such a way that the reader was obliged to sit there and say "o yes" like "the time of the tiger is upon us". It doesn't seem appropriate to me to write in a way that bullie s the reader in that way. Certainly, it seems true enough that there's a good deal of irony in the world and it seemed true at the time I wrote the poem there was a good deal of deception also. I mean, if you live in a world full of politicians and advert ising there's obviously a lot of deception. But I'm urging the reader in a somewhat over-simple way that despite the fact that he lives in such a time not to be hardened and spoiled by it. You're looking for political statements in my work...Well, it seem s to me when I look in or wherever I look when I write that politics is there the way men and women are there, the way the Atlantic Ocean is there. Sometimes I've written about politics specifically, I mean about politics as it's understood on television and in newspapers, as in 'The Pleasures of Peace'...I think political views can be deduced if one wishes to deduce from a statement such as the one you've just quoted in my poem or a religious view could be deduced from it or an aesthetic view but...But I don't think I just look at the desk and the dictionary. As for political poetry, as it's usually defined, it seems there's very little good political poetry. It seems to require the conjunction of the, maybe the twenties or thirties of a genius and some great cataclysmic political event; for example, like the conjunction of the Russian Revolution and the 22nd year of Vladimir Mayakovsky so that he could write 'A Cloud in Trousers'. But good political poetry's very rare and it seems to me very hard to wri te because if you write...essentially if you write a political poem that would be useful to any political group, you're using other people's ideas, you're using ideas that already exist and who wants to do that? I mean, as charming as old people are, one doesn't want to have a 75-year-old baby. One wants to make something new. So if you make something new, I mean a really good poem, a good political poem, a great political poem like Yeats's 'Easter 1916', I don't think any party would want to use that poe m because he says "maybe they were all crazy, maybe it was useless". Or is it in 'September 1913' he says it? I think in both he suggests...in both of those poems Yeats obviously comes out strongly on one side but he says "you know, it might have been the wrong thing to do, they might have been crazy". And no political party would want that.
David Kennedy: Let's change tack again. Could you say a little about non-literary influences on your work?
Kenneth Koch: O Lord, that's hard. That's very hard. That's like, erm, a bit like asking I think - I may be exaggerating - like I play tennis lot - like asking for non-tennis influences on my tennis game. Have I been influenced by a footballer or a baseba ll player...probably not! I love painting and music, of course. I don't know nearly as much about them as I know about poetry. I've certainly been influenced by fiction. I was overwhelmed by War and Peace when I read it and I didn't read it until I was in my late twenties and that was one of the main inspirations for my long poem 'When The Sun Tries To Go On' which does not resemble War and Peace in any way except in the fact that I tried to put everything into it, which seemed to me one thing I found ins piring about Tolstoy. Let's see...I feel close to certain painters. I've always been friends, that is since I went to New York when I was about twenty three or so, I've been friends with painters, especially Larry Rivers and Jane Freilicher and I've done a lot of collaborations...I suppose that...it's really hard to tell...I mean, certainly the brightness, the dash, the excitement, the sort of self-confidence of the hand on the canvas - all that was exciting. It's hard to say how it influenced my poetry. I would say that the certain ambience that John [Ashbery] and Frank [O'Hara] and I were in - Jimmy [Schuyler] came along a bit later - with seeing each other all the time and being envious of each other or emulous of each other and inspiring each other an d collaborating on poems which we did a good deal.
David Kennedy: It's the same sort of thing, isn't it, that you talk about in 'Fate' where you're remembering particular occasions and you can't quite remember who was there or where it was but it's the feeling you're remembering... Kenneth Koch: Yeah, but that wasn't about artistic collaboration though - this is more about the excitement of it all, doing what seemed to us the new work. The painters sort of created...John, Frank and I were about the only poets in this bunch...there w as Barbara Guest at certain times and Jimmy [Schuyler] came a bit later...all the other poets seemed to us - we didn't know everybody, we didn't know what was going on out on the West Coast at the time - most of the other poets seemed sort of like neat li ttle fellows who were writing academic poems as I say in 'Fresh Air', poets with their eyes on "the myth, the missus and the mid-terms". Writing about the failure of their marriage and their promotions at the university...quatrains. Well, I like quatrains but I didn't like their poems. The painters gave us a sort of ambience. They were nice, lively guys who got exercise in the daytime, painted in big light studios and they felt good at night and they would sometimes actually sell paintings. They gave part ies and it was as much a social thing as anything. It's really hard to talk, I find, about influence from one art to another - at least, I find it hard. But I was certainly encouraged by the example of, from rather early on, the example of Picasso and Max Ernst and other painters who had the courage to do something stunning, strong, starkly dramatic and beautiful that didn't necessarily make any sense. All that certainly went in my head and my heart but how that comes out on the page is hard to tell. And also I liked John Cage's music. I liked it for its craziness, the use of silence, the boldness - anything to get me away from writing about...I don't know what academic poets write about. I talk about it in 'Fresh Air', whatever they were writing about... I mean, there are excesses all over the place. People are always saying what are the different schools of American poetry. Maybe there are three or four really good poets in a generation. I took a course at Harvard with Delmore Schwartz, a writing course, and there were about thirty of us and he said "How many of you expect to be great writers?" and we all raised our hands. And he said "You do know that in age in which there are more than three or four great writers is known as a renaissance?" [Laughing] I think if taking all these positions like Formalism or L=A-N=G=U=A=G=E poetry or whatever, if it helps somebody, one of these rare beings who's a really good poet - I wouldn't say there are only three or four in a generation, that's be rather strict - bu t if it helps someone to write good poetry that's fine. I don't really see vast movements full of wonderful poets all over the place.
David Kennedy: John Ashbery has said that he feels the American scene is very regional in that you go to one part of America and everyone thinks X, Y and Z are the poets and then you go somewhere else and nobody's ever heard of them and they all think A, B and C are the poets.
Kenneth Koch: O, I guess some of that is true. I think John's been travelling a bit more than I have in America lately. I don't know. Sure to some extent that's true, like in the South certain poets are more than they are elsewhere and in the West.
David Kennedy: If we look at how you're perceived, certainly from an English perspective you are always seen as a New York School poet. Do you see yourself in that way or as just another American poet?
Kenneth Koch: O, I don't think of myself in either way really. In the early Fifties and all through the Fifties, I felt very close to the work, particularly, of John and Frank and I think our work had certain things in common which it had less in common a fter that, when we either, like we began to be published, I got married, other people went off. We had sort of another public - we were our entire readership for many years and we were very excited by each other - at least I was excited by what they were doing, I can't speak for them. And I was excited by what my painter friends were doing and they seemed to be interested in our poetry too and that was a wonderful little, fizzy sort of world and even at that time I never thought of myself as a New York po et or as an American poet. The term 'New York School' was, I guess it was invented by John Bernard Myers to describe the painters, on the model of the French, and Donald Allen used 'New York School of poetry' in his anthology The New American Poetry 1945- 1960 and he included under the rubric of the New York School some poets who don't really have much to do with the work of John and Frank and Jimmy and me. I could tell you what I think some of the characteristics of our work were in the Fifties that may h ave distinguished us from other poets. I think we were all influenced or rather we were certainly conscious of and aware of French poetry, sort of the avant garde tradition from Gerard de Nerval up to World War Two. We knew about Mayakovsky and Pasternal and we read Rilke and Lorca and we had all read William Carlos Williams pretty hard and Wallace Stevens and I'm probably doubtless leaving some things out. We were, it seems to me - and I'm hesitant to speak for other people - but if I look back at the po ems of that time, we seemed to be particularly interested in the surface of the language and the excitement that was going on there rather than thinking and finding the precise word for it, rather to let the words find the subject or partly define the sub ject for us. John would certainly say this in a different way and so would Jimmy and Frank if they were here to say it which I wish they were. There was a certain amount of humour in all our work...Maybe you can almost characterise the poetry of the New Y ork School as having as one of its main subjects the fullness and richness of life and the richness of possibility and excitement and happiness. I find that a lot in Frank's work, especially the early work. Whether I understood what was going on in 'Secon d Avenue' or not when I first read it, I felt 'My God! I'd have to have three bodies to live this much!' It's wonderful. It seems everything is so full of possibilities one can hardly take it all in. When I wrote a review of Frank's Collected Poems I call ed it 'More Than The Mind Can Hold' - I sort of stole a line of his, "more than the eye can hold", which is describing a de Kooning painting he had in his apartment which he said is better than music. But it seems to me that his poetry is so rich you can' t, it moves so quickly you can't keep it in your mind all at once. I think he's a great poet, Frank. To get back to the New York School, another thing was we all went to the ballet a lot when George Balanchine was with the New York City Ballet. We would g o two or three times a week some weeks, not all weeks, and we also liked opera. Frank and John particularly knew a great deal about music. The kind of poetry I didn't like, which I guess I didn't like because it didn't move me, it didn't seem exciting but also after a while because it was the kind of poetry that was hogging up all the space in the magazines and books and fellowships and which we weren't getting, was this kind of, it seemed to me, very narrow poetry. Sort of old-fashioned, rhymed usually t hen but about a very narrow range of subject matter, not letting enough in.
David Kennedy: Do you have an ideal reader in mind when you're writing?
Kenneth Koch: I wonder if I ever thought of an ideal reader...I guess when I was in my twenties and in New York and maybe even in my early thirties, I would write for my wife Janice, for Frank, John, Jimmy, maybe even for Jane Freilicher and Larry Rivers; mainly for my poet friends and my wife who was very smart about poetry. It seems to me after a while that these people that I would have in mind a little bit when I wrote - it's not exactly as though I was writing for them but they would be in my mind - that I sort of absorbed what I knew or imagined their response to be so that it's been a long time since I've with any regularity thought of any of them while I was writing. Sometimes I write a line that may echo a line of John's and think "O! There's Joh n!" or Frank, you know. So I think I've sort of absorbed my audience in the sense that when I write it pleases me. I mean, I'm sure these people are there but I'm not aware of them.
David Kennedy: Would you describe yourself as a surrealist?
Kenneth Koch: I was influenced by surrealist poetry and painting as were thousands of other people and it seems to me to have become a part of the way I write but it's not...As I understand the surrealist program, it was programmatically in favour of the unconscious as opposed to the conscious; programmatically in favour of chance, even programmatically in favour of a certain kind of violence and all that dream stuff. All that is interesting to me and it's become an automatic part of what I do but I would never say I was a surrealist. People used to say rather carelessly when they didn't know what to say about what John and Frank and I wrote, they'd say a couple of things: that we were surrealists and that we were influenced by painters. [Laughing] And si nce a number of critics of Frank have mentioned surrealism, I went to some pains to point out in the review I wrote of his Collected Poems that he wasn't at all a surrealist. If you take a poem like 'Sleeping On The Wing', he very clearly talks about gett ing into a dream state, being free of everything, that's wonderful, but he says "the memory of a beloved face in trouble", somebody you love, draws you back to reality and that's what he does in his poetry. He's a poet who has all the richness that the su rrealists found but he uses it for different ends...He doesn't really allow himself to stay transported where the surrealists really hope to find, it seems to me, an elsewhere...
David Kennedy: Can you talk a little about your latest book, Hotel Lambosa?
Kenneth Koch: This is a book of very short stories.I've written fiction before. I wrote a novel called The Red Robins but that's rather - not poetic prose in the ordinary sense - but a rather extravagant kind of writing but Hotel Lambosa is a book of more or less realistic short stories. I had tried to write stories, almost true stories before, but I never had found a way to do it and I think that what sort enabled me to write this book was reading a wonderful book by Kawabata. Have you read him? I strong ly recommend you read The Snow Country and also this wonderful book called Palm Of The Hand Stories which is in print in England. Palm Of The Hand Stories are a selection of very short stories from 1 to 5 pages that he wrote over the course of his life an d suddenly in these very short stories I saw a way that I could write fiction about my own experience and things that I've done and imagined. I was very interested to be writing these stories because I found that, like a certain kind of magnet, writing pr ose picked up details that my poetry had never been able to pick up because my poetry - and one can use an analogy with an automobile perhaps although I don't know if you use the same terms in Britain - tends to have a rather high idle; that is, once I st art writing about something it goes off rather fast [Laughing] and sometimes details which might be interesting such as what the room looked like or what somebody said that was not exactly on the same subject tend to get lost. Not always; sometimes I forc e myself to write precisely about those things but in any case I found that a lot of the parts of my experience I hadn't been able ot write about before, I could write about in this book. I made an effort not to write prose poetry. I wanted to write real stories. I thik it's possible sometimes people read them and say "O yes, they're prose poems" just because they're short. But they're not prose poems. The subject matter of the stories on the surface...there seem to be a number of stories about travel. Ac tually, when I was writing the book, I wrote many more stories than this, but one thing in here I worked on a lot has to do with what Yeats said about writing prose and poetry, that when you finish a poem it clicks shut like the top of a jewel box but pro se is endless. I haven't experienced an awful lot of clicking shut! These stories seem to click shut as much as my poems do but they did take a lot of time but then one gets used to that. What arrangement I had in the book was according to the countries t hey took place in and quite a few of them are about Italy and quite a few about France and I also have travelled in Africa so there are about seven or eight stories about Africa. I've also been to China so there are five or six stories about China and som e about Mexico. I was a little surprised after I'd completed the book to see how many took place in other countries. It's a well known thing that ordinary perceptions can have a strange aspect when one is travelling. Waiting for a bus or walking in the st reet is slightly unlike what it is usually. So one sees things clearly...A number of the stories, though not by any means the majority, are about my late twenties and thirties, the early years of my marriage. [Pause] Some other prose writers I admire a gr eat deal and who certainly influenced my writing here are Leonard Sciascia, the Sicilian writer, who writes beautiful prose. I believe I was influenced by early Hemingway too, particularly the stories in In Our Time with those beautiful short sentences th at don't tell you too much and you have to read the fourth sentence to see what the third one means. Another prose writer who influenced me a lot...I'm thinking of Victor Shklovesky, who's mainly known as a formalist critic. He was a friend of Mayakovsky and Pasternak. I've read three or four of his prose books. One is called Not About Love which is a series of letters he wrote to a woman he loved who did not love and who said "You can write to me so long as you don't write about love." He wrote another b ook called The Third Factory and a wonderful book about Mayakovsky called Mayakovsky And His Circle. His sentences are always surprising. The way they're put together is exciting also. Also, I was influenced by the prose of Boris Pasternak though I had to read it in translation as indeed I had to read Shklovsky. I like particularly Pasternak's prose in his early stories.
David Kennedy: Do you know his short novel The Last Summer? That's a beautiful book.
Kenneth Koch: O yes, that's wonderful. I also admire very much the prose of the American writer James Salter. One of his books is called Light Years and there's a wonderful book about a love affair in France called A Sport And A Pastime and a book of shor t stories called Dusk. Actually, I think I read him mainly after I'd completed the stories. Writers I like include, in earlier generations, William Carlos Williams and Wallace Stevens. There's an American poet named John Wheelwright I like very much. Of c ourse, I like Byron enormously; I'm crazy about Don Juan. And of course Keats and Shelley and I suppose everyone that everyone likes. I think my poetry was very influenced - it seems almost dumb to say it - but it was very influenced by Shakespeare. Very early on I read his plays...and, I don't know, I started speaking in blank verse at a rather early age. [Laughing] But then, I'm a writer who likes to be influenced...Beyond that, my projects at the moment are I have a new book of poems [One Train], and I 'm going to do a new Selected too, either at the end of next year or after that. It takes a long time to publish a book...
David Kennedy: There's so little of your work available in England...
Kenneth Koch: I'd love for you to do something about it. I'd like my Selected Poems to come out in paperback. I'd like these stories to be published but I don't know quite how to go about it. There's not much money for anyone in this kind of writing. Ther e's no way to make money as a poet. You can't own a poem. You can't dressed up and go to a poem. There'a nothing to do with it. [Laughing]
David Kennedy: [Laughing] That's probably a good place to stop.
Kenneth Koch, thank you very much.
Original transcription and amendments (c) David Kennedy and Kenneth Koch, 1993.
About David Kennedy I was born in Leicester, England in 1959 and read English and European Literature at the University of Warwick. I currently live in Sheffield where I work as a senior manager in manufacturing industry and study in the Graduate School a t Sheffield University where I am pursuing doctoral research on ideas of community in the poetry of Douglas Dunn, Tony Harrison and Seamus Heaney. I am a poet, editor and critic, and a regular reviewer for such journals as Poetry Review and P.N.Review.
I am a co-editor of The New Poetry (Bloodaxe Books, 1993), the bestselling anthology of contemporary British and Irish poetry which is used widely in schools and universities in the United Kingdom and Europe. My book of critical essays New Relations: The Refashioning of British Poetry 1980-1994 (Seren) was published in 1996 as was my first collection of poetry The Elephant's Typewriter (Scratch).
My critical interests include postmodernism, masculinities and the locaton of value in late twentieth century culture. My own poetry seeks to combine postmodernism playfulness with native British realism and is heavily influenced by the New York School. I would love to hear from people with similar interests. I am particularly interested in working collaboratively, particularly with artists from other disciplines. You can write to me at 29 Vickers Road, Firth Park, Sheffield S5 6UY, England or you can fax me on (44) 114 2441202 or you can e-mail me at firstname.lastname@example.com.
Document URL: http://www.english.upenn.edu/~afilreis/88/koch.html
Last modified: Wednesday, 18-Jul-2007 16:27:06 EDT


text:
We are moving!
CNN's National Security team in Washington is committed to breaking news, providing in-depth analysis and unique feature stories about the U.S. military, diplomatic affairs, the intelligence community and all things related to U.S. national security.
But going forward, you'll find our stories in a new place - HERE - and all across cnn.com.
We are archiving the Security Clearance blog.
Thank you for reading! We've loved hearing from you and hope to see your comments and feedback at our new home.
You can continue to follow us on Twitter @NatSecCNN.
play slots online https://casinorealmoneyeyu.com/ – vegas casino slots casino real money play slots online
cbd near me cbd cbd near me cbd hemp http://cbdoilstoretv.com/#
asian dating http://onlinedatingdd.com/ – tinder dating app online dating sites best dating apps
cbd oil near me cbd pills buy cbd oil online cbd http://cbdproductswin.com/# – cbd oil store
http://cbdoilstoretv.com/# cbd hemp cbd pure buy cannabis oil buy cbd oil
http://cbdoilforpainrx.com/# cbd tinctures buy cbd oil cbd tinctures buy cannabis oil
http://cbdoilhh.com/# buy cbd oil http://cbdstorejj.com/# – cbd oil online cbd pills
http://cbdoilstoretv.com/# cbd cream http://cbdhempamp.com/# – cbd oil near me cbd
adult dating http://onlinedatingdd.com/ – dating speed dating free dating site
slots online https://casinorealmoneyeyu.com/ best online casinos casino online big fish casino
http://onlinedatingdd.com/ free dating http://onlinedatingdd.com/ – free dating site dating apps
medterra cbd cbd gummies walmart cbd near me
best online casino https://casinorealmoneyeyu.com/ – online slots online casino games big fish casino
http://cbdoilforpainrx.com/# cbd for sale cdb oils cbd oil online hemp cbd oil
http://cbdoilwalmartiss.com/# buy hemp oil cbd gummies walmart cbd hemp cbd for sale
dating website http://onlinedatingdd.com/ – eharmony dating site christian dating best dating profiles
dating websites christian dating sites hinge dating app adult dating http://onlinedatingdd.com/ – russian dating
hemp cbd oil best cbd buy cannabis oil cbd hemp http://cbdoilstoretv.com/# – hemp cbd
cbd oil http://cbdcreamshs.com/# – cbd cream cbd near me buy hemp oil http://purecbdok.com/#
http://cbdoilwow.com/# buy hemp oil http://cbdproductswin.com/# – cbd near me best cbd oil
buy hemp oil hemp cbd oil cbd products http://cannabisoilhemp.com/#
cbd hemp cbd gummies walmart cbd near me best cbd http://cbdgummiesio.com/#
http://cbdgummieswkj.com/# pure cbd oil http://buycbdoilonlinerru.com/# – cbd online cbd near me
http://cbdoilhh.com/# best cbd cannabis oil cbd tinctures cbd cream
zoosk dating site http://onlinedatingdd.com/ – dating websites zoosk dating gay dating sites senior dating sites
free dating sites bumble dating site match dating
casino online slots https://casinorealmoneyeyu.com/ free casino slot games casino real money online casino gambling
http://cbdoilstoretv.com/# full spectrum cbd oil http://annabisoilweb.com/# – cbd hemp medterra cbd
cbd oil online cbd oil near me cbd pills
tinder dating site hinge dating dating naked naked dating http://onlinedatingdd.com/ – tinder dating site
full spectrum cbd oil http://buycbdoilfo.com/# buy cbd oil best cbd oil cbd online
free casino slot games https://casinorealmoneyeyu.com/ – online casino gambling no deposit casino slots for real money
buy cbd oil online cbd cream cbd products http://cannabisoilstoretv.com/#
free online dating pof dating our time dating
buy cbd oil http://cannabisoilhemp.com/# – buy hemp oil cbd store cbd oil online
best cbd oil cbd store cbd oil cbd products
http://cbdoilwow.com/# cdb oils http://cbdoilwow.com/# – cbd oil near me cannabis oil
best cbd oil buy cbd oil buy hemp oil cbd cream
http://cbdhempamp.com/# cbd gummies walmart cbd store cbd gummies walmart cbd products
medterra cbd http://hempcbdoilgh.com/# – cbd hemp cbd oil for sale cbd products
pure cbd http://cbdoilhh.com/# cbd oil cbd gummies walmart cbd pills
best dating apps http://onlinedatingdd.com/ – dating sites tinder dating app free dating websites hookup sites
https://casinorealmoneyeyu.com/ free online slots https://casinorealmoneyeyu.com/ – online slot games slot games
cannabis oil http://cbdgummieswkj.com/# – cbd gummies walmart cbd oil near me cdb oils
hemp cbd http://cbdforsalesh.com/# – hemp cbd oil cbd tinctures medterra cbd
online dating sites best dating sites gay dating sites
indianapolis viagra viagra cheap online viagra online 365
slots free https://casinorealmoneyeyu.com/ – casino bonus codes online casino online gambling
cbd gummies walmart http://cbdoilforpainrx.com/# cdb oils cbd gummies walmart cbd drops
full spectrum cbd oil http://cbdstorejj.com/# cannabis oil buy cannabis oil cbd gummies walmart
date sites bumble dating best dating apps best online dating sites http://onlinedatingdd.com/ – gay dating
cbd store cbd hemp buy hemp oil http://cbdoilwow.com/#
http://purecbdok.com/# cbd oil store http://purecbdoilgww.com/# – cbd oils cbd oil store
http://fullspectrumcbdoilyw.com/# cbd oil benefits http://cbdoilhh.com/# – hemp cbd oil cbd oil benefits
http://purecbdoilgww.com/# pure cbd oil http://cbdtincturesew.com/# – hemp cbd oil pure cbd
tinder dating app online dating site silver singles dating site our time dating http://onlinedatingdd.com/ – facebook dating
pure cbd oil http://cbdcreamshs.com/# – cbd oil for sale best cbd oil pure cbd
real money casino https://casinorealmoneyeyu.com/ – free casino games free slots online gambling casino game
cbd gummies walmart http://hempcbdoilgh.com/# – buy hemp oil hemp cbd cbd drops cbd pills
cbd http://cbdoilhh.com/# – buy cbd oil online cbd near me cannabis oil cbd cream
You made some decent points there. I regarded on the internet for the problem and located most people will associate with with your website.
zoosk dating http://onlinedatingdd.com/ interracial dating online dating sites online dating
cdb oils cbd oil online cbd for sale cdb oils http://purecbdok.com/# – best cbd oil
free slots https://casinorealmoneyeyu.com/ – slot games free casino games online casino bonus codes
cbd oil near me cbd oil for sale full spectrum cbd oil cbd oil for sale
cbd oil at walmart buy cannabis oil cannabis oil
cbd oil for sale cbd cream cbd hemp medterra cbd http://cbdoilstoretv.com/# – buy cbd
http://onlinedatingdd.com/ dating sites http://onlinedatingdd.com/ – dating free online dating chat
facebook dating site http://onlinedatingdd.com/ gay dating dating apps best dating profiles
cbd near me cbd pure cbd oil medterra cbd http://cbdoilforpainrx.com/#
cbd products cbd oil online best cbd
cbd gummies walmart http://cbdgummieswkj.com/# cbd products buy hemp oil buy cbd
free casino slot games https://casinorealmoneyeyu.com/ – casino blackjack play slots online casino slots
senior dating sites mature dating hookup sites
http://cbdoinlinexo.com/# cbd online http://cbdoilwalmartiss.com/# – cbd oil at walmart cannabis oil
http://annabisoilweb.com/# cbd pills http://buycbdoilonlinerru.com/# – cbd products buy cbd oil
cbd for sale http://cbdoilwow.com/# – buy cannabis oil cbd store full spectrum cbd oil best cbd
cbd oil store http://buycbdoilonlinerru.com/# – cbd cbd pills cbd oil benefits http://cbdforsalesh.com/#
http://onlinedatingdd.com/ gay dating sites http://onlinedatingdd.com/ – top dating sites free online dating sites
dating sites http://onlinedatingdd.com/ – adult dating top dating sites naked dating
cbd store hemp cbd oil cannabis oil best cbd oil
cbd http://cbdgummiesio.com/# medterra cbd buy cannabis oil cbd oil for sale
cbd tinctures cbd cbd products cbd oil online http://cbdtincturesew.com/#
slots games free online casino gambling online casino gambling free slots games https://casinorealmoneyeyu.com/ – play online casino
free dating websites eharmony dating site free dating websites russian dating http://onlinedatingdd.com/ – eharmony dating site
hemp cbd http://hempcbdoilgh.com/# – cbd gummies walmart buy cbd oil cbd near me
hemp cbd cbd tinctures cbd cream cbd for sale http://cbdhempoildk.com/# – pure cbd
http://cbdoilforpainrx.com/# buy hemp oil http://cbdgummieswkj.com/# – cbd hemp buy hemp oil
online slot games free online slots casino bonus codes casino game https://casinorealmoneyeyu.com/ – slots games free
cbd pills http://cbdoinlinexo.com/# cbd near me best cbd oil best cbd oil
http://onlinedatingdd.com/ bumble dating site russian dating best dating sites free dating websites
full spectrum cbd oil medterra cbd cbd gummies walmart cdb oils
dating naked http://onlinedatingdd.com/ senior dating best dating web sites online dating sites
pure cbd oil http://cbdtincturesew.com/# pure cbd oil cbd oil store cbd oil near me
cbd oil for sale http://cbdoilhh.com/# – cbd products cbd gummies walmart best cbd oil
http://buycbdoilget.com/# cbd hemp pure cbd hemp cbd oil best cbd
buy cbd oil http://cbdoilstoretv.com/# – buy hemp oil cbd cbd products http://buycbdoilonlinerru.com/#
cbd oil for sale cbd pills buy hemp oil http://cbdoilonlinerr.com/#
http://buycbdoilfo.com/# full spectrum cbd oil http://fullspectrumcbdoilyw.com/# – best cbd oil cbd oil online
slots games free https://casinorealmoneyeyu.com/ – online slots casino games casino play big fish casino

subset: commoncrawl


text:
"It is the policy of the Archdiocese of Boston, and the generally accepted practice in dioceses across the country, not to permit individuals to conduct speaking engagements in Catholic parishes or at Church events when those individuals promote positions that are contrary to Catholic teachings," spokesman Terrance Donilon said in a statement provided to CNA.
Fr. Helmut Schüller, who was set to speak at St. Susanna Parish in Dedham, Mass. on July 17, is the founder of the Austrian Priests' Initiative – a group founded in 2006 that advocates for "optional celibacy" for priests, women's ordination, and other positions contrary to Catholic doctrine.
To this end, Fr. Schüller has raised a "Call to Disobedience" – or the refusal to accept basic tenets of the Catholic faith – in order to "reform" the Bride of Christ.
Auxiliary Bishop of Boston, Bishop Walter Edyvean called St. Susanna Parish last week to notify them that Cardinal O'Malley would not allow the priest to speak "at any Catholic parish because he espouses beliefs that are contrary to the teachings of the Catholic Church," the National Catholic Reporter wrote June 24.
Among the sponsoring organizations of the tour, "The Catholic Tipping Point," are the Women's Ordination Conference and Future Church, both of which promote initiatives contrary to Catholic teaching.
The priest's July 16 to Aug. 6 speaking tour includes stops in New York City, Baltimore, Detroit, Denver and Los Angeles. All the stops except for Detroit are scheduled to take place at local Protestant churches.
As of publication time, Fr. Schüller is still set to speak at Sts. Simon and Jude Parish in Westland, Mich. on July 26.
Fr. Schüller previously served as the head of Caritas Austria and as the vicar general of the Archdiocese of Vienna until 1999 when he was dismissed by Cardinal Christoph Schönborn. In 2012, the Vatican revoked Fr. Schüller's title of "monsignor." (CNA)


text:
Reuters: "It is a tale of unimaginable wealth, high society glamour, low politics, tax havens and a family feud, with declarations of high moral purpose undermined by mutinous servants." In other words, French politics.
Basically, it all comes down to that old political standby, illegal campaign contributions. But that's just a start to describing an increasingly tangled, confusing and complex case. The Telegraph has a great timeline breakdown, but here's an overview of the case that has the French press working overtime and the President's numbers in the tank:
Liliane Bettencourt, the 87-year-old L'Oreal heiress and France's richest woman, has been involved in a legal dispute with her daughter for some months. The daughter, Florence Meyers-Bettencourt, has filed a civil suit to have her mother declared mentally incompetent, made a ward of court, and forced to surrender control of her fortune. As her reason, Meyers-Bettencourt cites the billion euros' worth of gifts the octogenarian has given her alleged gigolo, society photographer Francois-Marie Banier. The daughter has also filed a criminal complaint against said accused gigolo, accusing him of taking advantage of an old and senile woman.
The plot thickened when the elderly lady's former butler came forward with some secret tapes. On these tapes, the heiress and her wealth manager seem to be discussing secret Swiss bank accounts and offshore accounts in the Seychelles. The wealth manager says he'll "put her taxes in order." In other words? Tax evasion.
Here's where it starts to get a little complicated. The wealth manager (he of the tax evasion) works with a woman named Florence Woerth. She is the wife of Labour Minister Eric Woerth. There are allegations that Florence Woerth pulled strings to block a tax investigation into Bettencourt's fortune. She denies it, but resigns. The government is now involved.
The government gets more involved. Another former Bettencourt employee comes forward, this time a bookkeeper. The bookkeeper says she was party to the withdrawal of all kinds of funds, which the Bettencourts would hand off to conservative politicians in brown envelopes. Specifically, she mentions 150,000 euros in cash, given to Eric Woerth as a donation towards President Nicolas Sarkozy's 2007 election campaign. (This would be the forementioned illegal campaign contributions.) The accountant also charges that back when he was mayor, Sarko would accept the envelopes personally - as a dinner guest. Everyone in the government denies this and blames Socialist conspiracies.
This has been a bad month for Sarkozy. In the past few weeks, amidst other minor corruption allegations, two of his junior ministers resigned after it came out they'd spent $15,000 in taxpayer dollars on cigars. He's also fighting with Angela Merkel. And, oh yeah, France did really badly in the World Cup. People are not happy: Sarko's aproval rating has reached an all-time low of 26%. Add what the CSM describes as a "salivating" French press eager for scandal, and you've got all the signs that, for the President, France's famously liberal summer vacation can't come soon enough.
Liliane Bettencourt Case: Timeline [Telegraph]
Sarkozy's Summer Of Scandals: Is The French President In Trouble? [CSM]
French Heiress Affair Is Half Drama, Half Farce [Reuters]


text:
Matt Dempsey firstname.lastname@example.com (202) 224-9797
Katie Brown firstname.lastname@example.com (202) 224-2160
Inhofe: Obama EPA's Transport Rule Latest Impediment to Job Growth
Progress on clean air should be done through legislation not EPA's unachievable regulations
Washington, D.C.-Senator James Inhofe (R-Okla.), Ranking Member of the Senate Committee on Environment and Public Works, commented today on the Environmental Protection Agency's (EPA) release of its final Transport Rule.
"EPA's finalized Transport Rule, announced today, is the latest major impediment to economic growth put forth by this Administration," Senator Inhofe said. "This rule along with 'Utility MACT' could force the retirement of 30 to 100 gigawatts of coal-fired power plants, raise the price of electricity by as much as 23 percent, and cause 1.4 million job losses by 2020.
"True environmental progress will not come from these costly, heavy-handed regulations that harm the very people EPA claims to protect; real progress on clean air is best achieved through common sense multi-pollutant legislation that streamlines the Clean Air Act's many redundant and overlapping mandates. This is something that I have and will continue to support.
"The bottom line is that reducing emissions does not have to be this expensive-the Obama EPA just wants it to be. On both sides of the aisle we support efforts to reduce real pollution, but we should be doing it in a way that protects workers from losing their jobs, families from skyrocketing electricity prices, and businesses from unachievable requirements.
"It is little consolation that Oklahoma is not included in today's final rule. By separate notice, EPA has proposed to include the state in the program in the near future. As Ranking Member of the EPW Committee I will be keeping a close eye on this process."


text:
To Search for an item. Enter the item number
in the box below.
Track your UPS order.
orders will be shipped UPS Ground within 24 hours of purchase!
Designer Alternative Handbags from Fashion Knockoffs offer high quality, low price, fast shipping.
Don't miss the fashion boat this season!
Make your entrance with a high quality Designer Alternative Handbag from Fashion Knockoffs!
Clearance Items Page 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
is in no way affiliated with, representing, associated, or sponsored by
any name brand company or any other designer brands or their
copyrighted products mentioned on our site. We merely ask you to
compare the quality and prices to that of the name brand products
We not represent our handbags or other products to be original nor
do we represent that they are exact copies of any branded products
Copyright ©2001-2011 FashionKnockoffs.com All Rights Reserved


text:
Woman convicted of making child porn sentenced to 40 years
A woman convicted of child sexual exploitation was sentenced Thursday to decades in prison.
A federal judge sentenced Lisa Biron, 43, to 40 years in prison. In court, Biron apologized for her actions, including recording a 14-year-old girl performing sexual acts.
As the judge read the verdict, Biron, an attorney, repeatedly shook her head in disbelief. In January, a jury convicted her of eight counts of child pornography.
Prosecutors said Biron took a 14-year-old girl to Canada, advertised on Craigslist and forced the girl to have sex with men while being recorded on video.
Prosecutors said the encounters began when the girl was 13.
The defense argued for 15 years in prison, saying the child pornography videos were brief and never meant for distribution, adding that Biron made them for her "own warped memento."
Prosecutors argued for 100 years, saying that Biron was "willing to use the victim as an object for her own sexual gratification."
The judge watched a taped statement from the victim in which she said Biron "has made some mistakes and is not the monster she's made out to be."
The girl said she wanted to see Biron have a second chance and not live the rest of her life in prison.
Biron also made a statement, saying she let alcohol and drugs cloud her judgment.
"I was completely out of control of my life," she said. "I drank a half gallon of whiskey every other day."
Prosecutors said they were happy with the sentence, saying that Biron will be removed from society so that she can no longer cause any harm to minors.


text:
|RSS Feed
Crime Watch Page Created for North Adams
NORTH ADAMS, Mass. — There's a new crime watch page on Facebook for city residents.
The page was created by Jennifer Breen Kirsch, a local attorney who's become active in crime prevention after her parents' home was broken into days after Christmas. Kirsch, working with the city and local organizations, has spearheaded the community watch group.
The community effort has been prompted by a wave of break-ins that came to public attention last fall after a number of break-ins in Clarksburg and Stamford, Vt. A suspect believed to be the culprit in the majority of them — and dozens of others through Berkshire and Bennington (Vt.) County — was arrested and charged. However, several of those burglaries have not be resolved and numerous others have occurred in Williamstown, North Adams, Adams and Cheshire over recent months.
North Adams held a community meeting on Thursday night at City Hall to discuss crime and neighborhood action to prevent it.
The new Facebook page states:
|Please join the new Neighborhood Crime Watch Group sponsored by Mayor Dick Alcombright, the NAPD through Officer Mark Bailey and Commissioner E. John Morocco, community representative Jenn Kirsch, and the NBCC, through Ashley Benson and Al Bashevkin. To find out more, please post questions and we will quickly reply. Our goal is to reduce the crime rate, as a community, in conjunction with City Hall and the NAPD. We need volunteers and neighborhood captains to run meetings. If you are interested, Officer Bailey, along with members of the team, will conduct a meeting for you and your neighbors, at your home. Let's unite under this common goal to reduce crime in our city!
|Tags: break-ins, buglaries, Veremko, crime watch


text:
This fan-made 2020 Ford Bronco design is pretty brilliant
Let's hope the production model looks this good.
Let's hope the production model looks this good.
Ford confirmed earlier this year that it was finally bringing the Bronco back for 2020. While there aren't many official details from Ford about the long-awaited truck, we have a pretty good idea of what to expect, and some concept renderings to whet our appetites. The folks over at Bronco6G.com sent us their vision of a four-door Bronco, and it's pretty cool looking! Let's hope the real thing looks this good.
The fan forum updated its concept of what the truck could look like when word got out that the truck would be a Ranger-based four-door. These drawings also reflect the upcoming Bronco's rumored removable roof panels. Reportedly dubbed "Air Roof," the Bronco will have snap-out roof panels not unlike those on a Jeep Renegade.
Ford is planning on offering an off-road version of the Bronco to compete with the Jeep Wrangler Unlimited, but that will slot under the F-150 Raptor. The Bronco might also get solid front and rear axles supplied by Dana, the same company that makes the upgraded axles for the Jeep Wrangler Rubicon.
The Bronco will share a platform with the next-generation Ranger pickup truck, so both will likely get similar engine and transmission options. There's also some rumbling that both the Bronco and Ranger will make their debut at next year's Detroit Auto Show in January.
Until then, these renderings will be our best idea of what the Bronco could look like. Head over to Bronco6G.com to see even more renderings.


text:
Share This Page
If Addictions Can Be Treated, Why Aren't They?
Report on Progress
Charles P. O'Brien, M.D., Ph.D.
June 21, 2012
The reward system is an important part of the brain, but it often receives scant attention in medical school. This neurological system is activated when we feel pleasure and it motivates us to work for and to seek out food, sex, water and other rewards. It developed early in evolution and is present in modern humans, essentially unchanged from our early ancestors. Unfortunately, certain plant products such as opioids or cocaine are, by coincidence, able to fit perfectly into receptors in the reward circuits where they can directly produce a sensation of reward or euphoria.
Normally a sense of pleasure is earned through constructive behaviors and natural drives. But even a tiny amount of cocaine can directly activate this same pleasure system without the need for the usual work. Cocaine's chemical structure blocks the normal mechanism of the neurotransmitter dopamine, with the result that, instead of the nerve cell releasing dopamine and taking it back up again after its signal is sent, cocaine blocks the re-uptake of the transmitter, causing continued high stimulation of the reward system. Dopamine accumulates in the space between nerve cells where signaling occurs (the synapse), and the cocaine effect takes over or "hijacks" the reward system. Other addictive drugs such as alcohol, nicotine, marijuana or opioids also directly activate the reward system through different mechanisms, but the net result is a similar "hijacking."
The reward system in mammals is very similar to that in humans, therefore we can predict that a drug will be abused in humans by testing it in animal models. If the animal "tells" us that it likes the drug by working to obtain it, it is highly probable that humans will also like the drug. We can also create "addiction" in animals and then test different treatments to see what will reduce the animal's drug taking. The predictive value of these animal models is usually quite accurate. Having good animal models is a great advantage in the development of new medications. Our understanding of addiction mechanisms is much better developed than our understanding of other mental disorders, such as depression. And this knowledge is being applied by some scientists, thereby enabling them to develop effective medications to treat addiction.
In theory this is happening, but in reality, few pharmaceutical companies have shown any interest in investing in the development of drugs to treat addiction. There is a general belief that there is not much profit in this therapeutic area because:
- Most clinicians who treat addicted patients are counselors, not physicians; thus they cannot prescribe medication and they generally don't "believe" in the use of medication for addictive disorders. Many of them are former addicts themselves, now in recovery, who "kicked the habit" without medication and they believe that others can and should do the same.
- Most patients have medical insurance that excludes or severely limits treatment of addictive disorders, so payment for service is not good. This situation may change in the near future with the advent of healthcare reform in the United States. Even if the Supreme Court sends the Congress back to the drawing board on President Obama's health care law, the need for reform has become unavoidable. Reformers, including health economists, correctly realize that prevention and early treatment of substance use disorders could save a large part of our national healthcare bill that currently goes to pay for medical complications of substance abuse. A relatively small investment in early treatment of alcohol use disorders, for example, could prevent later liver failure and the need for expensive transplants.
Despite lack of interest from the pharmaceutical companies, a few effective medications have been developed. However, use by treating physicians is very low. For many decades mainstream physicians did not consider addictions to be diseases, so addictions were largely ignored. Even psychiatrists did not address alcohol as a primary problem, so self-help groups such as Alcoholics Anonymous filled the gap. Such groups can do a lot of good, but they do not replace a professionally trained physician who can address the multiple aspects of the addiction including medical, pharmacologic, psychological, occupational and social. The best treatment is usually a combination that includes medication and psychosocial support.
Current Treatment of Addiction
The most common treatment used for virtually all addictions and the intervention most likely to be covered by health insurance in the U.S. is detoxification. This is simply taking away the drug of abuse and perhaps, but not always, providing a medication to suppress withdrawal (rebound) while the drug is metabolized and gradually removed from the body. Depending on the duration of action of the drug, the patient may clear the drug in a few days or detoxification may take several weeks for drugs with a long duration.
After the drug is gone, the patient and his family may think that the problem is over, but in truth, the addiction is still there. Modern neuroscience, informed by animal models and human brain imaging, shows that the addiction remains despite the absence of the drug, because addiction is a physical change in the brain, similar to an over-learned, long-term memory. We know some but not all of the circuits involved. When the detoxified patient is released from hospital or prison, even when months or years have passed since the last dose of the drug, the sights, sounds and smells previously associated with the drug environment activate reward circuits and evoke intense drug craving. The majority of patients relapse to compulsive drug taking soon after leaving the protected environment of the treatment program.
Relapse after detoxification is a hallmark of addictive disorders. Thus the most successful treatment strategies aimed at prevention of relapse have involved combinations of medications and psychotherapy. Today, one or more medications helpful against relapse exist for several common addictions, but are underused with the most striking example being medications for alcoholism. Based on studies in animals that were experimentally addicted to alcohol, we learned that one effect of alcohol is to activate the endogenous opioid (endorphin) system. The endorphins released by alcohol produce a feeling of euphoria in some people, the "happy drunk." In different people alcohol has other effects such as sleepiness, irritability, or melancholy. The results depend on heredity and drinking environment as well as previous history of alcohol use.
In the 1980s, researchers followed up the animal studies by conducting clinical trials in people suffering from the disease of alcoholism. They administered a medication that blocks endorphin receptors or an identical placebo for comparison. All patients were treated with intensive outpatient psychotherapy delivered by trained therapists and participated in Alcoholics Anonymous (AA) groups for 12 weeks. Half of the patients were also given naltrexone, a drug known to block opioid receptors and half were given an identical placebo in addition to psychotherapy. The patients receiving the placebo had a 50% relapse rate at the end of 12 weeks despite the psychotherapy. The group receiving naltrexone and psychotherapy had only a 23% relapse rate at follow-up. In addition, the patients receiving naltrexone reported much less alcohol craving, and if they did drink any alcohol, they reported no euphoria. The subsequent reduction in heavy drinking appeared to make the alcoholics more responsive to psychotherapy even when they did not become completely abstinent.
In order to be believed, all research has to be replicated by other scientists. This study was then repeated in another group of alcoholics treated by researchers at another university. The results were the same. Patients randomly assigned to naltrexone did significantly better than those assigned to placebo. The medication was accordingly approved by the FDA and later by regulatory agencies in other countries. Physicians in Europe recently studied another medication that also blocks opioid receptors and reported similar findings. This new opioid receptor blocker is now expected to be approved by authorities in Europe for the treatment of alcoholism.
It was noted by clinicians that some alcoholics responded beautifully to naltrexone, stopped their heavy drinking and were able to function normally in their community, but other patients reported no benefits. It was found that alcoholics with a strong family history of alcoholism and high levels of alcohol craving were more likely to respond to the medication, suggesting that there is a genetic difference between responders and non-responders. Fortunately, DNA from alcoholic patients in prior clinical trials had been preserved. When DNA was examined from the good responders, they were found to have a high prevalence of a specific genetic variant of the gene for a receptor known as the µ opioid receptor. In the clinical trials, those alcoholics with the genetic variant had a high probability of a good response to the opioid blocking medication. Those with the standard gene for the µ opioid receptor were less likely to respond to the medication. This finding was subsequently replicated by another group of investigators, but acceptance by the FDA requires a more rigorous study. The new study involves genotyping the patient first and then randomly assigning patients to naltrexone or placebo—a method called a "prospective" study. If this study also shows that those with the opioid receptor variant have a better outcome on naltrexone, the FDA will allow a labeling change stating that alcoholics with this genotype can be expected to have a superior response to naltrexone.
Unfortunately, few of the alcoholics in treatment in the United States receive any medication. Many treatment programs are adamantly against the use of medication. This philosophy was explained in a CNN television special on addiction. Five patients were followed from their entry into well-known treatment programs until their graduation, usually after 30 days of talk therapy and then interviewed again when they later relapsed. None received any relapse prevention medication. A sixth patient, not in the original five, was interviewed at the end of the series. He had been treated with naltrexone and was alcohol free for eight years working in the community. The host then brought a video recording of the interview of this successful naltrexone patient to counselors on the staffs of the five treatment programs. Each of the counselors, after viewing the interview of the naltrexone-treated patient said that, as a general rule, medication was not used in their respective programs.
So the question remains, why are effective medications being withheld from alcoholics and patients addicted to other drugs despite scientific evidence of their value? Why are patients being deprived of a treatment that could change their lives for the better? When the disease does so much damage to so many people suffering from addiction and to their families, why are most patients not even given a trial of medication in most respected treatment programs?
The answer seems to be that there is a bias among treatment professionals, perhaps passed down from past generations when addictions were not understood to be a disease. Medically trained personnel are minimally involved in the addiction treatment system and most medical schools teach very little about addiction so most physicians are unaware of effective medications or how to use them. Numerous studies have shown that addiction treatment is cost effective so that designers of health care reform have built addiction treatment including FDA approved medications into the new system. We can only hope that medical schools will catch up with the need for education on the treatment of this common disease. Patients and their families can also help by raising questions about the availability of medication with their treatment professionals.
Further Reading:
Addition: Life on the Edge with CNN Correspondent Dr. Sanjay Gupta – Aired April 19, 2009 http://transcripts.cnn.com/TRANSCRIPTS/0904/19/cp.01.html
O'Brien, C.P.: Prospects for the Genomic Approach to the Treatment of Alcoholism(commentary). Archives of General Psychiatry, 65(2):132-33, 2008.
Anton, R.F., Oroszi, G., O'Malley, S., Couper, D., Swift, R, Pettinati, H., Goldman, D. An evaluation of µ-opioid receptor (OPRM1) as a predictor of naltrexone response in the treatment of alcohol dependence. Archives of General Psychiatry, 65(2):135-44, 2008.
Mary C. Olmstead, " Animal Models of Drug Addiction (Neuromethods)". Humana Press (2010). (PDF, 484 pp.)


text:
Current Theme Song (aka what's playing on my ipod right now): Life Won't Wait by Ozzy Osbourne.
The idea of Monday's Muse is to introduce you to unknown, forgotten, or overlooked fiction that has been lost from regular radar. I am WriterGirl. I am in the business of saving lives, one book at a time.
What I do is go to amazon, narrow it down to a YA field and type in a random word, any word that comes to mind. I then take a sampling of some I have never heard of before, or only vaguely heard of (and hopefully you as well). No infringement is intended for any description I take for the books. It's purely for promotional reasons. I will try and cover as many genres as possible that are fitting for the random word. Simple but it really uncovers some incredible gems. I will be doing this every other Monday. If there are any words you want to prompt me with, go ahead and fire away.
Wheels of Change: How Women Rode the Bicycle to Freedom (With a Few Flat Tires Along the Way) by Sue Macy.
Take a lively look at women's history from aboard a bicycle, which granted females the freedom of mobility and helped empower women's liberation. Through vintage photographs, advertisements, cartoons, and songs, Wheels of Change transports young readers to bygone eras to see how women used the bicycle to improve their lives. Witty in tone and scrapbook-like in presentation, the book deftly covers early (and comical) objections, influence on fashion, and impact on social change inspired by the bicycle, which, according to Susan B. Anthony, "has done more to emancipate women than anything else in the world."
Freedom's Children: Young Civil Rights Activists Tell Their Own Stories by Ellen S. Levine.
The names of those whose voices are heard in these pages are not recorded in textbooks, yet their childhoods in Alabama, Mississippi or Arkansas were marked by acts of extraordinary courage that collectively altered the course of American history. They were among the participants, and in some cases the leaders, of numerous civil rights demonstrations in the 1960s, many of which had violent, tragic outcomes. These individuals, whom Levine doggedly tracked down, were some of the first black young people to attend formerly all-white schools; to participate in sit-ins at segregated lunch counters in stores; to become Freedom Riders, protesting illegal segregation on interstate buses; and to wage the arduous, bloody fight to secure voting rights for blacks. Chronicling all of these campaigns--as well as shocking incidents of senseless beatings, unjust jailings and murders--these first-person accounts are articulate and affecting. Representative are the words of Gladis Williams, repeatedly arrested for taking part in protests during her high school years in Montgomery: "So far as having fear, we didn't even know what fear was. We just had our minds set on freedom, and that was it." --Publisher's Weekly.
The Freedom Business: Including a Narrative of the Life & Adventures of Venture, a Native of Africa by Venture Smith, Marilyn Nelson, and Deborah Dancy.
Poems in various forms parallel the reproduced text of A Narrative of the Life & Adventures of Venture, a Native of Africa, published in 1798. Nelson's depictions and interpretations of scenes from Venture's account bring a musical, emotional, and inquisitive context to the true story of an enslaved African who eventually bought freedom for himself and his family. Similar in format to Fortune's Bones (2004) and Carver (2001, both Front St), the volume features poems on the right-hand pages, facing the ongoing narrative on the left (amazingly, the two keep pace). Text floats over abstract earth-toned art that lends qualities of light and texture to match the tone of each selection. The poems have both the sense of natural speech and of oratory, giving rhythmic majesty to intensely detailed physical and emotional landscapes. They are dense but rich, and encourage readers to approach the 18th-century narrative (which may seem oddly narrow-minded or stilted to today's youngsters) in a variety of ways. Respectful of both her audience and her subject, Nelson adds to her unique body of work connecting youngsters to history through a combination of primary-source material and verse. —Nina Lindsay, Oakland Public Library, CA, School Library Journal.
Bamboo People by Mitali Perkins.
With authenticity, insight, and compassion, Perkins delivers another culturally rich coming-of-age novel. Two teens on opposing sides of ethnic conflict in modern-day Burma (Myanmar) tell an intertwined story that poignantly reveals the fear, violence, prejudice, and hardships they both experience. Chiko, a quiet, studious student whose medical doctor father has been arrested as a traitor, is seized by the government and forced into military training. Chiko is groomed for guerrilla warfare against the Karenni, a Burmese minority group living in villages and refugee camps along the Thai-Burma border. After he and his patrol stumble into land mines, Tu Reh, an angry Karenni and rebel fighter, must decide whether or not to save him. Tu Reh's home was destroyed by Burmese soldiers, and he struggles with his conscience and his desire for revenge and independence. Both Chiko and Tu Reh are caught in a conflict that neither fully understands. Family, friendships, and loyalty have shaped their lives. But as young soldiers, they face harrowing situations, profound suffering, and life-and-death decisions. Both boys learn the meaning of courage. Chiko and Tu Reh are dynamic narrators whose adolescent angst and perspectives permeate the trauma of their daily lives. Dialogue and descriptions are vibrant; characters are memorable; cultural characteristics are smoothly incorporated; and the story is well paced. Perkins has infused her narrative with universal themes that will inspire readers to ponder humanitarian issues, reasons for ethnic conflict, and the effects of war. The author's notes provide helpful background information on Burmese history and the ongoing military regime's repression of minorities.–Gerry Larson, Durham School of the Arts, NC, School Library Journal.


text:
897 members1868 Comments 118 Likes
1513 members7571 Comments 41 Likes
1705 members6317 Comments 103 Likes
973 members4868 Comments 35 Likes
Started this discussion. Last reply by IDALMIS ARIAS Mar 15, 2013. 25 Replies 1 Like
2 years ago, I had a blog called Adventures of a Minnesota Mom. It had over 1,000 followers. I stopped blogging to deal with some personal family issues and now I am back, and since I lost my domain…Continue
Started this discussion. Last reply by Laarnie De Guzman Oct 16, 2012. 4 Replies 0 Likes
Hi all!I had a blog for two years called Adventures of a Minnesota Mom.Issues happened with my Domain Host and we lost our site and all of our writings and pictures. (Sad face)2 other Mom's and I got…Continue
Started this discussion. Last reply by Amy Simon Jan 25, 2011. 22 Replies 0 Likes
I just started my blog and I am looking to follow and get some followers as well. I do product reviews and just common day to day stories!! …Continue
I just started a group for moms who blog from the Twin Cities. (Its brand new so as of today only I'm in it)...hoping to find some other moms like you to join so we can network with local bloggers :)
Check it out if you're interested!
Welcome to MBC! I look forward to following your blog. Come and visit my blog Mama's Little Chick and say hi. Also come and join my blog network, Mama's Little Nestwork. It is a great group of bloggers and a wonderful way to get your blog noticed. Have a good day!
Mama Hen
Welcome to MBC
Hope you're having a great week. I just wanted to tell you about our new E-Zine that is dedicated to helping readers find good blogs. We have a whole page dedicated to Mommy Blogs. So drop by when you have time and check out the many features available to you at BOLD. And don't forget to request your FREE issue!
BOLD - http://boldlc.blogspot.com


text:
The coal industry here in Ireland has gone through a huge decline in the last 2 decade. In major urban areas only smokeless coal is allowed and even then many people have gas or oil central heating. The days of frequent smog warnings are a thing of the past thankfully.
Here in Blarney some will burn any old thing in their fireplaces. On cold still winter evenings the smell of smoke pervades the area and the only thing we can do is close our windows to keep it out. That's one of the downsides of living outside the city.
Years ago Monahan Road was the center of coal distribution in Cork. Suttons and Sheehan & Sullivan's were two of the major players. Suttons even occupied that big office block at the end of the Grand Parade. My Dad worked in that office for years and he took us in there a few times. Still remember those occasions!
I also remember the bags of Polish Coal out in the back of the house. It was described as "the best coal", though I can't say for sure why.
Sheehan & Sullivan's is gone now. Last time I drove past there was an office block on the site I think. Suttons is still around but owned by Bord na Mona now, last I heard. They left the offices in South Mall a long time ago.
Funny the memories a bag of coal can drag up.
|Canon EOS 40D
|Focal length
|Shutter speed


text:
Uruguay Becomes Second Country In Latin America To Legalize Gay Marriage
Gay couples in Uruguay can begin to marry in mid-July, after lawmakers passed historic legislation legalizing same-sex marriage on Wednesday.
The South American country is now the second in the region, after Argentina, to legalize gay marriage.
When the results were announced, supporters of the law, who had filled the public seats in the legislative building, erupted in celebration. The bill received the backing of 71 of the 92 members of the Chamber of Deputies present.
"I have all the rights and obligations of everyone else. I pay my taxes and fulfill my responsibilities, why would I be discriminated against?"
"We are living a historic moment," said Federico Grana, a leader of the Black Sheep Collective, a gay rights group that drafted the proposal. "In terms of the steps needed, we calculate that the first gay couples should be getting married 90 days after the promulgation of the law, or in the middle of July."
The "marriage equality project," as it is called, was already approved by ample majorities in both legislative houses, but senators made some changes that required a final vote by the deputies. Among them: Gay and lesbian foreigners will now be allowed to come to Uruguay to marry, just as heterosexual couples can, said Michelle Suarez of the Black Sheep Collective.
President José Mujica, whose governing Broad Front majority backed the law, is expected to put it into effect within 10 days.
Nationalist Sen. Gerardo Amarilla opposed the law, saying it "debases the institution of marriage" and affects the family, especially in its "role in procreation."
The vote makes Uruguay the third country in the Americas after Canada and Argentina to eliminate laws making marriage, adoption and other family rights exclusive to heterosexuals. In all, 12 nations around the world now have taken this step.
While some countries have carved out new territory for gay and lesbian couples without affecting heterosexual married couples, Uruguay is creating a single set of rules for all people, gay or straight. Instead of the words "husband and wife" in marriage contracts, it refers to the gender-neutral "contracting parties."
All couples will get to decide which parent's surname comes first when they have children. All couples can adopt, or undergo in-vitro fertilization procedures.
The legislation also updates divorce laws in Uruguay, which in 1912 gave women only the right to unilaterally renounce their wedding vows as a sort of equalizer to male power. Now either spouse will be able to unilaterally request a divorce and get one. The law also raises the age when people can legally marry from 12 years old for girls and 14 for boys to 16 for both genders.
Outside congress, gay couples holding hands, transvestites and transgender couples jumped in celebration when the result was announced. People in costumes carrying Uruguayan and rainbow flags danced to electronic music.
"I have all the rights and obligations of everyone else. I pay my taxes and fulfill my responsibilities, why would I be discriminated against?" said Roberto Acosta, a 62-year-old retired gay man.
Mujica, who spent more than a decade in prison for his actions as a leftist guerrilla in the 1970s and still lives on a ramshackle flower farm in a poor neighborhood on the edge of Uruguay's capital, has pushed for a series of liberal laws recently. Congress agreed to decriminalize abortion, but Mujica had to suspend an effort to put the government in charge of the marijuana business, saying society has to reach consensus on that idea first.
Uruguay's Roman Catholic Church asked lawmakers to vote their conscience and challenged the label of "marriage equality" as a false pretext, saying it's "not justice but an inconsistent assimilation that will only further weaken marriage."
Based on reporting by The Associated Press.
Follow us on twitter.com/foxnewslatino
Like us at facebook.com/foxnewslatino


text:
Thompson helps Storm take down Mercury
Seattle, WA – Tina Thompson posted 16 points and seven rebounds to help the Seattle Storm to an 88-79 win over the Phoenix Mercury on Thursday.
Temeka Johnson added 16 points and seven assists, while Tanisha Wright gave 14 points and seven assists for the Storm, who have won their past two.
DeWanna Bonner had 19 points, nine rebounds and seven assists while Candice Dupree tallied 16 points and 10 rebounds for the Mercury, who have lost three straight and six of seven.
Trailing by three points to start the third quarter, the Storm surged ahead in the frame by outscoring the Mercury by 12 points.


text:
US air, space artifacts to get new display
Some of the most iconic artifacts of U.S. aviation and space history will be getting an updated display for the 21st century, with the Apollo moon landing as the centerpiece.
For the first time since its 1976 opening, the Smithsonian's National Air and Space Museum plans to overhaul its central exhibition showing the milestones of flight. The extensive renovation announced Thursday will be carried out over the next two years with portions of the exhibit closing temporarily over time, said Museum Director J.R. "Jack" Dailey.
Charles Lindbergh's "Spirit of St. Louis" aircraft from the first trans-Atlantic flight, John Glenn's Mercury capsule from his first Earth orbit and an Apollo Lunar Module recalling America's first moon landing will be among the key pieces to be featured. Such artifacts have made the Air and Space Museum the nation's most-visited museum, drawing 7 million to 8 million visitors each year.
The project will be funded by the largest corporate donation in the Smithsonian's history. On Thursday, Boeing announced a $30 million gift to the museum for its exhibits and education programs. The central gallery will be renamed the Boeing Milestones of Flight Hall. In all, Boeing has donated nearly $60 million to the museum throughout its history, the company said.
The exhibition overhaul also marks the start of a renovation of the entire building through 2020, which will require federal funding. Plans call for adding an observatory on the roof.
Curators plan to reimagine the museum's largest exhibit with more stories, context and digital interaction.
"This is all part of us moving into the future," Dailey said. "Times have changed, and there are opportunities for producing exhibitions that weren't even imagined 38 years ago."
The current "Milestones of Flight" gallery includes a somewhat random mix of technical marvels, including Mercury, Gemini and Apollo capsules spread out across the floor, the first plane to break the sound barrier and other aircraft hanging above. The exhibit descriptions have not been notably updated since President Gerald Ford opened the museum in 1976, said chief curator Peter Jakab.
Plans for the renovation call for moving the large Lunar Module, a test flight vehicle, into the central exhibit for the first time and showing a progression from earlier space capsules during the space race.
The popular Apollo 11 command module Columbia that brought humans back to Earth from the moon will be moved out of the gallery. It will eventually become the centerpiece of a new Apollo gallery elsewhere in the museum.
The new design will "deepen the experience" with more description and richer stories and connections between the artifacts on display, Jakab said.
Beyond the museum's focus on science and technology, it will add more stories about the people, politics and business behind aviation and space achievements, said curator Robert van der Linden. Curators have even redefined what qualifies as a milestone of flight, saying it's not just a first but must illustrate widespread impact.
For the first time, the museum will add science fiction to the "Milestones of Flight" exhibit with a model of starship Enterprise from "Star Trek." In the 1970s, a "Star Trek" actress made TV ads to help NASA recruit a diverse corps of new astronauts, connecting fiction with reality in the space age.
A new media wall, digital screens and content for mobile devices will add more layers to the visitor experience, Dailey said.
"We're trying to figure out what the museum needs to do to stay in touch," Dailey said. "We want to inspire people of all ages to want to know more and to do more."
© 2014 The Associated Press. All rights reserved.


text:
Get your amazing Dynamic Business Website in minutes & a Free Mobile App to update it!More Details
Integrated business profile & directory listing on your own city portal, state portal + IndiaOnline.inAdd your Listing
India Online Network offering you a great partnership opportunity in Low Investment with Best ROIGet Details
Post a Classified Ad on your city portal and reach out to potential customers from your city.Post your Ad
Promote your business to over 3 crore+ verified Mobile Numbers from your city and all across IndiaEnquire Now
Ground floor, Below Talwarkars Gym, Opp. Mercedes Benz Showroom Madhapur Hyderabad 500081 View On Map
Omlet with Tosts & Coffee by Waffleworld is the best in its category in Hyderabad. The quality of Omlet with Tosts & Coffee is amazing. Omlet with Tosts & Coffee by Waffleworld is among the top 10 in Madhapur, Hyderabad. Waffleworld offers great Omlet with Tosts & Coffee deals in Hyderabad. Please share your contact details with us using the button below and we will contact you soon with best offers for Omlet with Tosts & Coffee.
Place a Quick Order using the form below -
Do you want to receive special deals and offers from Waffle World?
Daily Download limit reached! Do you want to alert Waffle World to receive Catalogue?
Do you want This Company to call you?


text:
This past week has been a big one for Brave, with us getting character descriptions and a new trailer (more like a clip) from the film. Just when you thought you would not hear from Pixar for the next few weeks at least, a new TV spot made a surprise debut during the Oscars last night. Accompanied with a beautiful song in the Scottish Gaelic language, the commercial gives us a haunting look into the film. Check out the great new TV spot after the jump! [Read more…]
You are here: Home / Archives for Brave Ad


text:
The sinister zerg leader no longer commands her legions of bloodthirsty aliens against the humans of the Koprulu sector, all thanks to the combined courage and tenacity of Jim Raynor, General Horace Warfield, and a mismatched team of Dominion soldiers and outlaw rebels. Although the queen is no more, Sarah Kerrigan is very much alive. The woman who once controlled countless alien minds in a rampage across the stars has been spirited away by the man who dethroned her. Now Arcturus Mengsk's Dominion armada is on her heels, roaring for blood. Jim Raynor will need to test his strength, his wit, and his loyalties against impossible odds to protect the woman he loves. StarCraft II: Flashpoint bridges the events that take place in StarCraft II: Wings of Liberty and the upcoming StarCraft II: Heart of the Swarm. Featuring never-before-seen glimpses into Jim Raynor and Sarah Kerrigan's past, this novel opens a window into a world of passion, action, and adventure.
Author: Golden
Publisher: Blizzard Entertainment
Published: 04/26/2022
Pages: 352
Binding Type: Paperback
Weight: 1.80lbs
Size: 9.00h x 5.90w x 1.00d


text:
Everland's T Express Takes Top Spot Intamin Dominates Top 10
This year's Internet Coaster Poll had a big shake up at the top of the wooden poll as two-time champ The Voyage (Holiday World, Indiana) was unseated by newcomer T Express (Everland, South Korea).
Intamin Pre-fabs For the Win!
Last winter, I covered the T Express construction. I had particular interest because it's an Intamin pre-fabricated woodie. Pre-fabs are similar to steel coasters in that they are assembled like puzzle pieces on-site. Another major difference has been their ultra-smooth, unwooden-like ride. Wooden purists can hate these faux-woodies all they want, but the poll speaks for itself. This year, all four Intamin prefabricated coasters are in the top ten. The only one in America is Six Flags Great Adventures' El Toro. It offers an amazingly smooth and thrilling ride with more airtime than you'd think would be possible. For that reason it's at number 2 in my Top Ten Coasters and number 3 in the Internet Coaster Poll. I've heard great things about Balder at Liseberg (Sweden) which came in at 5th again this year. And Colossus (Heide-Park, Germany) moved up 7 spots to 10th. If that wasn't enough, a traditional woodie from Intamin moved into the top 10 as Aska (Japan) came in tied for 7th place even though its been 'standing, but not operating' for 2 years. I don't think most would have forseen Intamin's sudden wooden dominance.
2007 Top Ten Best Wooden Roller Coasters
1 T Express at Everland (Korea) Intamin (New in '08)
2 The Voyage at Holiday World (Indiana) Gravity Group (1st '07)
3 El Toro at Six Flags Great Adventure (New Jersey) Intamin (2nd '07)
4 Boulder Dash at Lake Compounce (Connecticut) CCI (6th '07)
5 Balder at Liseberg (Sweden) Intamin (5th '07)
6 Phoenix at Knoebels (Pennsylvania) Philadelphia Toboggan Coasters (7th '07)
7 Troy at Toverland (Netherlands) GCI (4th in '07)
7 Aska at Nara Dreamland (Japan) Intamin (11th in '07)
9 Ravine Flyer II at Waldameer (Pennsylvania) Gravity Group (New in '08)
10 Colossos at Heide Park (Germany) Intamin (17th '07)
Complete 2008 wooden roller coaster poll results with all 178 coasters.
Check out this on-ride video of T Express at Everland. It's a massive wooden coaster at 183′ feet tall and over 5,300 feet long it's the 3rd tallest and 6th longest in the world!
Other Notable Rankings – The Winners
In all, America now has only 5 of the top ten wooden coasters as one of my all-time favorites Hades (Mt. Olympus, Wisconsin) and Tremors (Silverwood, Idaho) have been bumped out of the top 10. Meanwhile, Ravine Flyer II debuted at an impressive 9th in its first year. Six Flags St. Louis' brand new Evel Knievel debuted at 15th.
Other Notable Rankings – The Not-Winners
Kings Island's de-looped Son of Beast moved up (if you can believe that) to 174th out of 176. Other well-known woodies at the bottom, include Cedar Point's Mean Streak at 166th, and Darien Lake's Predator at 173rd. California's Great America's Grizzly once again retains the title of world's worst wooden coaster.
Unfortunately (or maybe fortunately), Son of Beast was closed during my trip to Kings Island. Since it's lost its loop and distinction as the world's only wooden looping coaster, the ride does look a lot less eventful with just a number of huge helixes. I re-rode Darien Lake's Predator this summer and while they'd removed that unforgivable gum monument in the queue, the ride was still much rougher than it should be. I did notice that they were in the process of working on it. Even if it's improved, it may take years for its reputation to improve. Mean Streak isn't by any means a horrible ride, it's just about as dull as possible. And with its size, potential and location at the Coaster Capital, Mean Streak is quite a dissapointment. I've never been to Great America's, but it's Grizzly has the same 'Coney Island Wildcat' design as the Grizzly at my old home park Kings Dominion. I could definitely imagine it super-rough and rickity. I'm surprised Cedar Fair hasn't done a major overhaul and brought in a wrecking ball at this point.
What's Your Take?
What do you think of the 2008 Internet Coaster Poll's Wood Results? Where does your favorite woodie place? Do you agree with the results? Leave a comment below.


text:
If you still get your Rx's in a prescription vial…you are doing it wrong!! Call Packer Apothecary to find out what's changing in pharmacy and how it could better you or a loved ones health!
Take Advantage of this SPECIAL!!!!
Call today and ask how our exclusive unit dose packaging system can save you or a loved one time and money!
This system is proven to keep you compliant and healthier, which then keeps you out of the doctors office!!
Mailer Gift!!
Please Read!! WE ARE CHEAPER THAN COSTCO!!!
South Philadelphia's #1 Pharmacy
Packer Apothecary offers FREE Delivery and Pick-up of Prescriptions.
Remember the good old days when you were able to go talk to your pharmacist about a concern you had or to have a question answered without being rushed out because they were too busy? Or the days when you were able to get a prescription filled in a reasonable amount of time? You probably thought those days were over. The good news is that there is now a pharmacy like that!! Packer Apothecary, located in the Packer Park shopping center, is still that old-time pharmacy. We offer the BEST prices on all medications and we accept all major insurances, including: Medicare, Medicaid, PACE, Express Scripts and CVS/Caremark. Packer Apothecary carries a variety of top-selling, over-the-counter medications. We also have a nice selection of greeting cards that are 50% off everyday.
Here's the best part: WE OFFER FREE DELIVERY!! How is that for customer service?
Whether it's calling your doctor for a refill or a new prescription or delivering you a greeting card to send to your grandchild, we understand how you want to be treated.
Transferring a prescription is simple, just bring in your bottle(s) to us with your insurance card and we'll take care of the rest.
Packer Apothecary, how pharmacy should be.
Packer Apothecary (Pharmacy)
Not your typical Drug Store
Packer Apothecary is a step above your typical "chain drug store" or "mail order facility" by providing personalized care, 1:1 customer service, FREE pick-up and Delivery of prescriptions, and FREE delivery of over-the-counter products. Please stop in and ask for your neighborhood pharmacist, Christopher Pauzano, to see how he may assist with your pharmacy needs.
Saving MONEY and Helping Patients
We have assisted many customers in finding affordable options for medications, such as offering alternative product suggestions and providing medication coupons and rebates when available. Additionally, we provide a friendly environment while also providing a genuine interest in our patients.