text:
Advanced Spot Removal In Lightroom
Never miss a dust spot again! Here are three techniques you can use in Adobe Lightroom to find all the sensor and dust spots in your photo. And two of them you may not have known about!
More like this
- Tip
- Tip
- Tip
- Tip
- Tip
on September 23, 2016 - 2:27pm
Nice one Scott! Never knew about using the dehaze slider in that fashion. Thanks!
Florian Cortese
on September 23, 2016 - 2:29pm
Thanks Florian. I still have a few tricks up my sleeve. :-)
on November 27, 2016 - 10:44am
Excellent Scott! I knew about the spot removal tool of course but never even paid attention to the fact that there was a visual spots box to check. The other two were also great to know.
Steve Hadeen
on November 28, 2016 - 9:23am
You're welcome, Steve. I do recommend using multiple methods. Not all spots are created equal! :-)


text:
Paul Pfeiffer
Paula Cooper Gallery | 529 West 21st Street
To Johan Huizinga, author of the classic 1938 study Homo Ludens, it is the healthy, energetic civilization that is able to constantly engender new forms of play, whereas in decadent societies, highly organized systems of recreation and amusement become mere formal games. With its concise group of works, all from 2012, Paul Pfeiffer's exhibition "Playroom" explored the spectrum of modernity's forms of play, from "free," fun and pleasurable activities to codified competitions in which profit or passive entertainment seem to be the motivating impetus.
The most mesmerizing of these works is 100 Point Game, a digitally altered video transferred to a 16-mm film loop. In its four and a half minutes, 100 Point Game follows the arc of fifty "nothing but net" jump shots in professional basketball games. Yet Pfeiffer has digitally removed each basketball so that the camera seems to pan and
— Eva Díaz
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text:
Banton And Bowlers Propel Qalandars To Convincing Win
After winning the toss and opting to bat first, Qalandars got off to a poor start losing the wicket of their captain Dawid Malan in the very first over of the match. Phillip Salt also failed to contribute with much of runs and got out pretty soon leaving Qalandars at 35 for 2. However, at the other end, Tom Banton looked in a remarkable touch striking the ball effortlessly.
Banton rallied the opposition bowlers in all parts of the ground smashing a sensational innings of 80 runs off just 28 balls that included nine fours and six sixes. Sandeep Lamichhane bowled really well to pick the prized scalp of Banton that in turn slowed down the scoring rate a bit.
Eventually, Qalandars still managed to finish with a daunting total of 130 for 7 in 10 overs. For the Karnataka Tuskers, Ahmed Raza and Sandeep Lamichhane picked two wickets each.
While chasing a target of 131 runs, Karnataka Tuskers got off to an explosive start with Johnson Charles smashing four crisp boundaries in the very first over of the innings. However, Evin Lewis first got out with 20 runs on the scoreboard and then wickets continued falling on regular basis. The Qalandars' bowlers never really allowed the opposition to stage a comeback in the game.
The required run-rate kept on increasing while wickets continued to tumble at the other end. Eventually, Qalandars restricted Karnataka Tuskers to 98 for 9 in 10 overs. For the Qalandars, Sultan Ahmed and George Garton picked two wickets each.
Brief Scores
Qalandars: 130/7 in 10 overs (Tom Banton-80, Laurie Evans-17; Sandeep Lamichhane 2/30, Ahmed Raza 2/33)
Karnataka Tuskers: 98/9 in 10 overs (Ryan ten Doeschate-25; Sultan Ahmed 2/5, George Garton 2/21)
Result: Qalandars won the match by 32 runs.


text:
The Giver
Lois Lowry, The Giver (Boston: Houghton Mifflin, 1993)
Jonas lives in a society where pain has been eliminated. Marriages are arranged and couples are provided with children; careers are assigned; the elderly are "released." There is no terrain or alteration in climate. Jonas does not question the logic of this world until at his twelfth birthday he is chosen as the society's next Receiver of Memory. His training demands that he take on memories of deep happiness—snow, hills, holidays—but also of death, war, and pain. He is also allowed to lie. While Jonas's world lacks poverty, divorce, and pain, it also is without honesty, choice, music, or love. Lois Lowry, author of Number the Stars, won the 1994 Newbery Medal for The Giver, despite her controversial treatment of euthanasia, infanticide, and suicide. Her inspiration was talking with her father after he lost his long-term memory.
Themes, Symbols, & Motifs:
- Freedom. The Community has little freedom but an abundance of social rules. Jonas reasons, "We really have to protect people from wrong choices."
- Sexuality. All youth and adults take a pill to repress their "Stirrings." Nakedness, except in the old, is forbidden. Even gender norms are largely abolished. Differences are ignored.
- Gabriel. The newchild represents hope and functions as a tabula rasa for a new society where there is freedom to choose pleasure and pain.
- Sight. Jonas has the gift of "seeing beyond" and, like the Giver, Rosemary, and Gabriel, has "pale" eyes.
- Memory. The Giver offers Jonas the collective memories of many, which Jonas in turn gives (or gifts) to the Community once he leaves. Memory, though at times burdensome, can lead to revelation, to wisdom.
Discussion Questions:
- What are the markers for each year of childhood, and why are these significant?
- Discuss terms from the book: Elsewhere, Sameness, Receiver of Memory, The Giver, Stirrings, release, Community, House of the Old, Ceremony of Loss, Elders, and seeing beyond.
- Would families benefit from a daily sharing of feelings and dreams? Why or why not?
- Why are both pain and pleasure so important to society? Is pain necessary to have pleasure? And vice versa?
- The Giver was the first of a new genre—teen dystopian fiction—followed later by books like The Hunger Games, Divergent, and The Maze Runner. Why is this genre so popular?
- The book seems to propose that there are things more important than avoidance of pain. What are those things?
- If we took this story to be a parable, then what is the moral? If it is an allegory, then an allegory for what?
- Why are traditional gender roles blurred in the Community, while at other times rigidly observed?
- Is this a children's, young adult, or adult book? Why?
- What happens to Jonas and Gabriel at the end, and why did the novel end this way?
Click here for a downloadable Word document of this Discussion Guide.


text:
Ive just setup a new YouTube account and clicked on the upload link to the upload page, the question is the Upload icon that should be displayed next to the Record from webcam option does not appear.
Is it a Youtube fault or something to do with my computer settings eg firewall or other settings?
... save the video to a folder on your drive then click the link above.
Angel Decoy
... Posting is provided "AS IS" with no warranties
Grrrr... ...im
Hi Mavis007
Thanks for the reply, I managed to figure it out in the end, just to let you know and anyone else for that matter that gets the problem as I found it hard to find an answer for this one, I tried using a different browser to which I used Google Chrome, and It worked just fine and the icon appeared as it should.
But thanks again for the tip anyway.


text: Hi, I've been trying to load Mindjet files and it opens but I can't edit. It stays on read-only. I restarted my laptop, signed out and signed back in, uninstalled and reinstalled the Windows app but it's still doing the same thing. Is there an issue with the cloud or the sync function? File is not open anywhere else. Literally all my files are read only.


text:
by William Strong
The Tantramar Revisited is Charles
G.D. Roberts poetic masterpiece, and it has generally been acknowledged as
such.1 As early as 1905, in his study
of Roberts and the Influence of His Time, James Cappon not only quotes twenty-eight
of the poems sixty four lines, but also characterizes it as a true whole
which, amongst all the varieties of [the] Canadian idyll theretofore attempted
by Roberts leaves the strongest impression of originality in tone and
treatment.2 The feat accomplished by
Roberts in The Tantramar Revisited, Cappon thought in 1905, could not
easily be repeated.3 Nearly half a
century later, in Creative Writing in Canada (1952), Desmond Pacey refers to
Roberts poem as undoubtedly one of the best . . . ever written in
Canada.4 In Ten Canadian Poets (1958)
and in a later paper on Charles G.D. Roberts (1961) Pacey would go on to
describe The Tantramar Revisited as descriptive poetry of a high
order5 and as a poem which, for him,
exhibits a definite and satisfying structure.6
Even more recently, W.J. Keith, while allowing as, in some measure, both Cappon and Pacey
had done, that in thought, situation, diction, and
verse form, The Tantramar Revisited is not absolutely original or
especially remarkable, admits that the poem provides the reader with a compelling
experience and, moreover, stands alone amongst Roberts poems repaying detailed
attention.7 Some five years after
making these remarks in his 1969 monograph on Charles G.D. Roberts Keith would go
further; The Tantramar Revisited, he says in his Introduction to
Roberts Selected Poetry and Critical Prose (1974) shows the poet at the
height of his power, and it transcends the poetry of mere nostalgia and rural
description to be a sensitive and intelligent inquiry into the nature of
memory and change.8 It is not the aim
of the present discussion to dispute any of the claims made by Cappon, Pacey, Keith and
others on behalf of The Tantramar Revisited. On the contrary, the purpose of
the following essay is to expand upon the necessarily brief examinations of the poem
offered by these critics in an attempt to show that it attains to a fine and complex unity
of form and language, imagery and thought, that The Tantramar Revisited is,
indeed, Charles G.D. Roberts poetic masterpiece.
The Tantramar Revisited is divided into five stanzas of irregular length, each
containing variations on what has variously been seen as the hexameter or the elegiac
metre, Cappon, for instance, arguing for the former and Pacey for the latter.9 In view of the great metrical variation in
the poem and of the fact that the elegiac metre itself consists of alternate hexameter and
pentameter lines, it seems both prudent and felicitious to say simply that in The
Tantramar Revisited Roberts first opens with and then plays against a hexameter
norm. (More of this, however, in due course.) When commenting on the verse form of
The Tantramar Revisited most critics, including Pacey, cite the hexameters of
Longfellows Evangeline (1847) as Roberts precedent and model, usually
ramarking that the poem is derivative and reminiscent without being original or
innovative. (Pacey, who remarks, rightly, it could be argued, that the
imitation surpasses the model,10
provides something of an exception to the general rule.) Of Roberts
familiarity with Evangeline there cannot, of course, be any doubt. Longfellow
was one of the poets whose work inspired the Canadian writer in his earliest days
with the love of poetry11 and Longfellow
was amongst those to whom Roberts sent a copy of Orion and Other Poems in 1880.12 Moreover, between the first appearance of
The Tantramar Revisited, under the title of Westmorland Revisited,
in the December 20, 1883 issue of The Week, and its publication in the In Divers
Tones volume of 1886, Roberts made reference in his address on The Outlook for
Literature: Acadias Field for Poetry, History and Romance to
Longfellows handling of Acadian story in Evangeline which, he
said, had simply glorified the theme for later singers13 a remark which echoes forward to his own A Sister
to Evangeline, published in 1898. And in 1890, in an address delivered in
Boston, he described Longfellow as the greatest of New Englands poets
and Evangeline as an instance of the way in which the Maritime Provinces and the
New England States had acted and reacted upon one another. . . .14 The same thing might be said of
Roberts own The Tantramar Revisited. For the point needs to be made
that, while Roberts did not invent a new form for his poem, his decision to remember and
to echo in The Tantramar Revisited the verse form, the cadences, and even
specific details15 of Evangeline is both
apt and appropriate, not only because his poem takes as its theme nostalgic
remembrance,16 but also because it takes
as its subject a portion of the landscape of the Maritimes, and indeed precisely that
portion which Cappon appositely calls the land of Evangeline.17 The suggestion, then, is that the verse form of
The Tantramar Revisited is more than mere masterly18 handling of the form that Longfellow had made his own Evangeline;
it is a suitably allusive use of the hexameter by means of which the Canadian poet echoes
the American poem and, in so doing, adds historical depth and resonance to his meditation
on the effects of time and memory in the region of the Tantramar marshes on the Bay of
Fundy. The Tantramar Revisited thus gains an historical dimension (and
it is worth remembering here Roberts well-known fascination with the history of the
Maritimes) through an allusion inherent in its verse form and its cadences.
verse form of The Tantramar Revisited is interesting for reasons other than
its allusiveness. Both Cappon and Pacey have remarked upon the facility and skill
with which Roberts handles his metre, the former commenting on the larger effects of the
poem and the latter on individual in stances of the poets skill. To
Cappons broad observation that the hexameter involves Roberts in a struggle .
. . Between the metrical mould and the natural idiom of the language . . . ,19 a struggle which results in some rough
lines as well as in some freedom and naturalness,20 may be added the suggestion that this struggle
is, in fact, consistent with the overall mood and theme of the poem. For by setting
up the expectation of a hexameter rhythm and then playing against it the rhythms dictated
by the verbal sense and the reading voice, or, to be more specific, by establishing a
hexameter norm at the beginning of the poem (the first line has a full sixteen syllables)
and then proceeding to modify it with more natural rhythms, (few lines in the body of the
poem have more than thirteen syllables). Roberts serves the readers ear notice
of what, in effect, is the imaginative adventure of the poem: the speakers discovery
of the disjunction between his expectation and the reality, between his expectation that
the marshlands have not been affected by Time and the reality that, of course, they
have. Put somewhat crudely, the suggestion is that, just as the classical metre,
which as a classics metre might seem immune to the forces of change is, the
reader discovers, far from immune to change in The Tantramar Revisited, so the
speaker of the poem comes to realize that even in the landscape of his youth the same
forces are at work. Such a correspondence should not be pushed too far; nevertheless
it gives credence to Keiths comment that the form which the poet . . .
imposes on his material in The Tantramar Revisited bears a distinct
relation to the effect which the landscape has on the poet.21
In his
1961 paper on Sir Charles G.D. Roberts Pacey assembles several specific
instances of the way in which the poets metrical and verbal skill allows him
accurately to depict features of his beloved boyhood landscape: the word
Laboring in the first stanza, says Pacey, is calculated exactly to
summon up the picture of . . . long marsh grass . . . constantly in slow,
troubled motion. . . .; Turbid, also in the first stanza, catches
exactly the twisting, muddy tumult of the incoming . . . tide. . . .; barred
by the hurtling gusts, with which the first stanza closes, is, to Paceys eyes,
a similarly accurate description of a meteorological effect of the Tantramar area.22 Drawing in part it would appear (as the
present discussion shall again in a eminent) on the theories of Norman G. Stageberg and
Wallace L. Anderson regarding sound symbolism in poetry,23
Pacey also calls attention to the way in which Roberts uses the long, unpunctuated
line Skirting the sunbright upland stretches a riband of meadows, with its
repeated rs and its short vowels, to suggest length and light, and then
breaks the next line, Shorn of the laboring grass, bulwarked well from the
sea, in half to give, first, the effect of the short, clipped grass, and, second,
the effect of the dike blocking the sea.24
It may also be observed that, on occasion, Roberts uses spondees (seen by Cappon as
frequently awkward25), not just to
suggest the slow, ponder movement of the speakers thoughts, but also, as in
Dips from the hill-tops down, straight to the base of the hills and
Dotting the broad bright slopes outspread to southward and eastward, to convey
the spatial forms of the features described, the heavy stresses suggesting bulks and in
inclines. To convey both the features of the landscape and the effects of light upon
its details Roberts draws up the gl and sp sounds (in
gleam, glance, and sparkle26)
in the latter part of the poem, just as towards the beginning he draws upon the
o sound (as in come . . . gone, swallow,
sorrow, and shadow) to convey the unhappiness and nostalgia of the
speaker. The use of what might be termed visual onomatopoeia, calculated rhythmical
effects, and phonetic intensives in The Tantramar Revisited confirms that this
is, indeed, descriptive poetry of a high order in which each word (and
aslant, scattering, vexing, and
green-rampired are amongst other words whose appropriateness could be explored
if space permitted) and each line have been carefully chosen and constructed to convey
the exact nature of the scene before the poets eyes.27
readers of The Tantramar Revisited are initially surprised to discover that it
is unrhymed. The reason for this, perhaps, is that the poem contains so many
repeated sounds, words and phrases that it conveys the illusion of rhyme. As W.J.
Keith has rightly said (and notice the suggestion that the repetitions have a mimetic
quality): phrases and images within the poem . . . recur and repeat, like the
pattern of grass and dykes on the marshes.28
Not just individual words, such as the summers and many of
the opening lines, but also phrases such as chance and change, Miles and
miles, Well I remember, and Now at this season, as well as
the imagery of the Tantramar landscape and its human inhabitants, are repeated over and
over again, lending pattern and unity to the poem. Roberts iterative use of
word, phrase, image and, of course, syntax too is precise as well as evocative; its
purpose is not just to lend design and structure to the poem but also to evoke a sense of
the particular locale under observation and a sense of the speakers emotional
response to it.
turning away from the technical aspect of the poem, one final feature of its verse form
demands attention. Since several writers have seen The Tantramar
Revisited as a poem which anticipates to quote Pacey many of the qualities
[that] occur in Roberts sonnets,29
it does not seem unfair to ask whether the verse form itself (in addition to the
observation of the large features of a landscape and the particular details within it that
the poem manifests) might not be one of the qualities which looks forward to the sonnets
of the Songs of the Common Day volume of 1893. The answer must be yes, for
two reasons. Firstly, it seems clear that in The Tantramar Revisited
the poet is playing the pentameter against the Hexameter measure and, in the process,
allowing the strengths and attractions of the five foot line not only to take him away
from the elevated, classical metres and subjects which had dominated Orion
and Other Poems, and which, to some extent, dominate In Divers Tones, but also
to move him to wards the sequence of Canadian nature sonnets that is Songs of the
Common Day. Several of the nature sonnets included in Songs of the Common Day,
notably The Sower, The Potato Harvest and In
September, in fact appear on either side of The Tantramar Revisited in
the In Divers Tones volume. And, secondly, it is worth noticing that one of
the central stanzas of The Tantramar Revisited consists of fourteen lines,
that the long first stanza of the poem is end-stopped at the fourteenth line, and that the
final two stanzas of the poem, when run together as they are in at least one printing of
the poem,30 also total fourteen lines.
With only minimal difficulty the poem may thus be seen to contain three fourteen line
stanzas, suggesting that the sonnet shape is present as an infra-structure in this
extended lyric. In structure, as well as in subject, The Tantramar
Revisited would appear, like the In Divers Tones volume itself, to represent
a stage in Roberts movement from the earlier classical poems towards the nature
sonnets to follow, a stage in and a discovery of the appropriate form and voice in which
to treat his native landscape.
Nature-poetry, wrote Roberts in the December, 1897 issue of Forum (New York),
is not mere description of landscape in metrical form, but an expression of one or
another of many vital relationships between external nausea afoul the deep heart of
man.31 The one such
vital relationship which perhaps overrides all others, certainly the one with
which Roberts himself, from his early essay on the pastoral elegy32 through The Heart of the Ancient Wood (1900) to the
later animal stories, was vitally concerned, is the relationship between Nature per se and
Man per se. It may have been in part from the classical pastoral elegies of
Bion and Moschus that the Canadian poet derived his concern for the fact that Man alone,
being both a part of and apart from the natural world, feels the burden of Time and Death,
while Nature itself, whether it be through mere endurance (as in the case of geophysical
formations such as rock and ocean) or through seasonal and cyclical recurrence (as is the
case with trees, grass and other aspects of the vegetable world), seems immune to the
forces of Time and Death. Be this as it may, I shall try to show that a concern with
the effects of Time and Death on Man and Nature lies at the core of The Tantramar
Revisited and, moreover, that the interaction between external nature
and the heart of the speaker is the source of the dialectical and dramatic
development that takes place in the poem. This development resides in the gradual
transformation of the speakers attitude to and perception of the Tantramar landscape
from a place where, in contrast to his own life, there has been no change to a
place where the forces of chance and change have also taken their toll.
By means of the interaction between the speaker (Man) and the landscape (Nature) the poem
explores the effects of Time and comes close to implying that memory is the only means of
preserving even the illusion that anything or anyplace is outside or beyond
the reach of Time.
It is by
no means fortuitous that the cadence and imagery of the opening line of The
Tantramar RevisitedSummers and summers have define, and gone with the
flight of the swallowis reminiscent of two poems by Tennyson,
Tithonus and the Swallow Song from The Princess. Both
these pieces are concerned with the passage of Time and the cycle of the sea sons, and the
echoes of them that sound at the beginning of The Tantramar Revisited,
together with the verbal and syntactical repetitions that are picked up in the second line
(Sunshine and thunder have been, storm, and winter, and frost), serve notice
of the poems central themes, while at the same time, setting in motion its cyclical
imagery. In fact, it is now possible to recognize that cyclical imagery provides the
basis for the first of several interlacing image patterns in the poem. In the first
two lines which have already been quoted, cyclical imagery is implicit in the repetition
of the word summers, and it is reinforced by the pauses on the commas between
Rome, and gone and after been, storm, and
winter. Just as these Petitions and pauses serve to emphasize the slow,
cyclical movement of Time as manifested in seasonal and meteorological changes, so the
return and departure of the swallows emphasizes the circular cycle of the seasons.
As the stanza moves forward the recurring cycles of Time are shown to have had their
effect, not only on the human world (Many and many a sorrow has all but died from
remembrance, / Many a dream of joy falln in the shadow of pain), but also on
mother Earth herself (Even the bosom of Earth is strewn with heavier shadows).
It is following the line just quoted in parentheses that the speaker focuses on
what he initially perceives to be the unchanged Tantramar landscape. Before
proceeding to examine his evolving response to the landscape, account must be taken of the
other two image patterns that are implicit in the opening movement of the poem.
first of these patterns resides in the use of the imagery of darkness and its opposite,
light. As has probably been observed in the passages quoted, darkness is initially
associated in the poem with the effects of Time, which brings to the speaker the
shadow of pain and to the Earth heavier shadows. Throughout the
poem, in fact, darkness (shadow, night) is associated with the forces of chance and
change and Time, while light (sunshine, day) is associated, initially at least, with
the Tantramar landscape and its surroundings, with the area which, the speaker wants to
believe, has remained immune to the ravages of Time. The other pattern of imagery
inherent in the opening movement of the poem is the one which devolves from the
personification of (mother) Earth as a woman, initially with a bosom but
subsequently with a riband (Skirting the sunbright
uplands), grass that gossips, scarf, and dawn with
teetha progression which, in its gradual and deliberate accretion of
suggestions of disease and mortality to the personified body of the Earth and to the
Tantramar marshland, is indicative of the speakers gradually changing perception of
his boyhood landscape. As shall be seen in a few moments, it is by means of such
movements within the image patterns of The Tantramar Revisited that Roberts
bodies forth the dialectical and dramatic development of the poem. To detain us a
moment longer, however, there is one more set of contrary images in the poems long opening
It has
already been observed that the images of darkness are complemented by images of light at
the beginning of the poem and that this dark/light image pattern is, initially, polarized
on either side of the central tension of Time vs. stasis which the speaker creates
as he sets the transitoriness of his own life against the apparently unchanging quality of
his boyhood landscape. Similarly, the poems cyclical imagery (imagery based,
note, on the circle and cognate shapes) is complemented by an opposing body of images
based on the horizontal plane (long clay dikes, wide red flats,
and, of course, the Miles and miles the phrase is repeated four times
for emphasis of flat, level marshlands) and associated
solely with the apparently timeless, static landscape of the Tantramar. Serving a
mediatory function between, on the one hand, the speakers (cyclical, curved) world
of change and time and, on the other hand, the supposedly timeless, static (horizontal,
flat) world of the Tantramar marshes are, of course, the (convex) green hills
and sunbright uplands. These hills and uplands
span the gap between the speakers vantage-point and the lower landscape
and, moreover, contain signs both of the effects of Time and Nature acting on the
human world (scattering houses, / Stained with time) and of the human attempt
to transcend Time and Nature (a meadow / Shorn of the laboring grass, bulwarked well
from the sea). In the first long stanza of the poem, then, the polarity
consisting of dark v. light and cycle v. plane, is used by the speaker as a
bulwark for his notion that, in contrast, to his own world of chance and
change, the Tantramar marshland is static and Timeless.
point may now be made that in the middle stanzas of The Tantramar Revisited
the speakers comfortable polarities begin seriously to break down and, in the
process, seriously to threaten his darling illusion as he observes
increasingly that the landscape is not entirely light or flat or immune to the forces that
exact their toll on the world of Man, that, in fact, Time, bodied forth in cyclical
imagery and in the imagery of darkness, operates here too. Cappon is wrong in his
contention that Roberts lavished the resources of his style a little too
freely on [the] description of the empty net-reels33
in the central stanzas of the poem. For surely the lengthy and detailed description
of the net-reels is needed to emphasize the fact that cycles, which is to say
the forces of Time, are present too in the Tantramar marshes. Yet the reels are
empty and idle. Time does appear to be standing still. This stasis
is threatened by the memories of the speaker, however, as he recalls, in stanza two,
the net-reels / Wound with beaded nets, dripping and dark from the sea and, in
stanza four, in a passage which brings home to him the realization that movement and Time
are aspects of the Tantramar Landscape, remembers how each reel used to groan
under the pressure of Agile nets. Related to the repeated references to the circular
net-reels, may be the increased emphasis on vertical, as opposed to horizontal
or planar lines, in the middle stanzas of the poem such details as a white
sail and the slim, gray masts of fishing boats also representing the
human, and, thus, temporal, presence in the landscape. Similarly, the speaker
discovers evidence of darkness in the marshland and its environs: the nets that lie
heaped in the gloom of a loft and loom sombrely over the land. And, more
overtly, his repeated references to the effects of wind and tide (both of which have
strong temporal connotations) on the Tantramar marshes serve to reinforce the sense that
the landscape is prey to the ravages of Time.
To use
the word prey in this context is to suggest another way in which Roberts makes
us conscious of his speakers growing awareness of the fact that the landscape he is
visiting is neither timeless nor static. It is in the third stanza that the speaker
observes most pointedly the (circular) reels . . . / Over the [horizontal] lines of
the dikes, and it is here that he allows himself to imagine the dark, nocturnal and
predatory life of the marshes, the life which reveals unmistakably the presence in the
landscape of the forces of mortality, survival and Time. As he imagines the events
that occur in the marshes as the sun, in the cycle, note, of a single day, passes from
morning, through afternoon and sunset, to
night and back to dawn, he becomes increasingly aware of the
presence there, not only of Time, but also of death death in the personified
vegetable world where gossiping grass is cropped and stored for consumption by
domestic animals and death in the world of wild animals, of foraging gulls,
fish-eating cranes, and the Winnowing soft gray wings of predatory
marsh-owls. (The word Winnowing as applied to the wings of the
owls yokes together the vegetable and the animal worlds as parts of the food chain.)
Even though by the end of the third stanza the speaker is able to imagine the
awakening wind blowing out of the predatory teeth of the
dawn and to allow a pristine vision of the shore jewelled with dew
to supplant his dark vision of the real life of the marshland, the stanza closes on an
ominous image sea-spoiling fathoms of drift-net / Myriad-meshed, uploom[ing]
sombrely over the land which ensures that neither he nor the reader can quite
forget the darker side of the Tantramar landscape. The third stanza of The
Tantramar Revisited reminds the reader, too, that this is the same Roberts who would
go on to publish The Heart of the Ancient Wood in 1900 and nearly three hundred
animal stories.
should now be clear that the third stanza of The Tantramar Revisited contains
a more complex conception of the speakers boyhood landscape than the one offered at
the beginning of the poem and modified through the first and second stanzas. By the
third stanza the speaker has arrived at a conception of the marshes in which remembrance,
imagination and reality are intermingled, a conception in which circle and plane, dark and
light, time and stasis, coalesce and threaten to the point of destruction his earlier
assumption that only in his boyhood landscape has there been no change. Little
wonder, then, that in the fourth stanza the speaker retreats almost desperately to the
realm of memory: Well I remember it all the stanza begins, echoing the same
phrase in the second stanza but betraying too, the desire to remember in both senses of
the word Well. He is to be frustrated, however, in his wish to retrieve
pleasant and happy, timeless and static, memories of the landscape. Instead, his
memory offers him a salt raw scent (the raw itself recalling,
through its association with meat, the previous stanza) and the image of labouring
men at the windlass, groaning each reel as the net is drawn in.
In addition to what has already been said about the groaning of the
net-reels, two things in this stanza are especially remarkable. The
first is that here, as nowhere else in the poem, the speaker alludes explicitly to human
figures in the marshlands, to the men at the windlass and then, in the last
line of the stanza, to each man returning (in a possible and appropriate
reminiscence of Grays Elegy) to his home. The
significance of this is that here the speaker is remembering real men in the real world,
men working, moving, living, and, inevitably, dying in a word, being anything but
static and timeless. The second significant aspect of the stanza resides in the
speakers memory of the net, / Surging in ponderous lengths [which] uprose
and coiled. Here the drift net has been given a
sinister life of its own, transformed, indeed, into the leviathan of the sea or the snake
in the garden, symbols of the mundane, fallen world where hard work, linear Time, and, of
course, Death are Mans lot. The well I remember it all! which
follows the description of the drift net and which closes the fourth and
shortest stanza of the poem is by no means a throwaway phrase: repeated in its
new context, where the exclamation point assures a strong emphasis on all!, it
indicates that, at last, the full life (which includes Time and Death) of the Tantramar
marshes has become accessible to the speakers memory in all its harsh reality.
human kind / Cannot bear very much reality.34
Thus it is that in the fith and final stanza of the poem the speaker retreats from his
memory of the Tantramar landscape as a place of change, movement and time and
resolves to concentrate, instead, on the present stasis of the marshlands, to
. . . sit and watch, this present peace of the
Stranded boats, these reels empty and idle, the hush
One gray hawk slow-wheeling above yon cluster of haystacks,
More than the old-time stir this stillness welcomes me home.
. . . sit and watch, this present peace of the
Stranded boats, these reels empty and idle, the hush
One gray hawk slow-wheeling above yon cluster of haystacks,
More than the old-time stir this stillness welcomes me home.
. . . sit and watch, this present peace of the
Stranded boats, these reels empty and idle, the hush
One gray hawk slow-wheeling above yon cluster of haystacks,
More than the old-time stir this stillness welcomes me home.
While the stasis and silence of
the speaker, the landscape, the boats and the reels,
suggest that the Tantramar marshes can transcend movement and sound in the fixity that is
essential to still life (the French term nature morte comes also
to mind here), the figure of the predatory gray hawk slow-wheeling above yon cluster
of hay-stacks, echoing back as it does to the gray-winged marsh owl and
the fresh-stowed hay of previous stanzas, makes certain that motion, Time and
Death, albeit in a slowed-down (slow-wheeling) form, are ineluctably present
in the scene. If the speaker cannot stop time altogether, he can at least focus his
attention on features of the landscape that suggest the negation of time: stasis, silence,
stillness and, at worst, slow movement and slow time. The stir of the
old-time, though still more sweet than bitter to the speaker (how once
it stung me, with rapture, / Old-time sweetness, he exclaims, the winds
freighted with honey and salt!), has been related to the memory of a memory and so
distanced in a manner which is psychologically analogous to his spatial detachment
from the scene.35
now, is to be made of the final decision of the speaker as expressed in the last lines of
the poem?
Yet will I stay my steps and not go down to the
Muse and recall far off, rather remember than see,
Lest on too close sight I miss the darling illusion,
Spy at their task even here the hands of chance and change.
Yet will I stay my steps and not go down to the
Muse and recall far off, rather remember than see,
Lest on too close sight I miss the darling illusion,
Spy at their task even here the hands of chance and change.
Yet will I stay my steps and not go down to the
Muse and recall far off, rather remember than see,
Lest on too close sight I miss the darling illusion,
Spy at their task even here the hands of chance and change.
There is a very real sense in
which these lines bring the poem round full circle,36
taking the speaker back to his initial attitude to and perception of the landscape.
But the conclusion of the poem differs from the beginning in one important respect, namely
that having discovered dissolution and decay37
in his beloved landscape, the speaker admits the value of and necessity for
illusions. In this context the corollary to human kind / Cannot bear very much
reality must surely be human kind cannot do very well without
illusions. It is part of the dialectical and dramatic action of the poem that,
even having remembered and imagined the forces of chance and change at work in
the landscape of his youth, the speaker of The Tantramar Revisited should
wish, in the final analysis, to preserve the distance that lends enchantment
to the marshland, to observe only the pleasing outlines and not the disturbing details of
the scene, and to preserve intact, if only for a renewal of the psychic interaction
between the memory and the remembered, the darling illusion that there is a
corner of past space where there is no change. Part of the enduring appeal of
The Tantramar Revisited resides in the fact that it does not allow for any
simple resolution of its themes. Instead, it admits mans need for illusion as
well as reality, and more timelessly even than the landscape it describes, it invites the
reader each time he encounters the poem to discover and assess the inevitable disjunction
between the remembered and the real, and to retain, if he wants, his own darling
illusion about whatever part of his life or his world he wishes to remain beyond the
hands of chance and change.
I should
like to suggest, by way of conclusion, one further reason why Roberts poetic
masterpiece, The Tantramar Revisited, is of enduring interest and
significance. The reason has to do with the position that the poem occupies in the
history of Canadian poetry. The Tantramar Revisited is, in part, a
topographical poem, a piece of verse whose subject, in Dr. Johndons famous
definition, is some particular landscape. Its topographical aspect has
formidable precedents in a tradition that stretches back in English poetry, through poems
by Tennyson, Wordsworth, Crabbe, Thomson and numerous others, to Denhams Coopers
Hill (1642) and, in Canadian poetry, through verses by Sangster, Mair, Howe and
others, to Carys Abrams Plains (1789). It is by comparison
with Carys survey of the resources of Canada, his confident affirmation of the
benefits of British rule in Quebec and his optimistic prognosis for the future of the new
colony, that a further historical dimension is added to The Tantramar
Revisited. When Roberts poem was first published in The Week in
December, 1883 Canada was not even twenty years old. Yet it was already apparent
that a new urban, capitalist, industrial age was in the making, an age that would take the
young country away from the rural, agricultural, Maritime roots of the post conquest and
pre-Confederation period. And when it was subsequently published in the In Divers
Tones volume of 1886, which begins with the Collect for Dominion Day
followed by Canada, not only the completion of the C.P.R., but also the second
of the Riel rebellions, were fresh in the memories of Canadians. With these things
in mind, it is possible and plausible to hear in The Tantramar Revisited the
strains of an elegiac lament for a lost innocence and a halcyon past, not merely in the
youth of the speaker, but also in the youth of Canada. What Roberts speaker
hopes to find as he revisits the Tantramar marshes is a landscape unchanged despite the
passage of Time; what he does find, all other considerations aside, is a landscape with
all the signs a road, dikes, orchards,
houses, / Stained with time, villages of a human
civilization in tune with the natural rhythms of farming and fishing. In a word, he
finds Goldsmiths Rising Village or Howes Acadia over
half a century later. My suggestion, then, is that the nostalgia of the speaker in
The Tantramar Revisited can be seen, at one level at least, as a nostalgia for
the old-time of the country itself. That on amination the supposedly
olden age of the past may prove to be an illusion is, of course, a major theme
of the poem; that, in the final analysis, such a darling illusion is
necessary, however, is another. Dreams, as, no doubt, Roberts knew as
well as Lampman, are indeed real.
All quotations from The
Tantramar Revisited are taken from In Divers Tones (D. Lothrop and Company:
Boston, 1886), pp. 53-58.
While only
E.M. Pomeroy, Sir Charles G.D. Roberts; A Biography (Toronto:
Ryerson, 1943), p. 48 and W.J. Keith, Charles G.D. Roberts (Toronto:
Copp Clark, 1969), p. 54 actually refer to the poem as, respectively, one of
[Roberts] masterpieces and probably his masterpiece the critical
comments assembled in the introductory paragraph to the present essay indicate a broad
consensus as to the merits of The Tantramar Revisited. Hereafter cited
as Pomeroy and Keith.[back]
and the Influences of his Tine (Toronto: William Briggs, 1905), p. 31. Hereafter
cited as Cappon.[back]
Cappon, p.
Writing in Canada (Toronto: Ryerson, 1952), p. 46.[back]
Charles G.D. Roberts, Essays in Canadian Criticism, 1938-1968 (Toronto:
Ryerson ,1969), p. 192. Hereafter cited as Essays.[back]
Canadian Poets (Toronto: Ryerson, 1958), p. 48.[back]
Keith, pp.
Poetry and Critical Prose (University of Toronto Press, 1974), p. xxi.[back]
Cappon, pp.
31-35 and Essays, p. 193. See also Pomeroy, p. 48 and p. 48n.[back]
p. 193.[back]
Pomeroy, p.
Two tone
quotations from the opening sections of Euangeline, The Poetical Works of Longfellow (London:
Frederick Warne, n.d.), pp. 106 and 109, should be sufficient to establish the
Dikes, that the hands of the farmer had raised
with labour incessant,
Shut out the turbulent tides; but at stated season the flood-gates
Opened, and welcomed the sea to wander at will oer the meadows.
West and south there were fields of flax, and orchards, and cornfields
Spreading afar and unfenced oer the plain; and away to northward
Blomidon rose . . . .
Now had the season returned, when the nights grow colder and longer,
And the retreating sun the sign of thy Scorpion enters.
Birds of passage sailed through the leaden air. . . .[back]
Dikes, that the hands of the farmer had raised
with labour incessant,
Shut out the turbulent tides; but at stated season the flood-gates
Opened, and welcomed the sea to wander at will oer the meadows.
West and south there were fields of flax, and orchards, and cornfields
Spreading afar and unfenced oer the plain; and away to northward
Blomidon rose . . . .
Now had the season returned, when the nights grow colder and longer,
And the retreating sun the sign of thy Scorpion enters.
Birds of passage sailed through the leaden air. . . .[back]
Charles G.D.
Roberts (Toronto: Ryerson, [1925]), p. 12.[back]
Poetry as
Experience (New York: American Book Company, the present essay.[back]
As in glow,
glint, glare, glisten, and glitter and in spark, spire, spot, and spike where the
sp sound indicates a point and/or a point of lights [back]
See Douglas
Lochhead and Raymond Souster, eds. 100 Poems of Nineteenth Century Canada (Toronto:
MacMillan, 1974), pp. 119-121.[back]
Poetry and Critical Prose, p. 281.[back]
According to
Pomeroy, p. 105, Robertst on The Pastoral Elegy, which he regarded as one of
his best pieces of prose, was written between 1885 and 1895 when he was at
Kings College, Windsor and published in The Forum (New York). Keith,
being unable to trace this earlier version (p. 282), gives the relevant
section on Shelleys Adonais which the poet used in the introduction to Shelleys
Adonais and Alastor (1902). See Selected Poetry of Critical Prose, pp.
282-295, and also p. 278 for some comments on Bion in The Poetry of Nature
T.S. Eliot, Four
Quartets in Collected Poems (London: Faber and Faber, 1963), p. 190.[back]
Writing in Canada, p. 46. [back]


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Coronavirus outbreak detected at Waldo County church – Portland Press Herald – Press Herald
Brooks Pentecostal Church in Brooks, Maine has at least 17 cases of COVID-19, the Maine CDC said Saturday night.
The Maine Center for Disease Control and Prevention has found a coronavirus outbreak at a Waldo County church, possibly linked to a "fellowship rally" that the congregation held between Oct. 2 and Oct. 4.
Brooks Pentecostal Church, in Brooks, Maine, has at least 17 cases of COVID-19 among its worshippers, the health agency said Saturday night.
Contact tracing is underway, and the Maine CDC asked potential contacts of infected people to cooperate.
"Close contacts can help limit potential sprea…
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text:
Tony (Fallout: New Vegas)
Mentioned-only character
Tony was a technologically gifted inhabitant of Nipton, killed in the Nipton Massacre in 2281.
Tony has been responsible for fixing up a terminal for Major Steyn[1] as well as a number of other technological feats, e.g. fixing and activating two Mister Gutsy robots.
Despite his skill, the rest of the town considered him a freak of some kind, though it's not explained in what way. In his diary, Tony mentions impressing an out-of-town girl with a robot so that she stays with him before the rest of the town can turn her against him. He also mentions that in case he succeeds, it'd be a nice change from having to pay Rosie for sex.[2]
Tinker is mentioned only in Fallout: New Vegas.


text:
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The evolving selling space, increasingly complex sales process, and changing buyer expectations present new challenges for sales teams and their directors.
The availability of online content and the growth of social media have made B2B buyers more educated and informed about their options than ever before. According to an oft-quoted Accenture study, 94% of buyers go online at some point in the buying process. So how do you make sure that you are heard above all this noise?
Sales directors are battling complex sales processs and changing buyer expectations at the same time that their traditional sales processes are becoming less effective.
To stay effective they need to understand this shifting landscape, why these changes are happening, and how to sell to today's buyer.
Prospects have not had to engage with sales reps to obtain information on their services for years. They are well used to searching online to quickly find prospective suppliers and it is inevitable that they will expect to find reviews, quotes, and competitive comparisons just as easily.
But prospects still need the sales rep to guide them through the supply chain sales process, build bespoke solutions, and create the value-add that will deliver benefits and differentiate.
So buyers still want forwarders that really understand where their needs are, and are knowledgeable about their sector.
That is why you and your sales team should be seen as experts in your customers field, and you need to be able to convey that capability credibly.
You will stand out when you can provide informed perspectives on the market, which their prospect can interpret and apply to their own situation and challenges. So, while sales training can make your reps experts that will add value to some prospects beyond your competitors, many more buyers are now relying on web content to guide them through, from research to decision.
And while those prospects may easily find information, they may not necessarily be finding the right information.
The challenge for today's forwarder is sharing relevant and engaging content that is appropriate to the prospect's stage in the sales cycle and proactively offering additional resources that undo their apprehensions, demonstrate capability, and clearly show how value is added. This strategy will also position you as the expert and opinion leader for your prospects and wider market.
Online tools are available to automate much of this process, sharing the right content at the right time, identifying potential leads, and advancing the sales process.
Content production is just the beginning. Quality and relevance are important for engaging audiences and critical to attract new fans. Creative execution and distribution channels are equally critical − and subjects that will be explored in more detail later.
There is so much content in cyber-space that yours has to stand out from the clutter; it has to offer value to the reader.
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"This is not a bilateral issue between India and Italy. It is a legal issue about ensuring that those who are charged with the death of Indian nationals are held to account for it in accordance with Indian law," the Spokesperson in the Ministry of External Affairs said.
Earlier in the day, government had told the Supreme Court that the two marines accused of killing two Indian fishermen off Kerala coast in 2012 will not be prosecuted under the stringent anti-piracy SUA law that attracts death penalty as maximum punishment.
The Centre told the court that the contentious issue between India and Italy on slapping Suppression of Unlawful Acts Against Safety of Maritime Navigation And Fixed Platforms on Continental Shelf Act (SUA) against the marines has been resolved as it has decided to go by opinion of the Law Minister, according to which provisions under the anti-piracy law are "not attracted" in this case.
The Italian marines had allegedly shot dead two fishermen off the Kerala coast in February, 2012 and ever since the two countries have been wrangling over their prosecution.
The Italian government has expressed its disappointment over the slow pace of trial of the two marines and recalled its Ambassador in New Delhi Daniele Mancini for consultations last week while accusing Indian authorities of "unreliable" behaviour.
Italian foreign ministry had also summoned Indian envoy Basant Kumar Gupta on the issue.


text:
New Homes in the Tampa Area
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|ICI builds beautifully customizable homes for its clients and strives to provide the best customer service in the industry.


text:
Moving Services
Featured Listings
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PODS offer moving services that requires no deadlines or rental worries.Hits: 9Read more
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Corsia Logistics | Nationwide Auto Transport Company
Corsia Logistics is a licensed and insured five star auto transport company. They can transport all types of vehicle and provide both open and enclosed trailers. Corsia Logistics' website offers easy to use car shipping quote form. Request a quote online or call the main line (818) 850-5258 to get a quote over the phone.Hits: 39Read more
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Local Jhb Furniture Removals Jhb Removal Services provides a full and comprehensive local furniture removal service in Johannesburg with 6 local dedicated removal teams servicing the entire Gauteng region. Long Distance Furniture Removals Service From Jhb to all major cities in South Africa. Besides their 6 local removal teams servicing small to large removals in and around Johannesburg, they also have a long distance removal service providing weekly furniture removal services to Cape Town, Durban and Port Elizabeth. Packing and Storage facilities are also available to help clients with a smooth moving process.Hits: 10Read more
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Movecorp is actually the UK's primary provider of local, national and international removal services, helping an assortment of domestic, commercial and corporate clients move every year.Hits: 2Read more
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Anglo Pacific have been transporting belongings overseas for over 30 years, and handle over 20,000 consignments and home removals every year! Anglo ship to cities around the world and handle excess baggage, home removals and vehicles.Hits: 8Read more
Unicorn Moving & Storage
Unicorn Moving is an Austin moving & storage company serving the Austin-area. Our movers understand that relocating is a very difficult process and will do what they can to make the transition for you as easy as possible. Please visit our website for more information: www.unicornmoving.com or call us for a free estimate at (512) 339-9922.Hits: 1Read more


text:
As a trainee teacher I understand that all pupils learn differently, so am prepared to create personalised learning goals for each learner. I am trained to teach across the entire primary school curriculum, so can cater for KS1 or KS2 requirements.
As tutoring differs from person to person, I will spend a couple of lessons discovering the pupil's learning style. Once we have established a comfortable learning pattern, I will begin to set challenges to be completed within the session and outside.
With primary school homework becoming more rigid, I aim to find methods that suit each child and allow them space to enjoy being young! Whilst learning is important, I find that it is equally vital for young learners to engage with new information with curiosity and creativity!
I have spent a considerable amount of time in schools, teaching my own classes on placement. In order to develop myself in my last year, I am looking to engage in private tutoring. Not only will this allow me to improve my own personalised learning, you will be in receipt of my full attention and new teaching styles!
Previous pupils often note that I am very easy to talk to, as I encourage just 'giving it a go'! If you fail or make mistakes, then we discuss what happened and move past it. Pupil progress in all of my classes is therefore clear, as I can explain where each pupil overcame issues and moved on from them.
Travel fees apply, as I currently cannot drive and so rely on public transport. If you live locally, I will drop the fees.
Volunteering / work experience
2012 – Ongoing Various primary schools across the UK
Over the years I have worked keenly to develop my experience within schools, so as to further my teacher training. I hope to continue to work within educational settings for many years, as I enjoy personalising my efforts to help others with a lasting impact.
March 2016 – Ongoing The Collection Museum, Lincoln
Various dates Living in Lincoln has allowed me to explore the rich history and background of the city, which was only magnified within this role. Volunteering at The Collection over time has given me the opportunity to work with the public and with schools, leading activities surrounding a range of historical periods. As a volunteer, I was responsible for ensuring that visitors in my area were engaged by the resources provided and inspiring educational conversation from all ages.
english lessons closeby? Here's a selection of tutor listings that you can check out.
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|10 hours
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In January, Ford took the wraps off its much-anticipated, all-new 2020 Explorer SUV at Ford Field, Detroit. Provided by Visional Productions, BlackTrax was used with disguise to keep the brand-new Explorer constantly in the spotlight. The "spotlight", however, was actually virtual lighting achieved with a projector. Alistair Wilson of Imagination Detroit was very happy with the result: "It actually saved money as we lit the entire show with 6 followspots, and then used BlackTrax to ensure the cars were always lit in white light. Normally we would have had to have an extensive truss and lighting rig to light the cars. This was a smart application of technology which allowed us to focus our client's investment on the things they really care about!"
Produced by Imagination
Projection Equipment by Creative Technology
Organizer: Ford
Video: AutoMotoTV
BlackTrax Supplied by Visional Productions LLC
- Projection Equipment by Creative Technology
- disguise 4x4pro Media Server
- BlackTrax (Provided by Visional Productions):
- 16 BTSensors, placed 90 feet above tracking area
- 4 x Narrow Lens
- 2 x Ultra Wide Lens
- 10 x Wide Lens
- 10 Beacons
- 2 Beacons per car x 5 cars
- 3 Stringers per Beacon
- Rigid body created on each car
- 16 BTSensors, placed 90 feet above tracking area


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YHC wanted to kickoff the New Year with some "stretch" goals: 2,018 reps of 20 different exercises done over at least 2,018 steps. We killed the step count (5,600), but came-up shy of the rep-count (1,500). As those of you that posted know, 17 degrees felt pretty damn cold. As those of you that know Legion, the PAX stepped-up to the challenge!
The Route (2 miles): Round the block (R. Landon, R. Woodlawn, R. Cedar Terrace, R. Garners Ferry, R. Brandon, L. Landon) with Pain Stations along the way.
Pain Stations (all single-count exercises x 100 reps):
SSH, Burpees, Flutter Kicks, Situps (Reg), Plank Jacks, Butt Kicks, Slalom Skier (from Plank Position), Squats, Ray Charles, Merkins (Reg), LBACs (20 F, 20R, 20 Raise the Roof), Mountain Climbers, LBCs, Merkins (Diamond), Lunges.
Too cold for announcements. Prayers lifted. PAX head to Coffeeteria.


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SAN DIEGO—In a phase 3 trial, ibrutinib plus rituximab (IR) improved survival when compared with standard chemoimmunotherapy in patients younger than 70 with untreated chronic lymphocytic leukemia (CLL).
Patients who received IR had superior progression-free survival (PFS) and overall survival compared to patients who received fludarabine, cyclophosphamide, and rituximab (FCR).
"This establishes ibrutinib-based therapy as the most effective treatment tested to date in this disease for untreated patients," said Tait D. Shanafelt, MD, of Stanford University in California.
In fact, the study results are likely to dethrone FCR as the most active chemoimmunotherapy regimen against CLL, Dr. Shanafelt said.
He presented the results during the late-breaking abstract session at the 2018 ASH Annual Meeting (abstract LBA-4*).
The trial (NCT02048813) included 529 patients age 70 or younger with previously untreated CLL. They were randomized on a 2:1 basis to either six cycles of FCR according to standard protocols (n=175) or IR (n=354).
IR consisted of ibrutinib given at 420 mg daily for each 28-day cycle and rituximab given at 50 mg/m2 on day 1 of cycle 2, at 325 mg/m2 on day 2 of cycle 2, and at 500 mg/m2 on day 1 for cycles 3 to 7.
From cycle 8 on, patients in the IR arm received daily ibrutinib at 420 mg until disease progression.
Dr. Shanafelt said patient characteristics were well-balanced between the treatment arms.
He presented results from both an intent-to-treat (ITT) analysis and a per-protocol analysis excluding 22 patients in the IR arm and nine patients in the FCR arm who were randomized but later found not to meet eligibility criteria.
In the ITT analysis, there were 37 cases of progression or death in the IR arm and 40 cases in the FCR arm. This difference translated into a hazard ratio (HR) for progression or death of 0.35 with IR (P<0.00001).
In the per-protocol analysis, there were 33 cases of progression or death in the IR arm and 39 cases in the FCR arm. The HR was 0.32 favoring IR (P<0.00001).
In a subgroup analysis of PFS, IR was superior to FCR regardless of patient age, sex, performance status, disease stage, or the presence or absence of the 11q23.3 deletion.
PFS was significantly better with IR in patients with unmutated IGHV (HR= 0.26, P<0.00001) but not in patients with mutated IGHV (HR=0.44, P=0.07).
Overall survival
In the ITT analysis, there were four deaths in the IR arm and 10 in the FCR arm (HR=0.17, P<0.0003).
In the per-protocol analysis, there were three deaths in the IR arm and 10 deaths in the FCR arm (HR=0.13, P<0.0001).
Dr. Shanafelt noted that, although the overall number of deaths was relatively small, there were twice as many patients enrolled in the IR arm as in the FCR arm, meaning the rate of death in the FCR arm was five-fold higher than in the IR arm.
Safety and cost
Grade 3 or greater treatment-related adverse events (AEs) occurred in 58.5% of patients in the IR arm and 72.1% of patients in the FCR arm (P=0.004).
Specific AEs that occurred significantly less often with IR included neutropenia (22.7% vs. 43.7%), anemia (2.6% vs. 12.0%), thrombocytopenia (2.9% vs. 13.9%), any infection (7.1% vs. 19.0%), and neutropenic fever (2.3% vs. 15.8%; P<0.001 for all comparisons).
AEs that occurred more frequently with IR than FCR included atrial fibrillation (2.9% vs. 0%, P=0.04) and hypertension (7.4% vs. 1.9%, P=0.01).
Dr. Shanafelt acknowledged that one possible barrier to the IR regimen is cost. The monthly cost of ibrutinib maintenance is about $10,000, he said, although he noted that cost considerations were not studied in the trial.
"Future trials testing novel agent combinations to see if we can eliminate the need for chronic therapy should be pursued," he said.
The trial was sponsored by the National Cancer Institute with additional support from Pharmacyclics. Dr. Shanafelt reported patents and royalties from the Mayo Clinic, and research funding from Celgene, GlaxoSmithKline, Genentech, AbbVie, Pharmacyclics, and Janssen.
*Data in the abstract differ from the presentation.


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Chilean Condemnation: Latin American nation's parliament calls Azerbaijan aggressor in Karabakh
In a move praised in Yerevan, Stepanakert and across the Armenian Diaspora, the Chamber of Deputies (Parliament) of Chile unanimously passed a resolution earlier this week condemning the "armed attack of Azerbaijan against the Nagorno Karabakh Republic" on Wednesday.
Phased v Package: Analyst says either form of solution unfavorable for Armenians in Karabakh
Neither "phased", nor "package" options of the Nagorno-Karabakh conflict settlement are acceptable for political analyst Ara Papian, the head of the Yerevan-based Modus Vivendi analytical center, who does not see any essential difference in them.
U.S. praises Armenian-Azerbaijani meeting, vows assistance in Karabakh settlement
The United States has described the May 16 meeting of the presidents of Armenia and Azerbaijan on the Nagorno Karabakh conflict was "a step in the right direction", praising the two South Caucasus leaders for demonstrating "political will".
ARF Rep: Armenian account of Vienna meeting credible
Director of the International Secretariat of the Armenian Revolutionary Federation (ARF) Bureau in Yerevan Giro Manoyan got a "dual impression" from the May 16 meeting between Armenian President Serzh Sargsyan and his Azerbaijani counterpart Ilham Aliyev.
No Inch of Land: Armenian hardliners riled by Sargsyan's admission of territorial losses in Karabakh
Opposition hardliners in Armenia have criticized President Serzh Sargsyan over his attitude towards territorial losses to Azerbaijan during the April 2-5 war in Nagorno Karabakh that he expressed in an interview while returning from an internationally mediated meeting with his Azerbaijani counterpart Ilham Aliyev in Vienna.
NKR MFA: Negotiations should be restored in trilateral format
Official Stepanakert has welcomed the Vienna meeting of the presidents of Armenia and Azerbaijan focused on the Nagorno Karabakh issue, but believes a "trilateral format" of negotiations must be restored.
Deciphering Diplomacy: Analysts in Yerevan and Baku discuss latest Sargsyan-Aliyev meeting on Karabakh
Armenian and Azerbaijani political analysts expressed different opinions – from cautious optimism to skepticism – when they discussed the results and different aspects of the May 16 meeting in Vienna, Austria, between the Armenian and Azerbaijani presidents during a Media Center teleconference on Tuesday.
Vienna Talks: Armenia, Azerbaijan agree to resume peace process
President Serzh Sargsyan of Armenia and President Ilham Aliyev of Azerbaijan agreed to respect ceasefire in Nagorno Karabakh and resume their dialogue to find a compromise peace deal during internationally mediated talks in Vienna, Austria, late on Monday.
Sargsyan-Aliyev Meeting: Armenian leader says "generally satisfied" with Vienna discussions
The meeting between President Serzh Sargsyan of Armenia and President Ilham Aliyev of Azerbaijan held with international mediation was, in general, positively received by the Armenian side, but experts and politicians also general expect no significant changes in the process as a result of that.
Karabakh: Armenian soldier killed amid Sargsyan-Aliyev meeting
Military authorities in the Nagorno-Karabakh Republic (NKR) said an Armenian soldier was killed overnight as an internationally mediated meeting between the presidents of Armenia and Azerbaijan aimed at reinforcing the ceasefire regime in the conflict zone was in progress in Vienna, Austria.


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Lynn DoveFeatured
LD Lynn Dove Updated December 19, 2015
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Shoot the Wounded , written for teens and young adults, was published in November 2009. I was thrilled to see that it was one of the Finalists in the 2010 Readers Favorite Book Awards! The second book in the "Wounded Trilogy", Heal the Wounded was released on Oct. 18, 2010 and it won the Bronze Medal in the Young Adult – Coming of Age category in the 2011 Readers Favorite Book Awards! The dramatic conclusion to the trilogy, Love the Wounded, was awarded the Literary Classics "Seal of Approval" for excellence in children's and young adult literature and won the silver medal for faith-based literature. All books are available for purchase on Amazon or on the author's website: http://lynndove.com/
Author Details
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Lynn Dove
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Cochrane, Alberta
My blog, "Journey Thoughts" is the 2011 Winner of a Canadian Christian Writing Award in the blog series category. With a readership of over 5 million, my blog is slightly quirky, sometimes off-beat, but hopefully inspirational to all my readers. You can follow me on Twitter, Facebook and on my website: http://lynndove.com/
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How to calculate aquaponics fish per volume
What can grow in aquaponics Please, no jokes about lettuce growing in fish poop. The solids from the fish are cleaned from the water before it ever reaches the plants. Ammonia in the water is refined into nitrogen that feeds the.
The Best And Only Aquaponics Calculator You Need. Best Aquaponics Calculator For Designing Your SystemAquaponics is basically a symbiotic relationship between fish, plants, bacteria and sometimes worms. So, each part of an aquaponic system performs a certain task that contributes to the cycle.
How to set up aquaponics aquarium Underwater Wizarding World – Page 2 – Hello AC community! This journal will be used to keep track of my son's ten gallon tank. We are in the very early stages of setting it up. This project is one he is excited about and I'm delighted over his interest. While I had been thinking on this project for a good long while, the size was up for debate for quite some time. I've tried to take some photos of our progress, so I'll set those.
U.K. researchers found that men who burn just 50 calories a day in strenuous activities like swimming and hiking are 62 percent less likely to die of heart disease than men who burn nearly seven times.
Well after all that, we can take a break and have a look at the results from our aquaponic nitrogen calculator. We have calculated our fish production, worked our our losses of nitrogen and the volume of vegetable production per.
Is aquaponics expensive How much to feed tilapia aquaponics Feeding Tilapia. Posted by Sylvia Bernstein on March 6, I've been using the aquamax dense 4000 feed for both tilapia and catfish.. aquaponic system that will only grow duckweed and possibly a second type of fast growing water plant. At night I am uncovering my tank for bugs to fall in.Professional aquaponics systems are really expensive but you can make a cheap Aquaponics System for home use. Aquaponics system use the fish waste to feed the plants which in return clean the water for the fish.
Fish to Feed Calculations By Paul Van der Werf on August 12, 2015 No Comments / 1247 views Sometimes we want to work backward from the plant side of an integrated aquaponic system, where we have determined the amount of feed we need per day to support the plant growth.
A good starting point is to add 1 fish per 5 gallons of tank water. If you don't know the size of your tank then simply multiply the height, width, and length of your tank in feet. The answer you get is the size of your tank in square feet.
Aquaponics System Calculator | AQUAPONS – Building a small aquaponics system before a big one ensures that you know all of the skills necessary maintain a system for the long-term. Begin with a system between one and fifty-five gallons as you earn your Junior Apprentice badge.
How to build a aquaponics ssystem Can you drown cannabis seeds aquaponic · Seed Store Forums > Medical Cannabis Cultivation > Cannabis Infirmary > Drown my seeds.any hope??? Discussion in ' Cannabis Infirmary ' started by mpjm , Oct 26, 2010 .DIY: Everything You Need to Know to Build a Simple Backyard. – In theory, a well-tuned aquaponics system can support one pound of fish per gallon of water. When starting out, however, it's better to plan on stocking one fish for every 10 gallons of water to make sure the system doesn't fall out of balance (plus the fish will have more space in which to swim).
In 2011, generics accounted for about three-quarter of the viagra sales canada volume of pharmaceuticals covered by basic health coverage in Germany, the United Kingdom, New Zealand and Denmark, while they viagra sales canada represented less than one-quarter of the market in Luxembourg, Italy, Ireland, Switzerland, Japan and France.
How many pounds of fish for aquaponics system But many skinny guys still overestimate how much they eat and underestimate. pick healthy sources of protein like fish, lean meats, eggs, nuts, and quality protein powders and eat at least two serv.
There are many factors to consider when selecting pump size, including pond size, number and type of water features, head height, chosen filtration system, distance of filtration system from the pond and intended fish and plant stock.
How many fish for Aquaponics – YouTube – So how to calculate the maximum quantity of fish to put into your aquaponics setup?. but we like to give a rough maximum ratio of 1kg of fish per 50 litres of growbed volume. This is a maximum.
How to winterize an aquaponics system How To Winterize and Turn On Sprinkler System? I want to share with you the easy steps on how to winterize your sprinkler system during winter season. The first thing that you need to do is find your pressure vacuum breaker which is normally located on the side of your house.


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Silverstone Family History
14-Day Free Trial
Silverstone Name Meaning
English: habitational name from a place in Northamptonshire, recorded in Domesday Book as Silvetone and Selvestone, from the genitive case of an Old English personal name, either S?wulf (see Self) or Sigewulf ('victory wolf') + Old English tun 'enclosure', 'settlement'. Translation of German and Ashkenazic Jewish Silberstein.
Source: Dictionary of American Family Names ©2013, Oxford University Press
Similar surnames: Balderston, Yelverton, Wolverton, Overton, Silberstein, Silverthorn


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If using one standard user account (for daily task) and one administrator account, then while in standard you can download some virus or whatever and put that into public folder. of course, assuming the malware is not detected. Then when admin log's in to it's administrator account, there is a posibility that admin will infect whole system since that malware will be shown in his user profile.
Is there a way to disable public folders or something that can prevent sharing of files between users and administrators?


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Jaramillo/Tafoya families
My great-grandmother was Francisca Jaramillo. She married Esiquio Hernandez. Their children were:
Esiquio Jaramillo Hernandez (married Ysabel Escalante)
Angelita Jaramillo Hernandez (married Ramon Escalante)
Nieves Jaramillo Escalante (married Luz Alvarez)
In the family oral history the Tafoyas are mentioned but we don't know if the families were related or just friends. Can anybody help clear this up?


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New Zealand 40-12 Australia: Beauden Barrett scores four tries in Rugby Championship win
Last Updated: 25/08/18 2:36pm
New Zealand fly-half Beauden Barrett scored four tries - and had another ruled out - as the All Blacks racked up a 40-12 Rugby Championship victory over Australia in Eden Park.
Barrett scored 30 points in total while Joe Moody and Liam Squire contributed tries as part of a 26-point All Blacks second half in a game which was remarkably similar to last week's encounter in Sydney.
The Wallabies, just as last week, enjoyed large periods of possession in the first half and had levelled things at 7-7 courtesy of a Will Genia try, but tries from New Zealand in the final minutes of the first period and opening stages of the second killed off the contest.
From there, New Zealand set about scoring at every opportunity and ruthlessly put away Michael Cheika's charges, with the overwhelming victory meaning the All Blacks retain the Bledisloe Cup, which they have held since 2003.
The Wallabies have now lost 22 matches in a row since 2001 in New Zealand and have not won at Eden Park since 1986.
All Blacks coach Steve Hansen had warned in the lead-up to the Test that the biggest problem facing his world-champion side was the mindset to back up from last week's blowout 38-13 win in Sydney.
That did not appear an issue in a high-octane performance where they ran at every opportunity.
Their two first-half tries were both counter-attack moves from around their own 22-metre mark, the second coming against the run of play with just two minutes of the half left.
Ben Smith won the aerial battle from an Aaron Smith box kick to launch a run that led to Barrett's first try.
Smith was again in the action just before half-time, working with Codie Taylor down the right flank before Barrett finished the move with his second.
With Barrett having scored just before the break, Moody then struck straight after. In the space of five minutes' playing time, the All Blacks moved from 7-7 to 21-7.
As the All Blacks unleashed their attack in the second half they were too fast and accurate for the Wallabies and it was only a stubborn Australian defence that limited the damage.
After Moody's try to open the second half, Liam Squire scored and Barrett did twice more.
The black mark for the All Blacks was their scrum, which did not function as well as they would have wanted with tighthead prop Owen Franks celebrating his milestone 100th Test.
The Wallabies' first try came from their confidence in trading shots at goal for scrums as they won three penalties in a row through their revamped front row midway through the first half.
When the All Blacks scrum finally stayed up long enough to be completed, Will Genia scooted around the side for the easiest of tries.
But the All Blacks again had the better of the lineouts, with Australia's jumping options compromised by their decision to persist with playing both Michael Hooper and David Pocock in the backrow.
Reece Hodge notched Australia's second when Bernard Foley made an incisive break off a scrum near halfway, but the visitors never threatened to get back into it.
And the result could have been even worse for Australia as Barrett and Waisake Naholo had further tries ruled out on TMO reviews - Barrett's for an Ardie Savea knock on earlier in the move, and Naholo's for a Ngani Laumpae forward pass.
Incredibly, in 2018 New Zealand have now scored 136 second-half points, and only conceded 19 points during the second period of games.
They next host Argentina in Nelson on September 8, while Australia play South Africa in Brisbane later the same day, both live on Sky Sports.
👏100th TEST CAP👏— Sky Sports Rugby (@SkySportsRugby) August 25, 2018
Congratulations to Owen Franks, who is 'living the dream' in his 100th game for the #AllBlacks.#NZLvAUS #Bledisloe pic.twitter.com/p1PXJ9SXfE


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Award winning South African comedian, Barry Hilton will be performing in Durban at the Gateway Barnyard on Sunday 20 November. His show, Evolver, will have you rolling in the aisles with laughter.
"I'm so looking forward to my show in Durban later this month," says Barry. "Barnyard theatres always have such a great energy and the audiences really know how to laugh and have a good time."
Hilton has been performing across the country, and the world, for more than three decades and there seems to be no slowing down for the extremely popular veteran comedian. He started this year with a solo stellar performance in the main concert hall of the iconic Sydney Opera House, undoubtedly a career highlight. There have been many other highlights, some include sharing a stage with Billy Connelly, kick starting the Hong Kong International Comedy Festival, being invited to perform at the world famous Harrah's in Las Vegas, headlining the Kuala Lumpur International Comedy Festival, hosting TV shows, producing DVDs and receiving the Comics Choice Lifetime Achiever Award.
"There has been a gigantic surge in comedy in South Africa and we're producing phenomenal talent who are enjoying great success locally and abroad. I'm so thrilled to still be a part of it after more than thirty years," says Barry.
Tickets for the family-friendly show at www.barnyardtheatres.co.za/gateway or 031 5663045


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AFM Systems
Probe StoresAmericas, Australia & TaiwanEuropeChinaJapan
Probe Selection GuideNeed Help Choosing a Probe?
Contact Us
Left: Topographic image of red blood cells, 30 µm scan. Right: Close-up of individual cell outlined in larger scan (left) and labeled as II. The piezoresponse signal was painted on top of the topography, 2 µm scan. Imaged with the MFP-3D AFM. Image courtesy of B. Rodriguez and S. Kalinin, ORNL.
Date: 16th November 17
Author: Asylum Research
Category: Asylum Gallery Image


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Working in partnership with Alatas Worldwide Cranes, Alatas Engineering carried out the overhaul and service of a marine Palfinger knuckle boom crane.
In the experience of both companies it was probably the most difficult project undertaken to date in Alatas' specially adapted facility in Bradford.
The badly corroded crane was painstakingly dismantled with all aspects photographed, inspected and recorded. The majority of the mechanical and hydraulic parts were over-hauled, with certain badly corroded parts being replaced with Palfinger original spares. The completed project took around 10-12 weeks, with a substantial cost saving against a new purchase.


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Our cause is the Boone County Imagination Library. Our goal is to put a book, monthly, in the hands of every child in Boone County from birth to age 5. There is phenomenal power of books in the homes for preschool children. Reading the books to the children extends their education on average by 2 years! A child that has been read to in the preschool years come into kindergarten well advanced over children that have not had someone read to them. We want every child to get the best education they can and this program helps greatly with proven results.
Our program is run through the Dolly Parton Foundation Imagination Library. Her Foundation has spread this through out the United Sates and across the world. We appreciate your support of our local Imagination Library and welcome you to our July 4th Bang for the Books!
For paper registration & Early Pickup (July 1): Centurion Financial Services, 200 E. Rush, Ste. 2, Harrison, AR 72601


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What is the acceleration of Mercedes-Benz GLA Class?
Mercedes Benz GLA 200 CDI gets a 2.2 litre mill that puts out 134.1Bhp@3600-4400rpm of max power and 300Nm of peak torque. It touch the 0-100kmph milestone in just 9.9 seconds when it is diesel while the petrol takes just 7.6 second for the same.


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The title should be concise and informative. Avoid abbreviations and formulae where possible. The title should be typed in font (Times New Roman); size 14, Bold.
Author names and affiliations
Please clearly indicate the given name(s) and family name(s) of each author and check that all names are accurately spelled. Present the authors' affiliation addresses (where the actual work was done) below the names. Indicate all affiliations with a lowercase superscript letter immediately after the author's name and in front of the appropriate address. Provide the full postal address of each affiliation, including the country name and, if available, the e-mail address of each author. The author names and affiliations should be typed in font (Times New Roman); size 12.
A concise and factual abstract is required. The abstract should state briefly the purpose of the research, the methods used, the principal results and major conclusions. For this reason, References should be avoided, but if essential, then cite the author(s) and year(s). Also, non-standard or uncommon abbreviations should be avoided, but if essential they must be defined at their first mention in the abstract itself.Number of words should not exceed 250 words. The abstracts should be double spaced; typed in font (Times New Roman); size 12.
Immediately after the abstract, provide a maximum of 6 keywords, separated by semicolons (;) and avoiding general and plural terms and multiple concepts (avoid, for example, 'and', 'of'). Be sparing with abbreviations: only abbreviations firmly established in the field may be eligible.
Graphical abstract
A Graphical abstract is optional. The image should be readable at a size of 5 × 13 cm using a regular screen resolution of 96 dpi
Submitted abstracts are going to be revised by the scientific committee of the conference. Authors will be notified via email of the acceptance of their abstract as Oral or Poster presentation.


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New member Megumi Koshoji joins BiS!!
Sponsored Links
Unprecedented idol group "BiS" is known for extreme performance and enthusiastic fans. A world famous fashion designer Junko Koshino joined BiS as a life-long honorary member just a few days ago. Moreover, they added a new member to the group.
The new member Megumi Koshiji made her first appearance with BiS at TOKYO BOOTLEG 7th Anniversary held at Shinkiba COAST on November 10. BiS's members announced that they plan to continue their activity with Megumi as a sixth member.
By the way, former member, Rio Mishibayashi, appeared at BiS x Gonoturn Collabo-Mask sales event on that previous day. She took part in the event as a part-timer simply without regard for BiS. It was somewhat strange that fans and former member met again, but everyone seemed to enjoy the precious time.
Sponsored Links
保護中: Enjoy Sunmyu's Depiction of A Bittersweet Winter Scene with Their First Winter Love Song
Tomomi Kasai to Release her 3rd Solo Single early in the New Year!


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- Scoop neckline allows for a feminine fit
- Sideseamed for a curved silhouette that provides a relaxed fit and feel.
- Short, set-in sleeves
- Includes a seam down the back that gives it an athletic look and feel
- 50% Polyester / 25% Combed, Ringspun Cotton / 25% Rayon
Additional Info
- Cotton/Polyester/Rayon
- Machine wash cold inside out with like colors and tumble dry low.
Shipping info
Return Policy: We will gladly accept returns for any reason within 30 days of receipt of delivery.
Availability: Ships anywhere in the United States
Processing Time: Allow 15-20 business days for your order to ship.
PoliticsNation with Al Sharpton
PoliticsNation is a Sunday morning news program hosted by Rev. Al Sharpton that features politicos to a-list entertainers, but also focuses on under-reported stories that need a national platform like education, voting, and criminal justice.
Visit MSNBC.com for more information about PoliticsNation with Al Sharpton


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- LIGHT: 2-100 Watt Medium E26 Base A19-Type Bulbs, Bulbs Not Included, 200 Total Watts
- Hanging Accessories Included: Wire - 8" Black and White Wire
- UL Listed for Indoor Locations. TO CLEAN: Use a clean, soft cloth to wipe your shade. If necessary, use a white cloth dampened with a mild solution of soapy water to gently wash the shade. Rinse thoroughly with a white cloth dipped in clean water.
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The Feiss Chateau two light semi flush fixture in mocha bronze enhances the beauty of your home with ample light and style to match today's trends.
The Murray Feiss SF190MBZ Chateau collection Close to Ceiling Lighting in Mocha Bronze uses Incandescent light output and brings Antique style.


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How Am I To Know?
by PamFord Davis
5/05/2010 / Devotionals
Do you stand firm in your beliefs, or often waver? Is your life one of confidence or influenced more by doubt? Many individuals seem to be anchored by convictions, immovable by any winds of uncertainty. Others hindered by a lack of confidence often battle doubts. How can a person really be sure of anything or anyone?
Have you ever asked this pointed question? "If you were to die today, are you sure you'd go to heaven?" It is a question that gets to the heart of the matter. Many responses are heard. A three word sentence is tragic. "I hope so."
People that depend upon good works are never able to be sure their works are good enough. Will the good outweigh the bad? They need to be convinced of the accuracy of Ephesians 2:8-9. Works should follow commitment to Christ, (Ephesians 2:10) not falsely offer eternal security.
Doubts do occur. Can we know we have been saved? "He who has the Son has the life; he who does not have the Son of God does not have the life. These things I have written to you who believe in the name of the Son of God, in order that you may know that you have eternal life (1 John 5:12-13 NAS)." Don't settle for hope so belief. Find confidence in know so faith!
Devotionals are her first love in writing. Published articles in Mature Living Magazine, Devotions for the Deaf, The Secret Place, Light from the Word, Coosa Journal, With God Daily, Mary Hollingsworth's The One Year Devotional of Joy and Laughter. http://www.pamforddavis.com
Article Source: http://www.faithwriters.com-CHRISTIAN WRITERS
If you died today, are you absolutely certain that you would go to heaven? You can be! Click here and TRUST JESUS NOW
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Lemony Macaroni Salad
Mar 29, 2017 | by Lisa Reynoso
This is one of my favorite pastas. Simple, easy to throw together, tasty warm or cold.
Salad Ingredients
12-oz package macaroni
12 oz raw broccoli florets
1 red bell pepper, diced
2 grape tomatoes, sliced in half
2 green onions, sliced
Lemon dressing (below)
Lemon dressing
¾ cup plain unsweetened vegan yogurt *
¼ cup nutritional yeast
1 tbsp fresh lemon juice
½ tsp lemon zest
½ tsp paprika
salt & pepper to taste
- Cook pasta according to package directions
- While pasta is cooking, prep veggies.
- 2-3 minutes before pasta is done, add broccoli.
- Mix up lemon dressing.
- Drain and rinse pasta and broccoli.
- Mix up pasta, veggies, and dressing. Allow flavors to blend before serving. May serve immediately or chill before eating. Makes very tasty leftovers.
* If you do not have yogurt, you can make this vegan sour cream to use in place. The fat content will be a little higher, but nutritionally you can't go wrong with seeds instead of an oil-based mayo!
Chef's note: Rice pasta tends to get hard when cold, so if making this recipe gluten-free, you may want to make this an hour or two before serving and not refrigerate it. Or allow it to come to room temperature before serving if you made it ahead. When I make this at home, I use a food-grade lemon essential oil instead of the zest to really intensify the flavor and to save me time zesting the lemon!