text:
Zinger Airline Approved IATA CR 82 Folding Suitcase Dog Crate
Shipping & Returns: Free Shipping* on Purchases Free Returns. All The Time.
The Zinger Folding Dog Crate comes fully assembled in a "Silver Hammertone" finish and provides lots of ventilation with its open design. Handles are included with all folding crates. Being able to fold the crate down to ¼ its height, handlers will be able to save considerable time, effort and storage space while traveling with their pet. Its aluminum construction makes the crate strong and sturdy keeping your dog safe and secure without weighing as much as conventional metal crates. NOTE: this model is not recommended for "Escape Artist" dogs who like to chew, bite and scratch. Please refer to our "Professional" or "Custom" series.


text:
There was no trade done on POMSOX today, and thus both Kina Securities stock indices were unchanged. The main index, KSi remained at 3,621.26 points and likewise, the Home index or KSHi was at 9,655.42 points.
Kina Securities Ltd (KSL) was not traded. In ASX, the stock closed up 4c to close at $1.25.
U.S stocks ended Thursday's session modestly lower for a second consecutive day as investors turned cautious ahead of employment report looms. The Dow Jones Industrial Average fell 4.15 points or 0.02% to 17,863.43 points. Japanese stocks edged up as weaker yen helped keep the benchmark index above 19,000 points. The Nikkei share average advanced 143.11 points or 0.75% to 19,259.52 points. Australian share market has closed slightly higher as investors await key job figures in the US. S&P/ASX 200 benchmark index rose 22.03 points or 0.42% to 5,215.00 points.

subset: commoncrawl


text:
Frontier Plumbing
Please get in touch!
Do you need a Bandera TX Plumber? Get in touch with us via the form below and we'll get back to you as soon as possible!
Contact Information
Frontier Plumbing
Phone: (830) 796-4945
Email: [email protected]
Hours of Operation
Mon-Fri: 8-5pm
Sat: 10-2pm
Sun: Closed
1132 Main St.
Bandera, TX 78003
Plumber in Bandera, TX. 78003


text:
The FBI is now saying we won't be told why the Las Vegas shooter murdered until about a year after the crime!
I can't help but wonder if the FBI really wants nine to ten more months to figure out the motives of the Las Vegas shooter or if they want the time to construct a credible explanation of how he acted alone. Or maybe they are delaying hoping the public's interest in the event will die down. This is all entirely speculative, but claiming we won't be told anything until a year after the murder spree invites speculation as to why.
Fox News reports, "Las Vegas shooting: FBI official says info on motive may take until next October to release."
Want to finally know why Stephen Paddock gunned down 58 people in Las Vegas in early October?
Be prepared to wait a while – possibly until next October – the chief of the FBI's Las Vegas office revealed this week during an interview in which he said the agency probably wouldn't brief the public until their report is released sometime before the tragedy's first anniversary.
Trending: The Conservative Answer to Reforming the Criminal Justice Sysytem
"Now that's a long time for some people, but speaking for the FBI, that's light speed, all right?" Special Agent in Charge Aaron Rouse told the Las Vegas Review-Journal on Wednesday.
Rouse said reports from other agencies investigating the mass shooting will be released at different times, but the FBI's one is "focusing a large part on the why" which is "what everybody wants to know."
Read the entire Fox News story.
The views expressed in this opinion article are solely those of their author and are not necessarily either shared or endorsed by EagleRising.com


text:
desired username and password
Thank you for your interest in Innovations! In order to create your "Trade Only" Innovations account, we kindly ask you complete the following form in its entirety and submit any resale certificates you may have. Once we have created your trade account, you will have access to pricing, stock levels, and updated invoicing.
Account Type: Purchasing Agent Designer Student End User
Type of Business: Contract Residential Other
Would you prefer to shop an Innovations showroom, or would you rather have an Innovations sales representative call on you and set your library up with a collection of product binders? Showroom Sales Rep/Binders
International customer/based outside the US? Yes No
Reset your Password
Innovations 150 Varick Street New York, NY 10013
Phone: 212.807.6300 Fax: 212.807.1944
Samples: firstname.lastname@example.com
General Inquiries: firstname.lastname@example.com
Search by country and state below to find your local rep.
Need samples? Select the swatches you'd like, and we'll send you up to 10 product samples.
Total Samples: 0
Please select one of the following: I am a ...
Add samples to your list and fill out the shippping address to recieve your samples in the mail.
Add products to your cart and pay for them here.
Total Cart: 0
Total Amount: $0.00
Arboresque–part arbor, part arabesque–combines the natural imperfections of cork veneers with the intricate symmetry of a Moroccan tile pattern.
ABR-01 Alabaster ...
ABR-02 Mosaic ...
ABR-03 Venato ...
ABR-04 Rosette ...
ABR-05 Rumi ...
ABR-06 Palmette ...
ABR-07 Moroccan Tile ...
Added to


text:
Margaret Laurence: Critical Reflections|
The Figure of the Unknown Soldier: Home and War in The Fire-Dwellers1
Texte intégral
- 1 Research for this paper was generously supported by a Special Grant from Red Deer College and a gr (...)
1 In the fall of 1967, Margaret Laurence took time from the novel she was struggling with to write to Al Purdy. She describes her progress:
Thought I had discovered a sensational new narrative method the other evening—there was only one thing wrong with it; in practice, it proved to be unreadable. Thought of it in terms of the inner and outer going on simultaneously, side by side on the page—fine if you had a two-foot wide page and a reader with four eyes. (Lennox 57)
- 2 Allan Bevan gives a succinct summary of Laurence's narrative methods: "[1] Stacey's thoughts (intr (...)
- 3 Laurence uses the mindfield metaphor in The Fire-Dwellers in a crucial setting. When Stacey drives (...)
2Eventually, she found a way to suggest the simultaneity of inner and outer events, and the work became The Fire-Dwellers, a novel that marks a change in narrative method from her earlier novels. In The Fire-Dwellers, she foregrounded the paragraph as a unit of composition,2 and she accentuated linguistic play—the puns, portmanteau words, homophones, homonyms, rhyme, and other echoic devices usually associated with verse. The extended punning, a method of narrative doubling, carries over into her next novel. "To be or not to be," we read in The Diviners, "—that sure as death is the question. The two-way battle in the mindfield, the minefield of the mind" (326). The "mindfield" portmanteau suggests the doubling and unfolding processes that make up The FireDwellers,3 With its unusual paragraph construction, The Fire-Dwellers presents itself as a novel of minding: we enter the mindfield of Stacey Cameron MacAindra, and we attend to the phonic play and interplay. We become aware of paragraph edges, of our eyes moving in toward mid-page, and then out again to another margin. Like the river in The Diviners, the narrative of The Fire-Dwellers moves both ways in time, and Laurence uses a mixed third-person and first-person narration to present Stacey MacAindra both from without and within. The text opens with a nursery rhyme, a "crazy rhyme," says our narrator, and from there the narrative moves forward, always accompanied and enriched by recall and return.
- 4 See Freud's classic essay "The Uncanny." Certainly, TheFire-Dwellers incorporates uncanny elements (...)
3Laurence's mindfield pun suggests my theme: I take war to be the matrix of The Fire-Dwellers and a primary intertext of the Manawaka fiction. War haunts these novels, and Laurence draws much narrative power from its pervasive presence. Even as the figure of the unknown soldier refers literally (for Canadians) to distant places and events, it implicates the most intimate questions of the home place (body, gender, family, identity). The richness of the figure derives from its connections with the named and unnamed, the known and the unknown, the memorialized and the forgotten—the realm of the uncanny (das Unheimlich, literally, the unhomely home)4
4The figure of the unknown soldier appears explicitly (at least) twice in the Manawaka fiction. In The Stone Angel, Hagar uses the expression at the time when she and her sons brood over the imminent death of Bram. In the course of an argument with John, Marvin refers to his having been seventeen at the time he went off to the First World War. Hagar overhears the squabble and realizes that she knows nothing about Marvin's war experience. In a retrospective reflection, Hagar says how she wishes she could then have asked Marvin about the war. But she did not. "He wouldn't have said anyway. It seemed to me then that Marvin was the unknown soldier, the one whose name you never knew" (182). In this context, the metaphor stresses silence and the paradoxes of naming and knowing, how people close to you elude your knowledge, however well you know them. In The Diviners, the figure appears again in a context of crisis. Morag and Brooke argue about her having revised her first novel without consulting him. Brooke makes a sarcastic remark to the effect that she should take up teaching his honours course on the novel. Morag responds by heaving an expensive glass bowl against the fireplace. It shatters and Morag comments: "Brooke stands beside the long windows. Very very tall, absolutely straight, his face like the carved face of the unknown soldier" (213). The unknown soldier figure, now a simile, stresses the silence that speaks. The word "carved" suggests Brooke's face is inscribed with passivity and stolidity; he has taken on the granite courage of a monument, the British stiff upper lip taken to an extreme. These two examples of the figure of the unknown soldier stress moments of individual tension; in both cases, the emphasis is upon the personal, Hagar's relationship with her own past in one case, and the relationship between Brooke and Morag in the other. In the Manawaka fiction, the figure of the unknown soldier constitutes a significant presence, but in The Fire-Dwellers the figure assumes a dominant role in the narrative structure, character relations, and language patterns.
5In The Fire-Dwellers the unknown soldier assumes many guises. His first appearance, early in the narrative, is as a cenotaph. The placement is significant, for the cenotaph signals an expansion of Stacey's world. It must therefore be seen in the context of the narrative opening. Before we reach the cenotaph, we are introduced to Stacey's inner and domestic life, both characterized by routine. Chapter 1 opens with the ladybird rhyme that runs through Stacey's head.
Ladybird, ladybird,
Fly away home;
Your house is on fire,
Your children are gone. (3)
- 5 The mirror segment also serves as a frame. Near the end of the novel, the shot is repeated. Two ch (...)
- 6 William James, who coined the phrase stream of consciousness, describes the substantive and transi (...)
6The rhyme initiates the stream of Stacey's consciousness, which comprises the first paragraph. The second paragraph delivers in the third person a framing shot (a common filmic device) in which Stacey sees herself and her bedroom in a mirror.5 This paragraph establishes the movement between Stacey's inner and outer life, between ear and eye. The rhyme and the two subsequent paragraphs, therefore, initiate the essential rhythm of the novel. We are alert to the movement of Stacey's inner narrative with the potential for the doubling and returns of rhyme, and to her movement through a world outside herself. We sense the forward movement of the story pulling against the stasis of the tableau.6
7The story describes a journey. Stacey MacAindra sets out alone, having dropped off her youngest child at a neighbour's, on a shopping trip for downtown Vancouver. On the spur of the moment, she gets off the bus in an area unfamiliar to her. She comes upon the cenotaph and a group of old men sitting on the steps at its base, and the tableau triggers a cluster of memories that implicate Stacey in the social conflicts of her world.
8The monument signals official recognition of past wars, and functions, therefore, as a marker or threshold, a function congruent with the visual foregrounding of paragraph edges. The cenotaph sets one space off from another, and this space is both physical and psychological. In approaching the cenotaph, Stacey approaches the bounds of her knowledge of the city. Her venture into this border zone prefigures her later adulterous adventure with Luke Venturi and triggers the release of feelings long forgotten or repressed. But first it stresses her exhilaration at trying something out of the ordinary. She gets off the bus near the waterfront and starts walking. She is not cracking up. It is just that she has lived in this city, jewel of the Pacific Northwest, for going on twenty years, and she does not know anything about it. Inexplicably and suddenly, she feels it is time she learned.
9So begins Stacey's quest for knowledge. She then comes upon the cenotaph and the sitting men. Her response to the tableau comprises two paragraphs, the first of which foregrounds what Stacey sees and how she sees. Presented in the third person, the paragraph moves into free indirect discourse, a movement that anticipates the first-person segment to follow. The paragraph condenses a host of motifs crucial to the novel:
The pigeons are shitting all over the granite cenotaph, she is glad to see. Stacey stops and reads the inscription. Their Names Shall Live Forevermore. And on another side, Does It Mean Nothing to You. No question mark. Along the steps at the base, three old men sit in the feeble sunlight, coughing and spitting, murmuring something to one another, memories, perhaps, or curses against now. (6)
10For all the massive solidity of the granite monument, the paragraph foregrounds physical processes: shitting, seeing, reading, coughing and spitting, murmuring, cursing. These comprise both taking in, by reading and seeing, and putting out, by excreting or talking. Significantly, at this point Stacey is taking in the world around her. The paragraph also implies her visual and verbal acuity, as well as the strange mood that accompanies her moving beyond the safety of her defined world.
11The subsequent first-person paragraph, preceded by the long dash to signal Stacey's thoughts, introduces syntactic anomalies that derail headlong (grammar-bound) reading.
—I guess they feel at home here. It was their war, my father's war. He spoke of it once, just once. Mother was out one evening, and Rachel was seven and asleep. He told me about a boy of eighteen—hand grenade went off near him and the blast caught the kid between the legs. My dad cried when he told it, because the kid didn't die. My dad was drunk, but then he wouldn't have spoken of it if he hadn't been. Mac never talks about his war, never has, not that he talks much about anything any more. Ian was ten this year and Duncan seven. Well, even if I'd had four girls, so what? (6)
12Where the first paragraph foregrounds the cenotaph as public image, the second foregrounds the flow of Stacey's personal unspoken thoughts. The movement is from sociolect to idiolect. The sight of the men provokes Stacey's memory of her father and, more particularly, a story he once told her about war. This story in turn implicates Stacey's fears about her marriage, her children, and her own sexuality. The cenotaph tableau, considered as a narrative unit, constitutes a subtext, a seemingly minor element in the text that nonetheless "contains in a nutshell all the ingredients that make the novel work" (Riffaterre 58).
- 7 See "Forms of Time and Chronotope in the Novel" and "Discourse in the Novel," The Dialogic Imagina (...)
- 8 Linda Hutcheon suggests that "intertextuality" might better be described as "interdiscursivity" or (...)
13The social and historical dimensions are presented first. The cenotaph stands as the focal image of a public square, that is, as a chronotope, the "representation of a point in space designed to suggest a point in time" (Riffaterre 126). The cenotaph fuses the private past of the old men, whom Stacey sees as ex-soldiers, with the public present monument. Wars distant in time and space are thus brought into the cycle of everyday life. Furthermore, a public square, as Bakhtin has taught us, implies a mingling of people and voices.7 As a memorial, the granite cenotaph speaks of endurance through time and signals public acknowledgment of heroism, patriotism, and devotion to country. The official voice of the state (official history) appears in the quotations carved in the granite, "Their Names Shall Live Forevermore," and "Does It Mean Nothing to You." An implied response to the rhetorical question materializes in the bombardment of the pigeons, which Stacey is glad to see. Their offerings alert us to the parodic and ironic quality of the tableau, and imply a contest of values summarized by two poems, John Macrae's "In Flanders Fields" and Wilfred Owen's "Dulce et Decorum Est."8
14Intratextually, in terms of narrative structure, the epitaph contrasts with the nursery rhyme. The granite memorial, home to old men, plays against the home of the ladybird and her children. The cenotaph provides a home here for old men to sit and spit, and reflect on the glories of their youth. The ladybird rhyme refers to home as a place that can burn, a place children can and do flee from, a place somewhere else. The massive cenotaph implies permanence; the diminutive ladybird suggests transience. The ladybird song works by a lyrical half-rhyme, repetition, and parallel structure; the prose of the cenotaph paragraph works by a network of sound echoes. "[S]hitting" rhymes with "spitting" and the "it" syllable occurs in "granite," in the "It" of the inscription, in the monosyllable "sit." The syllable evokes the word id and its suggestions of undifferentiated energy. That the men sit on the "base" of the monument stresses the fundamental quality of the tableau.
- 9 See Stovel 14ff.
15Both rhyme and epitaph deliver ambiguous messages. Your children are gone, says the rhyme, but you will remember them. They are both present and absent. The word cenotaph means "empty tomb," another instance of presence and absence. At the phonic level, tomb implies a fundamental home-womb-tomb equation (a sentence for motherhood that Laurence elaborates at the narrative level). The womb-tomb doublet echoes with another keyword.9 "Doom everywhere is the message I get" (59). The repeated sounds and letters of this word-cluster call up "boom" and "bomb." The novel as mined field, each sentence packed with implications for the larger narrative.
16"I guess they feel at home here. It was their war, my father's war." The sequence of nouns home/war/father/war signals absence: the soldiers' absence from home, the father's absence, the silence that such absence entails, and the subsequent silence about that absence. Stacey's father's story resubstantiates the abstract noun; the abstraction "war" is re-membered and given life. Ironically, his story speaks of sexual mutilation, or de-membering. "He told me about a boy of eighteen—hand grenade went off near him and the blast caught the kid between the legs." The nouns carry the tale: boy, hand grenade, blast, kid, legs. This story strikes home for Stacey—she has carried it in memory since girlhood—and the tears of her father, sign of his refusal to hold a soldierly stiff upper lip, amplify its poignancy. This story of body members prompts Stacey to think of family members, beginning with her husband, Mac.
17"Mac never talks about his war, never has, not that he talks much about anything any more." The chain now runs from silence to father/war/story (castration) and then to husband/silence. (The rhyme war/more suggests both the history of Stacey and her men and the history of the twentieth century, a history that The FireDwellers deconstructs. The rhyme echoes with "forevermore" and suggests an inscription for our time: Foreverwar.)
18The silent husband sentence is followed immediately by one about sons, "Ian was ten this year and Duncan seven," which introduces another anomaly. The sudden shift from Mac's silence to the names and ages of the sons initiates a sequence progressively more personal: my father, my husband, my boys (flesh of my flesh). Stacey distinguishes her family members, the ones she fears to lose, from the unknown soldier. They have both names and ages. "These boys," she seems to say, "Ian and Duncan are mine, and they are too young to be soldiers. My boys cannot go to war. They are members of my present; they don't need to be remembered."
19The last sentence of the paragraph makes another leap: "Well, what if I'd had four girls, so what?" This double-take typifies both the narrative and Stacey's resistance to war. War destroys children, she seems to say, girls and boys, and no mother's child should have to go to war. She would feel the same whoever the soldier was, daughter or son. This is the sentence of motherhood.
20The elliptical ending of this paragraph is prefigured by the elision of the article before "hand grenade." War as catalexis. The reader supplies the elided article; it is all but there. So too the sentences I have attributed to Stacey are there. The parallel noun phrases in this paragraph—"their war," "his war"—move from outer to inner and imply a third phrase, "my war." Though this phrase is not uttered, it hovers there nonetheless. "Everyone understands," Gerard Genette asserts, "the real author of the narrative is not only [s]he who tells it, but also, and at times even more, [s]he who hears it" (262). That phrase, my war, cannot be articulated, for its utterance comprises the rest of the novel.
21In these two brief paragraphs, Laurence establishes her narrator's dilemma: how to speak, how to speak of war, how to speak of her own war. She has also established the narrative sequence: their war, his war, that war, this war, my war. Throughout the unfolding of this sequence, a progressively personal unfolding for Stacey, we encounter the figure of the unknown soldier.
22An example. A young man comes to Stacey's door, and he holds a pamphlet. "Safety in Time of War. Ragged crimson letters like rising flames." Stacey is intrigued. "I did a double take and saw the smaller letters underneath. God's War of the Last Day. Oh, that war" (21).
- 10 Lorraine McMullen reminded me that during wartime mothers do count the ages of their children, cal (...)
23A double-take. The introduction of the names and ages of the boys may seem to be authorial intrusion, an infringement on verisimilitude.10 But the question of age links the tableau with Stacey's extramarital affair. Once Luke tells her his true age, twenty-five, Stacey, on the brink of forty, calculates that he is young enough to be her son. If war is a circle, so is incest. Luke serves as her son and her lover, and his participation in peace marches counterpoints the military parades that Stacey remembers from her youth. The peace marchers sing their theme song, "Where Have All the Flowers Gone" (277). This is a chain song, and the sequence of linked nouns moves from flowers, to young girls, to young men, to (unnamed) soldiers, to graveyards. The song of peace therefore plays against the silence of the war memorial. Though Stacey resists foreverwar, she cannot evade the vicious circle, for the pet name she gives her younger daughter, the child who does not yet speak, is "Flower."
24Another example. Stacey recalls reading of a returned soldier who nearly attacked his little sister with a karate chop when she startled him. Stacey says she laughed at the story, "Conditioned into monsterdom, like the soldier" (126). The unknown soldier indeed takes many guises. "Ian nineteen, in love with the uniform he is wearing" (127).
25Stacey reflects on verbal battles with Mac. "—We go on this way and the needle jabs become razor strokes and the razors become hunting knives and the knives become swords and how do we stop?" (162).
26Stacey imagines a getaway from a future war. She and her family arm themselves with "radish seeds," and head north for the bush, where they will grub out a living and teach their children about Shakespeare. "Only one or two snags. Neither Mac nor I could have mustered more than about two lines of Shakespeare, and neither of us would last more than twenty-four hours in the great north woods. Also, who would the kids marry? Incest was out. So I gave up on that one. It wasn't such a hot sedative" (60).
27Cenotaph imagery circulates throughout the narrative. When Stacey confronts her husband's boss about a company questionnaire, a story of castration emerges. In an angry mood and stoned on double scotches, Stacey complains that the questionnaire is an infringement and an intrusion. "I mean infrusion, that's what I mean but I guess I shouldn't have brought it up" (108). Moments later, Stacey's purse falls open and two pink soaps she has lifted from the washroom fall to the floor. Thor, Mac's boss, makes a sarcastic comment to which Stacey replies by telling the assembled company a joke. The god Thor, she explains, seduces a young country girl and then feels contrite for having exploited a mere mortal. He says that he is Thor. "And she says, Tho am I, but it wath worth it, wathn't it?" (109). The double scotches, the two soaps, the punning joke turn the narrative back on itself and insist that we attend to doubleness and word echoes. A few pages later, the drunken episode is repeated. Stacey replays the infrusion portmanteau; this time she adds a detail about "disarranged" hair. Then later Stacey thinks of herself as "schizophrenic" and worries that Mac will kill her. "What would happen to the kids if that happened? Oh my guts, churning around like a covey of serpents." The unusual word prompts a double-take. "Covey? Nest? Medusa does in summer wear a nest of serpents in her hair" (114). The stoned woman becomes Medusa, the castrating stone woman who carries her nest with her (or her "severed head" [124]). She makes stiffs, this stone woman, these hairy tresses. Stones men dead. The magazine articles that Stacey reads establish guilt for the fate of the unknown soldier, whether he is in the guise of the castrated boy-man, or the stifled husband, or the son-and-lover, or the daughter. "Nine Ways the Modern Mum May Be Ruining Her Daughter" (14), "Are You Castrating Your Son?" (15), "Are You Emasculating Your Husband?" (56), "Mummy Is the Root of All Evil?" (304).
28To read the novel we must read the cenotaph. As empty tomb, the cenotaph is an abyss, an ever-open maw to swallow the daughter-and sonflowers of this world. Here is Stacey on taking in the world. "Sometimes I think I'd like to hold an entire army between my legs. I think of all the men I'll never make love with, and I regret it as though it were the approach of my own death" (19).
29 Ladybird, ladybird, your house is on fire. The maw-mouth is where the taste is. Stacey: "My taste isn't anywhere. Between my legs, maybe" (139). "Better to marry than burn, St. Paul said, but he didn't say what to do if you married and burned" (211). And again, "I would have liked to be a great courtesan, like that one in France who went on until she was about ninety-five" (308).
30Stone imagery informs the description of Thor's secretary, the young woman who becomes Mac's lover. Her face "is a medieval tomb carving, elongated, drawn in subtle lines of earnestness and prayer" (108). Blanc et blank. "Her skin is extremely pale, and her features are delicate, severe, withdrawn, a girl from a medieval tomb carving" (147). That she is a "girl" suggests again the incest motif. (In one scene, Thor "takes her by the hand and leads her over to the microphone" [147], as if she were unable to speak without his support.)
31 Ladybird, ladybird, fly away home. Home is where the hurt is. "(I hurt Mother. I'm scared.) (Sh, it isn't nice.) (I hurt, you hurt, he hurts—Sh.)" (168). Think of Mac's words to Stacey as they make love, his hands around her throat:
That can't hurt you
not that much
that's not much. Say it doesn't hurt.
It hurts. (29)
32Later Stacey thinks, "Oh Luke. I want to go home, but I can't, because this is home" (250). I'm Thor, I hurt. "I'm in forevermore..." (127).
33In The Fire-Dwellers, unknown soldiers are tombed, flowers and lovers are doomed, love is tombed.
34Imagery from the cenotaph tableau circulates through all the major episodes of the larger narrative. At that level, Stacey experiences a series of personal crises: her (failed) sexual encounter with Buckle Fennick, her affair with Luke Venturi, Mac's revelations about his war experiences, the near drowning of her son Duncan. I start with the last of these crises.
35After the drowning scare, Stacey's innermost fears surface. She remembers what she was thinking while her son was being resuscitated. "Unbiddenly, then, she remembers what she was thinking out there on the sand when she did not know what to do and when Duncan's still-warm but nearly unhuman body seemed to be going beyond reach." The word "unhuman" echoes with the opening word; this experience has threatened to un-do her. The third-person sentence is followed by an italicized representation of Stacey's inner voice: "God, if it was anything I did, take it out on me, not on him—that's too much punishment for me" (296). Stacey's (con) current thoughts turn on the question of belief.
- 11 This phrase, "they're there," suggests the inextricable weave of sound with sense. The phrase reca (...)
—Judgment. All the things I don't like to think I believe in. But at the severe moments, up they rise, the tomb birds, scaring the guts out of me with their vulture wings. Maybe it's as well to know they're there.11 Maybe knowing might help to keep them at least a little in their place. Or maybe not. I used to think about Buckle that he was as superstitious as a caveman. I didn't know then that I was, too. (296)
36The tomb birds are now vultures, yet they are still connected with the excremental. They scare the guts out of her. Earlier she was glad to see pigeons shitting on the cenotaph, on the public and phallic sign of the patriarchy and its more-war mentality. Now in her pain and her relief she admits that she, too, is as primitive, as superstitious as Buckle. Laurence blurs gender with the word "caveman," a blurring that helps to explain Stacey's earlier reflections on sons and daughters. Laurence refuses gender division in matters of love and war.
37Similarly, Stacey's war cannot be separated from Mac's or from her father's. As Mac and Stacey struggle with Buckle's sudden death, Laurence includes an extended flashback that completes the narrative sentence left suspended in the cenotaph scene.
Preceded by pipers, the men of the Queen's Own Cameron Highlanders marched through the streets of Manawaka on their way overseas. Stacey, fifteen, watched them go, the boymen whom she soon might have known, perhaps married one if they had stayed. Nearly all the Manawaka boys of that age joined the same regiment. That was the war, to Stacey. She felt at the time ashamed of her own distance and safety. (238; emphasis added)
38These boymen, those she "might have known," remain unknown to her. (Luke, fifteen years her junior, is the one she has known in the biblical sense.) The past tense is significant. Laurence does not say this is Stacey's war, for her war is more complex now, and includes the wars of all her men. Her war, in fact, is a layering of wars, one over another, for the Second World War arrived as she was coming of age.
39For his part, Mac slowly unravels the war experience that bound him to Buckle. They were in a truck in Italy, lost. They approached a bridge and Buckle refused to check it for mines. Mac climbed out and Buckle drove ahead. The bridge exploded and Mac pulled Buckle from the water and carried him to safety (a rebirth scene that anticipates the later rebirth of the boy Duncan). Also significant was the look Buckle gave Mac.
I couldn't figure it at the time. But later on I thought maybe it was just that I hadn't done him any favor. I hadn't done anything he wanted me to do. (240)
40Bewildered, Stacey then speaks, haltingly—"So then you had to take him on for life? Because"—and at the same time she thinks, "Who is this guy? Why did I never know? " (240). The question of knowing and not knowing moves to the fore again: Mac has become the unknown soldier. The man she has married and lived with and loved and fought with turns out to be as unknown to her as the eighteen-year-old soldier her father spoke of. She has been as blind and unseeing as Buckle's mother. As blind and unseeing as a stone angel or a tomb carving.
41And yet Mac's having spoken allows Stacey to speak. She tells Mac that she did not sleep with Buckle because "He liked it with himself but with somebody looking on" (240). She is able now to say of Buckle, "Maybe he wanted you." And Mac too is released and able to mutter, "Yeh maybe" (241). Again Laurence erases borders and binaries. Where does heterosexuality become autoeroticism become homosexuality?
42No more do historical boundaries hold. Stacey's war includes both the First World War, her father's war, and the Second World War, Mac's war, as well as the wars brought into her living room by the EVER-OPEN EYE and the radio and newspapers, and the unknown young men with pamphlets knocking at her door. All these wars are hers, for she can no more escape them than she can escape her very self. As Nora Stovel points out, Stacey's ties to her father are underlined by her two mementos, "both souvenirs of the war: a flask and a revolver—firewater and firearms, appropriate for a fire-dweller" (48).
43Even as the stone angel presides over events in Hagar's Manawaka, the downtown cenotaph, besmeared with pigeon droppings, stands over the unravelling of this urban narrative. The cenotaph stands as the silent counterpart to the "spoken" acknowledgments of war: peace marches, radio reports, the sounds and sights of the Ever-Open Eye. At another level, the (phallic) cenotaph stands opposed to a host of underground places and subliminal images: caves, crypts, graves, Niall Cameron's funeral parlour, "tomb silences" (25), bomb shelters, the private parts of the body, the intimate chambers of the self. But despite these tensions and conflicts, the ending of the novel stresses orderliness. Flower learns to talk; Stacey and Mac speak with each other; their economic distresses seem to be allayed; they accept Matthew, Mac's father, into their home. In reflecting on what will happen with him, Stacey thinks of him as a shadow, haunting her so "all I want to do is speak the unspeakable" (298). But she does not, and neither does this novel. If we trust the tale and not the teller, however, and read The Fire-Dwellers in the context of the Manawaka fiction, then we discover another unknown soldier whose story illuminates all the others.
44Unknown soldiers march through the Manawaka fiction. There is Marvin in The Stone Angel, and Niall Cameron in A Jest of God (and The Fire-Dwellers) who offers a cryptic response to young Rachel's excitement at hearing the pipers play "The March of the Cameron Men" in a Second World War parade. "Yes," he says, "I expect they are, Rachel. It has a fine sound, the lies the pipes tell" (Jest 70). Niall Cameron is positioned as a knowing soldier in both A Jest of God and The Fire-Dwellers, like Ewen MacLeod, Vanessa's father. In A Bird in the House the figures proliferate, extending even to a portrait of the Duke of Wellington in the MacLeod house, whom young Vanessa has mistaken for her dead grandfather. The most important figures, though, are Ewen, his brother Roderick, and from Vanessa's own generation, cousin Chris, and her first boyfriend, Michael. Vanessa knows her father only from her brief meetings with him, the letter and photo from a young French woman she finds in an old desk, overheard stories about Ewen's presence at the death of his brother Roderick at the Battle of the Somme. She knows her uncle through the stories she hears and from the photographs her Grandmother MacLeod keeps. The airman Michael, whom Vanessa first falls in love with, and the one individual with whom she can speak about war and literature, unbeknownst to her, is married.
- 12 See Kertzer 70.
45A more compelling character is Vanessa's cousin, Chris (whose name suggests kinship with Christie Logan, probably the most unforgettable of Laurence's returned soldiers). Vanessa's relationship with Chris forms the centre of "Horses of the Night," a story that turns on questions of knowing, latent sexuality, and madness. Chris leaves "the alien lake of home" (Bird 152) to join the Army, only to be discharged because of a mental breakdown to a hospital where he will live out his days. Vanessa feels compassion for the tenderness he showed her when they were younger. The toy saddle he once made for her reminds her of a line of poetry (from Ovid's Amores)12 in which the speaker wishes to delay the arrival of the morning and the necessity of leaving a lover. Vanessa connects this remembered line, "Slowly, slowly, horses of the night," with Chris's situation. "The night must move like this for him, slowly, all through the days and nights." Vanessa has grown to realize that some things can never be known. "I could not know whether the land he journeyed through was inhabited by terrors, the old monster-kings of the lake, or whether he had discovered at last a way for himself to make the necessary dream perpetual" (154; emphasis added).
46A list of unknown soldiers in The Diviners suggests their importance to the narrative: Brooke Skelton; Morag's dead father, Colin Gunn, veteran of the First World War and buddy to Christie Logan; Christie himself, source of the tales of the Selkirk settlers and the Battle at Culloden, and the Battle at Batoche; Jules "Skinner" Tonnerre, bearer of stories about Batoche, and a veteran of Dieppe, the battle where so many Manawaka boys were killed.
47Dieppe assumes special significance in the Laurence corpus, so that one reference carries the emotional weight of all the others. In Hagar's sardonic report, at Dieppe "the casualties were heavy, as the newspapers put it, making them sound like leaden [unknown] soldiers, no one's sons" (Stone 244). It was Dieppe that brought the war home to Vanessa MacLeod ("sister" to Stacey Cameron and to Morag Gunn in the sense that they all three are the same age). Part of Vanessa's shock lies in her realization that these (known) boymen have been rent and rendered utterly unknowable, and that she is experiencing first-hand what her parents' generation has already gone through. Her emotion is therefore overdetermined, a new layer of grief and loss laid on top of an earlier layer:
When it happened, I had remembered that my father's brother Roderick had been killed in the First World War. He, too, had been eighteen, like most of these [men killed at Dieppe], It was then that war took on its meaning for me, a meaning that would never change. It meant only that people without choice in the matter were broken and spilled, and nothing could ever take the place of them. (Bird 181-182)
48In The Fire-Dwellers, Stacey, too, was changed by Dieppe, after which "she could never again listen to the pipes playing The March of the Cameron Men" (238).
49These allusions implicate the photographs and text of Dance on the Earth. In the Manawaka fiction Laurence refers to various epoch-defining events, according to her fictional needs—Hiroshima in The Fire-Dwellers (11, 275) and the First World War, in general, in A Jest of God (127). But Dieppe, as Laurence points out in Dance on the Earth, has special resonance.
The limitations of the perceptions one permitted oneself were abruptly shattered once and for all with Dieppe. In one sense, for me, Dieppe perpetually has happened only yesterday. It runs as a leitmotif through all my so-called Manawaka fiction and, in a way, it runs through my whole life, in my hatred of war so profound I can't find words to express my outrage at these recurring assaults upon the human flesh, mind, and spirit. (84)
- 13 Skinner is connected to The Fire-Dwellers through his sister Valentine, who meets Stacey on a Vanc (...)
50Skinner Tonnerre, as a veteran of Dieppe, therefore assumes singular importance in the gallery of (unknown) soldiers. He gives a human voice and face to the statue, for, though the cenotaph signals the silence and absence of the unknown soldiers, a silence nonetheless inscribed with official history, Skinner speaks of Dieppe. Typically, he offers only a few laconic images. He tells Morag of a fellow Manawakan being gut-shot, and then goes on to describe the man's eyes: "Like a horse's eyes in a barn fire" (133). This image repeats one from "Horses of the Night" in which Chris relates to Vanessa a story told to him by her father (Bird 150-151). The repetition of the image, fire and eyes, fire and ice, echoes both with the opening lines of Skinner's "Piquette's Song" ("My sister's eyes, /Fire and snow" [379]) and with the conflagration images in The Fire-Dwellers. Together, these images and the story link Skinner with the other soldiers.13
51Yet even though Skinner as a veteran belongs to the gallery, there is a crucial difference between him and the other soldiers. All of the soldiers, including Scavenger Christie Logan, live within the orbit of the cenotaph, that is to say, they are part of official history, and the cenotaphs metonymically bear tribute to them. Smelly old Christie Logan finds his place in the Manawaka cemetery beside Prin, their places marked by "Grey granite" headstones (Diviners 327). In the Manawaka cemetery the stone angel memorializes both the Currie family and the once-disreputable (Shitley) Shipleys. All these monuments, stained by droppings and earthy names, nonetheless speak of stature and status within the dominant community. They have mass and volume and solidity, these monuments. These people belong.
- 14 The phrase "edited past" appears in The Fire-Dwellers in a passage of free indirect discourse to s (...)
52But Skinner's history and the history of the Métis people have been severely edited.14 His grandfather's participation in the battle at Batoche is erased from Morag's story about (the dead) Piquette's family. "Lachlan deletes it, saying that many people hereabouts would still consider that Old Jules back then had fought on the wrong side" (Diviners 130). So Old Jules, Skinner's namesake, takes up no space in the Manawaka newspaper, and when Skinner's father Lazarus dies, he, too, is denied space in Manawaka. As Skinner puts it, the town does not want "His half-breed bones spoiling their cemetery" (219). Lazarus eventually finds a home in the Métis churchyard at Galloping Mountain. There the memorial structures are simple: "No headstones there. Just wooden crosses, plain pine or whatever comes to hand, and the weather greys them" (219). How different these grey weathered crosses from the granite cenotaph in downtown Vancouver and the grey granite headstones and stone angels of Manawaka. As we are led to expect, Skinner, in his turn, takes his place in the Galloping Mountain churchyard.
53At first reading, Skinner has seemed almost to erase himself, for he refuses to allow Morag to take his picture, even with their daughter Pique (281). But this refusal amounts to a refusal of the visual. Skinner positions himself outside the frame, less substantial even than a shadow and yet forcefully present. His realm is the oral, and he establishes his presence in history through song. And in giving his gift of song to Pique, he aligns himself, not with the past (the cenotaph, official history as written so far), but with the future. So the last word in The Diviners is given to Piquette Gunn Tonnerre (her surname in that order, Scot and French, gun and thunder, perhaps a suggestion of future storms). The ending is pluralized. It ends once with Morag going to set down her title. But the last words are attributed to Pique—"The mountain and the valley hold my name"—and these places, "Christie's real country" (319) where Morag was born, are waiting for her. The future is marked by song and the feminine. Riel country. Thus does Laurence come to terms with her ancestral past. Her ancestors, she wrote, "are not only the Scots but also the Métis; I was born in a land which they had inhabited, shaped and invested with their ghosts" (Lennox 317).
- 15 Part of the argument in these last two paragraphs first appeared in my review of the Laurencè-Purd (...)
54The plural ending therefore denies the authority of the book, monological and masculine, just as it refuses the centripetal pull of official history. And the text itself is pluralized. As written text, the Album section made up of the songs of Skinner Tonnerre and Piquette Gunn Tonnerre functions as a metonym for a future attached to the land. But the Album also appeared as a phonograph record with the first edition hardcover of the novel. The phonograph record testifies to Laurence's anti-imperialism and stretches the limits of textuality again. If The Fire-Dwellers can be described as a photofiction, as Lorraine York suggests, then The Diviners, in the end, is a phonofiction. Just as the Tonnerre songs mock the colonizing drive of Sir John A., who "sits in Ottawa, /Drinking down his whiskey raw" (373), so the record denies closure to the novel.15 The centre does not hold. The novel is not a completed, self-contained unit. The phonograph album asserts that there is more to be said than any book can contain, a gesture consistent with Laurence's desire, notably in The Fire-Dwellers and The Diviners, to break down the restrictions of traditional realism.
55By the same token, the figure of the unknown soldier is multiple and transtextual. In the guise of the cenotaph, the figure dominates The Fire-Dwellers, and he stands as a metonym for all the others: Mac and Buckle, Ewen and Roderick MacLeod, Christie Logan and Colin Gunn, who readily fall into pairs, and the solitary Brooke Skelton and Marvin Shipley. Even Stacey herself. And in the shadow of that solid granite column looms the Métis warrior, a disturbing unheroic hero of the real country. An unknown soldier.
Bakhtin, Mikhail. The Dialogic Imagination: Four Essays by M.M. Bakhtin. Ed. Michael Holquist; trans. Caryl Emerson and Michael Holquist. Austin: U of Texas P, 1981.
Bevan, Allan. Introduction. The Fire-Dwellers by Margaret Laurence. New Canadian Library. Toronto: McClelland and Stewart, 1973.
Davey, Frank. Post-National Arguments: The Politics of the Anglophone-Canadian Novel Since 1967. Toronto: U of Toronto P, 1993.
Freud, Sigmund. 'The Uncanny." The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. James Strachey. Vol. 17. London: Hogarth, 1955.
Genette, Gerard. Narrative Discourse: An Essay in Method. Trans. Jane E. Lewin. Ithaca, N.Y.: Cornell UP, 1980.
Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge, 1988.
James, William. Psychology. New York: Henry Holt, 1907.
Kertzer, Jon. "That House in Manawaka": Margaret Laurence's A Bird in the House. Toronto: ECW Press, 1992.
Lennox, John, ed. Margaret Laurence-Al Purdy: A Friendship in Letters. Selected Correspondence. Toronto: McClelland and Stewart, 1993.
Riffaterre, Michael. Fictional Truth. Baltimore: The Johns Hopkins UP, 1990.
Sproxton, Birk. "Dear Margaret, Dear Al." Border Crossings (Fall 1993): 70-72.
Stovel, Nora. Stacey's Choice: Margaret Laurence's The Fire-Dwellers. Toronto: ECW Press, 1993.
York, Lorraine. The Other Side of Dailiness: Photography in the Works of Alice Munro, Timothy Findley, Michael Ondaatje, and Margaret Laurence. Toronto: ECW Press, 1988.
1 Research for this paper was generously supported by a Special Grant from Red Deer College and a grant from the T. Glendenning Hamilton Fund at the University of Manitoba.
2 Allan Bevan gives a succinct summary of Laurence's narrative methods: "[1] Stacey's thoughts (introduced by a dash), [2] her memories (indented on the page), [3] her fantasies often in the form of SF words (in italics), [4] the news from radio or the EVER-OPEN EYE (in capital letters), [5] the narrator's comments more or less over Stacey's shoulder (in ordinary type and without dashes or italics), [6] and conversations (again without introductory marks)" (ix). The first four of these announce themselves as distinct paragraphs.
In "Gadgetry or Growing: Form and Voice in the Novel," Laurence spoke of her desire to capture on the page both "Voices and pictures." "I wanted the pictures—that is, the descriptions—whether outer life or dreams or memories, to be as sharp and instantaneous as possible, and always brief, because it seemed to me that this is the way—or at least one way—life is perceived, in short sharp visual images which leap away from us even as we look at them" (88). See also Nora Stovel's discussion of narrative method in Stacey's Choice: Margaret Laurence's "The Fire-Dwellers," 82-92. Lorraine York describes the novel as a "photofiction" (The Other Side of Dailiness 152).
3 Laurence uses the mindfield metaphor in The Fire-Dwellers in a crucial setting. When Stacey drives Mac to identify the remains of Buckle, she is "afraid she may say the one wrong or fuselike word which may make something explode in his head or heart..." (234). Later, Stacey discovers the two men were bound together by the explosion of a "mined" bridge (239). A mind-bridge.
4 See Freud's classic essay "The Uncanny." Certainly, TheFire-Dwellers incorporates uncanny elements, especially Stacey's dream of the severed head. (See my discussion of Medusa below.) Lorraine York takes the dream to be emblematic. "This nightmare vision raises the question of inner and outer sight; as Stacey in her dream asks 'How is it that she can see it? What is she seeing with? That is the question' [124], This striking image of a woman gazing at her own bleeding head could serve as an emblem of The Fire-Dwellers and its visual method: How does one perceive one's own torments?" (The Other Side of Dailiness 154-155).
5 The mirror segment also serves as a frame. Near the end of the novel, the shot is repeated. Two changes deserve mention, one an addition, the other a deletion. The addition concerns the disposition of Mac's clothes. In the opening, we have: "On another chair, Mac's dirty shirt is neatly folded" (4). In the closing frame: "On another chair, Mac's clothes are folded neatly, a habit he acquired in the army, as he has remarked countless times" (305; my emphasis). The addition suggests, first, the importance of Mac's army life to Stacey's private (bedroom) life, and, second, the importance of their talking with each other. The deletion is equally intriguing. In the opening, Mac is described as "Agamemnon king of men or the equivalent, at least to her," a hint of the war motif to come (4). The closing omits the Agamemnon reference, as if Mac were no longer kinglike, but domestic, clad in ordinary clothes. The reference ironically positions Stacey as Clytemnestra, murderer of Agamemnon, and echoes with Stacey's recollection of an argument with her night-class instructor. "Mrs. MacAindra, I don't think you've got quite the right slant on Clytemnestra. Why not? The king sacrificed their youngest daughter for success in war—what's the queen supposed to do, shout for joy?" (32). Though Mac has not been murdered, the ending establishes Mac as domesticated in Stacey's eyes. Lorraine York argues that the omission "suggests that Stacey's bitterness has been exorcised, that if she no longer expects Mac to be Agamemnon, perhaps she can now cease to feel herself a guilty Clytemnestra" (Dailiness 156). For a discussion of framing devices in the novel, see Stovel 94-95.
6 William James, who coined the phrase stream of consciousness, describes the substantive and transitive dimensions of the stream. He compares the varying pace of the stream's movement to the life of a bird, "an alteration of flights and perchings" (Psychology 160). In narrative terms, this distinction parallels the diegesis-mimesis distinction.
7 See "Forms of Time and Chronotope in the Novel" and "Discourse in the Novel," The Dialogic Imagination, esp. 130-146 in the former, which concerns biography and autobiography (of which The Fire-Dwellers is a fictionalized variation). The image of old men reminiscing occurs also in A Jest of God. They sit in the lobby of Manawaka's Queen Victoria Hotel "to parse the past" (193).
8 Linda Hutcheon suggests that "intertextuality" might better be described as "interdiscursivity" or "discursive pluralizing." See A Poetics of Postmodernism, esp. chapters 8 and 9 (the quotations are from page 130). The discourse of war memorials is here embedded within the (fictional) discourse with all its intertextual echoes. W.H. New (personal correspondence) identifies Laurence's model cenotaph as that in Vancouver's Victory Square, on which is inscribed "Their Name Liveth For Ever More/Is It Nothing to You/All Ye that Pass By."
For me, Laurence's reference to a cenotaph functions as a shorthand gesture, a quotation of the commonplace. About 100 yards from where I write, there stands a cenotaph inscribed with lines from "In Flanders Fields." Because the cenotaph is so commonplace, we tend to overlook its importance.
9 See Stovel 14ff.
10 Lorraine McMullen reminded me that during wartime mothers do count the ages of their children, calculating when they might volunteer or be conscripted for military service.
11 This phrase, "they're there," suggests the inextricable weave of sound with sense. The phrase recalls the "there, there" of a mother's consolation, as in Stacey's reflections on her role (149). The consoling phrase occurs several times in other texts: Katie uses the expression in consoling Stacey (273); in A Jest of God Hector consoles Rachel (152) and Rachel consoles her mother (233). Here Stacey reassures herself.
12 See Kertzer 70.
13 Skinner is connected to The Fire-Dwellers through his sister Valentine, who meets Stacey on a Vancouver street. Over coffee, Val reveals that Thor Thorlakson, Mac's draconian boss, is in actuality Vernon Winkler from Manawaka. Valentine is described as a "known and total stranger" to Stacey (268). Like Valentine, Skinner is at once known and unknown, and like her, too, he unmasks middle-class pretensions. As an un/known soldier, Skinner exposes and subverts the limitations of what Laurence calls "the Upper Canadian, white Protestant interpretation of our history" (Dance 77).
14 The phrase "edited past" appears in The Fire-Dwellers in a passage of free indirect discourse to suggest Stacey's awareness of Mac's inclination to "forget." "He looks at her as though they have never before met, as though she is the stranger on shipboard to whom he may possibly be able to relate his edited past" (284).
15 Part of the argument in these last two paragraphs first appeared in my review of the Laurencè-Purdy letters, "Dear Margaret, Dear Al," Border Crossings (Fall 1993): 72. For another reading of The Diviners, with emphasis on the ending, see Frank Davey in Post-National Arguments, 23-42.
© Les Presses de l'Université d'Ottawa | University of Ottawa Press, 2001
Conditions d'utilisation : http://www.openedition.org/6540


text: Inauguration Day Riot Charges Against RT Reporter, Two Other Journalists Dropped 4:52 AM PST 1/31/2017 by Vladimir Kozlov FACEBOOK TWITTER EMAIL ME Karen Bleier/AFP/Getty Images Capitol Building Washington D.C. Exterior - H 2011 Kremlin-backed English-language network said it applauds the decision. U.S. federal prosecutors have dropped charges against three journalists who were arrested during protests against the inauguration of President Donald Trump in Washington, D.C., on Jan. 20, including RT reporter Alexander Rubinstein. "After a review of evidence presented to us by law enforcement, we have concluded that we will not proceed with the charges against the three defendants, who are journalists," a spokesman for the U.S. Attorney General's office was quoted as saying by The Washington Times. RT, a Kremlin-backed English-language network, welcomed the decision. "We applaud the U.S. attorney [general's] decision to drop the charges against Alexander Rubinstein," RT said in a statement on its website. "Journalists must be allowed to do their jobs without fear of recriminations from law enforcement or the government, rights enshrined in the First Amendment to the Constitution." RT maintains that Rubinstein was wearing his press credentials and identified himself as a journalist when he was arrested. The other two reporters, charges against whom were dropped Monday, are independent journalist Matthew Hopard and John Keller, identified by The Washington Times as also being a RT reporter, although the network has never mentioned that he works for it. Charges against another reporter detained on Inauguration Day, Evan Engel of Vocativ, were dropped Friday. More than 200 people were arrested by D.C. police Jan. 20 and charged with felony rioting. Six individuals in that group were later identified as reporters and released Jan. 21. RT and Russia's foreign ministry condemned the charges against Rubinstein. FACEBOOK TWITTER EMAIL ME Vladimir Kozlov firstname.lastname@example.com @thr


text:
Would you like to have a unique experience when it comes to relaxing by your bedroom window? You can do this by making sure that the design is composed of certain elements that will make you enjoy your stay even more. Fortunately for you, this article will focus on some of them most effective tips on how to dress up your window corners in the house so as to get a more relaxing feel whenever you decide to just curl up in your own corner of the world.
First of all, you have to focus more on comfort than aesthetics. This picture shows you just how a simple window corner can already add to the beauty of the spot. It doesn't have fancy decorations, but you can tell that you would certainly enjoy staying here by looking at this photo.
Source: cooleria
Here is a seating corner in the bedroom that can also double as a meditation space. I like the choice of color because blue is one of the most relaxing colors known to man.
Source: cooleria
This particular seating area by the window offers warmth and beauty. If you are fond of dining alone in your room, this is the perfect space to do it in.
Source: inspiredbeautyofcourse
In this picture, you can see how the seating area by the window of the home can also double as a breakfast nook. It will give off a cozy and warm feeling for anyone who would want to spend time here.
Source: bhg
What I like about this particular picture is the color scheme. It is not too bright . It is the perfect combination of warm and comfy at the same time.
Source: muchasideasparalacasa
A monochromatic color scheme for your sofa bed in combination with a pastel colored wallpaper only the perfect sitting room color palette in the future. Look at this picture and just revel at how beautiful it is.
Source: cooleria
Here is another yellow themed sitting area in the bedroom that can double as a WorkStation or just a reading corner. Whatever you choose to do with this particular spot in the house, the design and color scheme certainly speak volumes already.
Source: bhg
Who is to say that you can have more colors in a seating area by the window? This picture shows you otherwise for sure. It definitely gives off a happy vibe because of the perfectly combined colors in the picture itself.
Source: bhg
This particular seating area by the window shows off an elegant but simple design for the more minimalist type of people. If you aim for comfort more than anything else, this is the design that you should aspire for.
Source: bhg
In this particular picture, you can see that there's a certain sense of sophistication to the design. Perhaps it's the furnishings and overall color scheme. If you want a sophisticated and elegant seating area by the window, this is the perfect choice for sure.
Source: artofart
These are just some of the perfect seating area designs that you can use for your own home in the future. Hopefully, you will be inspired by these designs. Do not be afraid to put your own spin on any particular one of these designs. You will certainly enjoy it even more.


text:
Many argue for the creative supremacy of Seattle's breakout grunge bands in the early to mid-1990s. For me, the most exciting part about the alt-rock boom was the license it gave bands throughout the country to deepen and darken rock's palette in all sorts of interesting ways. Especially when it meant approximating the density of heavy metal: L.A.'s Failure, Champaign's Hum and NYC's Quicksand weren't quite metal bands, but they all invested superior songs with an undeniable heaviness.
My favorite band by far to come out of rock's mid-'90s heavification was Kansas City's Shiner, who over four increasingly complex albums carved out their own heavy sound-world. Shiner's best and final album, 2001's The Egg, still fucks me up every time I listen to it. It's an album of cycles and textures and layers as much as instruments and voices. The Egg's songs move forward in overlapping polyrhythms; its guitars strut, cast atmospheric spells and accumulate into massive riffing. Topping it all off is the spectacular baritone of Allen Epley, still one of rock's most mysterious, commanding voices. No wonder he's the guy Pelican chose to sing on their first ever tune with vocals, "Final Breath."
Shiner broke up in 2003, its members eventually taking up shop in bands like The Life and Times, Open Hand, Every Time I Die, and The Damned Things. So why all this pole-smoking now, nearly ten years later? Because the band recently announced that it's playing a short run of reunion dates in August to coincide with the first-ever vinyl release of The Egg, via Son of Man NYC. This is a godsend to those of us that never got to see them the first time around, especially considering that the entire lineup from The Egg era (Epley, bassist Paul Malinowski, guitarist Josh Newton and drummer Jason Gerken) will be in tow. I caught Gerken playing during the Molly McGuire reunion a couple months back and can confirm that he's just as beastly as ever.
If you're lucky enough to live in one of the four markets that Shiner is visiting, do not miss this reunion tour. And tell 'em MetalSucks sent ya.
Reunion dates:
Sat August 11th @ Irving Plaza, New York, NY
Sat August 18th @ Echoplex, Los Angeles, CA
Sat August 24th @ Granada, Lawrence, KS
Sat Aug 25th @ Bottom Lounge, Chicago, IL
Fans that purchase Shiner tickets from the various venues receive the option of a VIP package, which includes a copy of the new release.
Find out more about Shiner at the fan site ThirdGearScratch.com.


text:
A Walk on the Wild Side-Lemur; The thrill of walking on the wild side cannot be exaggerated, especially for a wildlife photographer. Started the journey and hope to share more of the experience. Here a Luma captured reminiscing on old times back in Madagascar. Some edits made to the background to ensure it properly emphasises our young pal. Hope you enjoy!
PS: Please note that as content of my online gallery on my photo website FidelitosPix changes regularly some of the old links to photo's may no longer work. I change gallery content 1-2 times a week. Thanks.


text:
- Join Date
- Aug 2018
- Location
- Tn
- Posts
- 4
Grade 6/7
Math: Saxon
Hist/Sci/Lang/Art - Trying something new this year in the way of Comprehensive Unit Studies based on child's interest in mythology
Music - Ukelele and Vocals
I don't post on here as much as I should! I really love fellow secular homeschoolers. I'm feeling the lack in my neck of the woods.
7th Grade -
Jacobs Algebra and Waldorfish Geometry through Art
Industrial Revolution for history (This is the first time I planning something like this!)
Chemistry - either OM high school course or You Be the Chemist, haven't decided
Spanish via HSA
Language Arts is a hodge podge this year: Lord of the Rings trilogy study via Online G3, Judy Blume Master class (She will be at our library next month! ) Figuratively Speaking, Elements of Style workbook, They Say, I Say, The Lively Art of Writing, NaNoWriMo, maybe a Bravewriter class if I can scrape the money from somewhere in the budget, and then more Lit, considering Lightening Lit but also just continuing to read good books. I was an English major so I kind of have a hang up paying for lit curriculum. (Except for the Lord of the Rings class because I do not want to read or talk about those books lol)
Piano & Swimming
Chalk pastels
3rd grade
Horrible Histories & Gombrach book studying Middle Ages through the Renaissance
BW Partnership Writing
New American Cursive
Keyboarding without Tears
BA online for one twin
Singapore for the other twin
Prodigy Math
Chemistry with You Be the Chemist and Mystery Science
Maker Lab books
SYRWTLF, Skaldo and Know it All French videos
Chalk Pastels
Piano for one
Violin for the other
soccer, gymnastics, etc etc
Morning Basket (everyone)
Asia study
Greek Myths
Nature study
Art History and Modern Artist studies
I'm sure I forgot something!Amber
Kinda classical, a little unschooly
DS age 11
DD age 8
DS age 8
Modmom, can you share how you schedule these resources for your third graders?Getting ready to start 5th grade with DD. Grateful for having the guts to go with this crazy notion of homeschooling my kiddo.
- Join Date
- Mar 2010
- Location
- Posts
- 274
- Blog Entries
- 8
Daughter is working on 7/8th
- Saxon 8/7
- Mingon Math
- Dear Data
- Basic Fitness and Nutrition
- Family Time Fitness
- Junior Roller Derby
Social Studies
- American History Civil War to now
- Civics and Government (iCivics.org)
- Creative Writing
- The Art of the Short Story
- Poetry Study
- Essays (Student Writing Intensive Level B)
- Research
- Writing for specific function
- Grammar
- Finish remaining AAS program
- Vocabulary Power
- Spelling Power
- Spelling and Vocabulary
- Javascript
Life Skills
- Study Skills
- Time Management
Novels and Other Books
- The Bluest Eye by Toni Morrison
- Amos Fortune, Free Man by Elizabeth Yates
- When You Reach Me by Rebecca Stead
- The Call of the Wild by Jack London
- The View from Saturday by E.L. Konigsburg
- Dear Mr. Henshaw by Beverly Clearly
- Rip Van Winkle by Washington Irving
- Shades of Gray by Carolyn Reeder
- Of Mice and Men John Steinbeck
- To Kill a Mockingbird by Harper Lee
- Maniac Magee by Jerry Spinelli
- My Antonia by Willa Cather
- Fahrenheit 451 by Ray Bradbury
- Animal Farm by George Orwell
- Lord of the Flies by William Golding
- One Crazy Summer by Rita Williams
- The Giver by Lois Lowry
- The Absolutely True Diary of a Part-time Indian
- The Outsiders
- Things Fall Apart
- Lord of the Flies
- The Dead EmCee Scrolls by Saul Williams
- , Said the Shotgun to the head by Saul Williams
Short Stories
- Breaking Ice (Anthology) by Terry McMillian
- Summer Lightening and Other stories by Olive Senior
- Talk Stories by Jamaica Kincaid
- Multicultural Voices by Rita Dove
- Incidents in the Life of a Slave Girl by Harriet M. Jacobs
- I know why the Caged bird sings by Maya Angelou
- The House on Mango Street by Sandra Cisneros
Kristina Brooke Classical Eclectic Homeschooling mom to The Tornado (11 yrs old). Blog: For Love of Education
- Fences by August Wilson (Tr)
- The Piano Lesson by August Wilson (Tr)
- Joe Turner's Come and Gone by August Wilson (Tr)
- Theater for Young Audience by Coleman A Jennings (Tr)
- A Raisin in the Sun by Lorraine Hansberry (Tr)
- Romeo and Juliet (Tr)
- All in the Timing by David Ives (Tr)
- The Tempest
- Join Date
- Jul 2018
- Posts
- 1
Age: 10
Grade: 3rd-5th
Started: September 10
Read-Alouds: Reading lists from Build Your Library and BookShark
Literature, Science, and Social Studies: Moving Beyond the Page
Geography: Confession of a Homeschooler's Colorado Unit Study
Lab Science: REAL Science Odyssey Biology 2
Reading: The Good and the Beautiful (ignoring non-secular bits), Explode the Code
Language Arts: Soaring with Spelling, Growing with Grammar, Winning with Writing
Math: Math Mammoth
Handwriting: Handwriting Without Tears
Typing: The Good and the Beautiful
Poetry, Drama, Arts & Crafts, Drawing, Creative Writing, Cooking & Baking: Student Choice
Music: It's Recorder Time!
Health and Social: The Good and the Beautiful Safety Unit Study, American Girl's Smart Girls' Guides
Extracurriculars: Homeschool Co-op, Horseback Riding, Yoga
Last edited by KMathews; 09-14-2018 at 11:20 AM.
- Join Date
- Jun 2018
- Posts
- 25
DS (almost 6) 1st grade, starting 9/17
Literature/Poetry/History/Copywork/Art/Science: BYL Level 1
Math: Math in Focus Grade 1 (it's a Saxon/Singapore combo for public school. It's definitely "school at home" which I didn't really want to do but they used it in his PS Kinder class last year and he seemed to do well with it, so I didn't want to reinvent the wheel until I understand his math learning style).
Phonics: Explode the Code online
Reading: BoB books
Social Studies: BrainPOP Jr. and non-religious "morning basket" time with holiday read-alouds, memorization stuff we haven't done, exploring rabbit trails, etc. DD (almost 3) will be accommodated here (hopefully lol).
We will also do swimming lessons and some extra-curriculars for homeschoolers (theatre class, art classes, etc.). I'd like to start music lessons (piano) but I'm going to wait and see how these things go before adding too much.


text:
Technology has always been an awe-inspiring tool. It intimately affects our lives, and our surrounding environment. Our history is peppered with technological advances -- one right after the other. Indeed, the evolution throughout our history has been an incredible journey. And technology is the passport to the exciting destinations in our future.
Today, technology is allowing us to share information on a global scale. We are at an Information Golden Age -- this is where information is communicated at the speed of now. We are more connected today than at any other time in our history. It is this level of engagement that changes societies and fosters innovation. We are now global citizens -- with the ability to consume and produce content that can touch the lives of the 6.8 billion people on this planet.
The 16 Tech Titans below are truly amazing global citizens. As their tools of the trade, they use Twitter and other avenues to engage and inform the international community. They are some of technology's most respected influencers. The quality of their work speaks volumes. They intimately understand the importance of sharing their knowledge. Yes, we call them titans. Not just because of the greatness of their professional achievements, but also because they believe in moving humanity forward, one technological leap at a time.
Laura Fitton / @Pistachio
The best-selling author of Twitter for Dummies, Fitton is also the
CEO and Founder of OneForty, which helps developers
with innovations that greatly enhance the Twitter Experience.
Ruhani Rabin /@Ruhani Rabin
Social media researcher, Rabin is Vice-President of the
MOL Access Portal. MOL is owner of social media giant Friendster,
which he has pushed to new heights of success.
Misty Belardo / @mistygirlph
Though respected for her work on sites like Bitrebels,
Belardo uses technology to create some of the best,
cutting-edge graphics / avatar designs on the web.
Jose Antonio Vargas /@joseiswriting
A senior writer at the Huffington Post, Vargas has one of our favorite
blogs, Technology as Anthropology (click here for his posts) as well as a
Pulitzer Prize to cement an already impressive career as a multimedia journalist.
Stacey Higginbotham /@gigastacey
Though based in Austin, TX, her work is wonderfully international.
Whether Silicon Valley, broadband, or the FCC, Higgonbotham's blogging
for the forward-thinking GiGaOM is always appreciated.
Douglas Idugboe /@ douglasi
Web 2.0 Evangelist and best-selling author, he is also the publisher and
head writer for the hot site Smedio, which explores the intersection of
technology and business.
Julia Roy /@juliaroy
Though currently rockin' as the senior manager of New Media at Coach,
we remember her popular weekly vlog Tweet Week. She's a serious
influencer who doesn't take herself too seriously. We love the smart,
geek-centric humor of her website.
Chethan Rnk /@Cheth
When he's not at the Entertainment Desk of a Leading Weekly Magazine,
this prolific tech blogger is making great moves as Head Designer and
Founder of Cheth Studios.
Krystyn Chong /@krystynchong
Remember that piece in Forbes about women and gaming? We are
certain they were talking about Chong, who is also a true thought-leader on
how our rapidly evolving technology impacts and informs international laws.
Chris Luzader /@TechZader
Not only will you respect his approach to technology and his blogging
style, you will also appreciate the incredible diversity of topics
and links on his rapid-fire Twitter feed.
Kathy Meyer /@2cre8
She also has a dynamic and high-octane Twitter feed, but her
amazing work in interactive design and her app for children have
placed her name in the bright lights.
Tim Karr /@TimKarr
His work as the Campaign Director for Free Press and SavetheInternet
is nothing short of amazing, but his impassioned and informed pieces
in the Huff Post Technology section truly rock the house!
Daniel Hudson /@webtechman
He is a known specialist in the area of emerging technologies, and works
on apps for both business and government. We greatly appreciate his curiosity
about the evolution of society in a Web 2.0 context.
Cecilia Kang /@ceciliakang
She writes about technology policy for The Washington Post. Her blog
is a must read. She keeps her readers hooked because of her ability to
explain complex terms for the tech-challenged.
Craig Settles / @CJSettles
A popular analyst, Settles helps local governments and others
develop a strong broadband network. In fact, his new book, Fighting
the Good Fight, provides an awesome road map to make this a reality.
Ahad Bokhari /@tech_blend
More than a decade as a globe-trotting technologist have prepared him for
the coveted C.T.O. position at Fluid New Media. His cool Twitter feed --
a great collection of links -- gets the thumbs up on any day of the week.
Authors' Note: In case you missed it, here's Part 7 of the series: The Social Media Genius of Kim Sherrell.


text:
The first 2 are from the same production team that brought you the Marco Polo Nostalgia video, so you know it's ML approved.
Bilal + Hezekiah-Looking Up
The most underrated R&B crooner (outside of D'Angelo) joins philly-based Rawkus artist Hezekiah for a track.[youtube]teGpxtMIJ_o[/youtube]
Blue Scholars-Back Home
A video from the Washington underground group.[youtube]En8DwCeKa6M[/youtube]
Peedo Ft. KRS-One & Fat Joe
Can Fat Joe finally be going back to his original DITC formula, finally?![youtube]5JT51VFSafM[/youtube]
Sphere: Related Content
Related Posts
There are 2 commentsAdd yours
Krs-one on his grind!
Nice, I'm loving Blue Scholars right now!


text:
How to Get Approved For Credit Cards You Don't Qualify For in Canada
Watch this video to learn how to get approved for the CIBC Business Aerogold Visa and for the TD Infinite Aeroplan Visa even if you don't qualify for them. The video will teach you strategies on how to meet the annual income requirements and get approved to get those cards! Go to this link and print it out … Read more


text: Found this little piece of information while looking on another site about Mausers. The title of the post is, "M-48A locking lug failure! Milsurp nightmare... " I am sure that statisically there is a low probablity of this type of failure happening frequently, nevertheless it is something that we all should be aware of. http://www.gunboards.com/forums/UltraBoard.cgi?action=Read&BID=5&TID=48324&SID=1596849 :(


text:
Teaching with Infographics
In a 2013 study, Microsoft revealed the average attention span has decreased from about 12 seconds in 2000 to just eight seconds today. While capturing students' attention has never been an educator's simplest task, there are more tools than ever for bringing course content to life and engaging the digital generation. Enter the infographic.
Infographics: Infographics are simplified representations of complex data aiming to deliver a message in an easily understandable and visually striking way.
In today's world, most middle and high school students are likely familiar with infographics. We find them increasingly in our news feeds alongside memes, gifs, videos and other abbreviated promotions and advertisements. But what your students may not have given much consideration to is how or why an infographic can be used to share data and information, and what we can learn from their "visual shorthand" stylings.
As you prepare to launch the Venture – Entrepreneurial Expedition program with your students, here's an opportunity to embed a few more visually captivating tools.
Kick it off: Begin by sharing examples of infographics that are relevant to your lesson content or your students' particular interests. For Venture, you can start with this general entrepreneurship piece or a more specific look at women in entrepreneurship from USC Marshall. Using a tailored infographic gives your students the opportunity to broadly understand your course content before you deliver a more narrowly detailed lesson.
Open the floor: Give your students the room to offer commentary and critique the message. Ask them to sketch their responses and present the added information in an intentional way.
- How could this infographic be updated?
- What information is it missing?
- What would make it more appealing to other students?
- If you were to include another section, what would it focus on?
Venture provides:
– An "Interactive Personal Diagnostic" which identifies each student's individual entrepreneurial characteristics
– Allows students to create a business pitch including finance, marketing, team-building and market research
– Standards-Based: Common Core State Standards for English/Language Arts and Mat
Amber Osuba is the Senior Marketing Manager for K-12. Prior to this role, Amber served as a Senior Implementation Manager supporting educators and districts across Pennsylvania and Maryland for three years. She is a former first grade STEM teacher and curriculum lead. You'll find her at EVERFI's national conference booths asking teachers to grab swag, take a selfie and tag @EVERFI.


text:
By Karen Sheehy
As a child, setting up the Christmas creche was always the high point of my tree trimming responsibilities. Each day, over the weeks leading up to Christmas, my brothers and I took turns arranging the temporary house of Jesus. I took this responsibility very seriously, for this was no small task. "Where should the baby Jesus be positioned in relationship to His parents? How far off should the three wise men, the shepherds and their sheep be in relationship to the stable? And the little drummer boy, where should he go?" Even as a child, I seemed to understand the importance of God's dwelling place among His people. Today's readings, chosen for the day before Christmas, acknowledge a similar concern.
In the Old Testament, we read about David's desire to build a house for the Lord. "Here I am living in a house of cedar, while the ark of God dwells in a tent," (2SM 7:2). Was David's desire bad? I would say, "no," however, God's ways are not our ways. God's response, spoken through the prophet Nathan, "Go, tell my servant, David, 'Thus says the Lord: Should you build me a house to dwell in?' It was I who took you from the pasture….to be commander of my people," (2SM 7:5 and 8). As we read further, we learn that God's desired dwelling place would not be a physical structure but a person, His promised Son, the Messiah. This Son would come from the line of David and rule as an eternal king. He would save, protect and dwell among God's people. "I will fix a place for my people Israel; I will raise up your heir after you, sprung from your loins, and I will make his kingdom firm. I will be a father to him, and he shall be a son to me," (2SM 7:10, 12 and 14).
In today's Gospel, we get our first glimpse at God's new dwelling place. Mary, from the priestly house of Levi, is the new Ark of the Covenant, and her Son, Jesus Christ, from the line of David, is the promised Savior of the World, (LK 1:30-32). At the end of the Gospel, Mary is told to visit her cousin Elizabeth, for Jesus, God incarnate, will not dwell in a tent but among His people in a very intimate and personal manner. He will dwell within our very beings, within our bodies, hearts and souls. Through the power of the Holy Spirit, we will become the new home or Temple of God. All we must do, in return, is give our own "Fiat" or yes.
Each Mass, we receive the very Body and Blood of Christ, the Savior and Eternal ruler of the Kingdom of God. As we go to Mass tomorrow, let us give thanks (Eucharist) to God, as King David did, "the praises of the Lord I will sing forever; through all generations my mouth shall proclaim your faithfulness," (PS 89:2). Let us give Him our own yes or fiat, so that He may enter our lives in a very personal and intimate manner. Let us simultaneously become a vehicle of Christ's light and love to all the nations and people of the world. This Jesus, "manifested through the prophetic writings and, according to the command of the eternal God," came not just for the nation of Israel but for "all nations to bring about the obedience of faith," (RM 16:25-26).
Just as the Christmas creche contains many more people than just the babe, Mary and St. Joseph, so too should our lives, as Christians, be filled with more than just our own intimate concerns. As a child, I recognized the magnetic effect that the small child had on all those people seeking His presence. I pray that, as an adult, I may recognize this same desire and longing in others, and strive to affectively demonstrate Christ's light in actions and words to a world in such desperate need of love.
I wish you and your family a very merry Christmas. May the light of Christ's love fill your hearts, your homes and our world. Amen
About the Author:
Karen Sheehy is a devout Catholic, wife and mother, motivational speaker, blogger and developer of spiritualsafariguide.com, your passport to a world of spiritual inspiration and understanding. To learn more about Karen Sheehy and her upcoming book entitled, The Healing Eyes of Mercy. A Journey Towards the Light of God's Love, visit http://www.spiritualsafariguide.com
Karen is always so inspiring to read and listen to. Thank you for being a part of our lives
Thank you, Karen for your reminder of 'The Reason for the Season" and sharing your childhood memories.
Merry Christmas to you and yours!
Thank you Linda. It is a pleasure to have you walking and working aside me in the Lord's Vineyard. Merry Christmas my friend.
Thank Kathy, enjoy your celebration of the Christ child's coming.
Karen, this is such a beautiful message. We are all so blessed to have you in our lives to help guide us home to the Lord. Merry Christmas to you and your family.
Merry Christmas Brandi to you and yours.
LOVE, LOVE, LOVE, this blog! As a mother it truly hits home-the intimacy of our relationship with Jesus! Thank you Karen, you are an inspiration and were blessed to have such faith-filled parents! Merry Christmas to the Schwaner's and Sheehy's.
Thank you Christie! Thank God for our families, parents and faith traditions. Thank you also for you and Larry's beautiful and loving example as Catholic parents. Merry Christmas to you all!
Lovely! Thank you, Karen, and a blessed Christmas to you and yours!
Thank you Sarah. God's blessings for a wonderful 2018 as we work side by side in His vineyard.
Such a beautiful reflection. Thank you so much for sharing yourself with all of us!
Your welcomed Jodi. Hope you and your family had a great Christmas!


text:
Forsquare seems to be very excited about new product and the idea that the actual user activity could be measured, the company wrote in a blog post: "We're moving past the days when business owners have to figure out if a "like" or a "click" has any meaning in the real world; now they can tell if someone who saw their ad actually walks into their store." However the appearance of advertising in Forsquare was predictable, because of company's financial situation. $112.4 million has been received by Forsquare from investors. The reported revenue for the last year is just $2 million.
The main objective for creators of social media is making money from the site, app, blog, etc. Monetization of a product could be done in different ways, but always should be well planned to be effective, any mistakes could lead into decrease in user's attraction to the product and even in lost of existing and potential users.
In case of Foursquare there recenly was a persistent belief, that the company just does not know how to make money. Foursquare took $41 million in debt earlier this year. Taking into account that the company reported revenue was just $2 million last year, the future didnt seem to be very promising.
The only way for the company to stay afloat was to find out a new way of generating a revenue. I guess the new advertising method announced by Forsquare is a great start and potentially a chance to be independent. With the launching of new service, Foursquare is going make between $10 million and $15 million this year, according to Business Insider http://www.businessinsider.com/foursquare-pulling-in-1-million-ad-deals-2013-8 The new self service ad solution was created in a very smart and convenient way.
First of all it is easy to use by merchants. There is no requirement for technical integration or negotiation with sales representatives. Everything is simple and could be done in just 1 click. The amount of payment is small and could be paid by credit card.
Second, it gives a lot of information to merchants, now they can pay not for advertising by itself, but for user activity (only when user clicks on ads or redeems the offer), tracking the effectiveness of a particular promotion. Moreover, now merchants dont have to find the potential customers, foursquare does it for them.
The company claims that it has enough data about users activity to understand which places to offer and whom to offer. "I think we have a really good idea of who the best customers are for businesses because we're in the business of making recommendations," Noah Weiss, Foursquare's director of product, told CNET. ( http://news.cnet.com/8301-1023_3-57607309-93/hungry-for-money-foursquare-dishes-out-self-serve-ad-tool )
Now the idea of foursquare ads is to give a right recommendation to right people. That means, that as a foursquare user you will see the promotions from local places that supposed to be interesting for you. Sounds interesting as far as foursquare could really determine the relevant offer. Taking into account that it was a decrease in foursquare popularity in recent time, many foursquare users stopped to check-in in every place they visit, some of them check-in only in new places in order to save them in the activity list. That means the data is not so accurate as it supposed to be. So there is a


text:
Joseph Haydn was a prolific composer, and wrote 108 symphonies. Simon Rattle, in his prepared speech before the audience, said "Joseph Haydn is like an iceberg," and that we normally hear perhaps 5% of his total output. Presumably to illustrate Haydn's genius and diversity, Sir Simon came up with an "Imaginary Symphony" consisting of 11 movements. He asked the audience to hold the applause till the end.
As in line with Sir Simon's intent to recreate the atmosphere of Haydn's times, the usually bright lighting of the grand hall of Musikverein was dimmed to simulate candle light. The performance began with the "Representation of Chaos" of The Creation, played slowly and deliberately but with litheness. The following "Il Terremoto" from the Seven Last Words of Christ was energetic and dynamic, and yet never rushed. The Sinfonia from L'isola disabitata alternated Largo and Vivace with the fast passage taken at an extremely rapid pace. The capable players of the Vienna Philharmonic, especially the strings, were game to this almost athletic playing, with no sloppiness audible.
The maestro chose to play quiet and slow sections as such, as was the case in the Largo of Symphony No. 64. Even in the most subdued melodies, he kept the music light and not ponderous. Clarity of each note and phrase was paramount. Menuetto-Trio of one of the earlier symphonies, No. 6 was interesting as well as somewhat incongruous among the other selections which mostly represent Haydn's middle period, in that it sounded rather out of place among the more intricate pieces that came before and after. It benefited nevertheless from Sir Simon's measured and deliberate approach.
The finale of Symphony No. 46, Presto e Scherzando, was again played with light touch with no frenzies, and was a perfect forerunner for the following Finale of Symphony No. 60, a grand and grave selection. The introduction to the winter of the Four Seasons was quiet and grave, and was nicely followed by the Presto-Adagio Finale of Symphony No. 45, which began a complete mood change with its transparent clarity.
The Adagio of this symphony makes it known as the "Farewell" Symphony. Haydn and the court orchestra were kept longer than expected at his patron Prince Nikolaus Esterhazy's summer palace, and sensing the musicians' anxiety to return home, Haydn came up with a subtle way to inform the prince. As the light of the hall was further reduced, one by one the Philharmonic musicians stopped playing, turned off the light at their music stand, and left the stage. The brass and wind sections were the first to go, followed by the heavier strings. Sir Simon also left the podium, leaving only two violin players softly playing in the almost total darkness.
To add to the unusual and eerie atmosphere, the electronic sounds, fast playback of the music, were heard from various parts of the hall in the dark. This was simulating the Works for Flute Clock, a mechanically operated miniature organ, popular during the time. Amplified throughout the hall, the music sounded quite contemporary.
The maestro and musicians returned to the stage to complete the last selection, Allegro assai finale of Symphony No. 90. It is quite humorous on the part of Haydn to "end" the piece unexpectedly, only to start it in a different key after several measures of silence. Many in the audience were "tricked" into applauding, but most held the applause, sensing from Sir Simon's arms held in mid air that the piece was not over. Sure enough, the music began and went on for a while before the final rousing end. Everyone went home in a good mood.
In the first part of the concert, a versatile and exciting Canadian soprano (and an occasional conductor) Barbara Hannigan sang the Lonely Child for soprano and chamber orchestra composed by Claude Vivier, who was killed at 35 in 1983. The music featured mostly the percussions (bells) and strings, and decidedly modern in the tradition of Berg/Stockhausen. Some of the passages played by strings reminded me of the music of Berg's Bluebeard Castle. Ms. Hannigan, ever a consummate artist, blended her pure and clear voice intimately with the musical instruments, and she indeed became one of the instruments. The French text, however, was mostly incomprehensible, not due to the singer's fault but due to the nature of the music which was often high pitched with sudden and frequent changes in scale.


text:
YMCA's "Reclaim" exhibit features reused materials in artful forms
October 1, 2014
For artist Nathan Westerman, nothing about his colorful, latex-covered plywood pieces is complicated. He doesn't want it that way. None of his art is political either, nor does it have any underlying message woven deep into its artistic minutiae. For him, there's a subtlety about how one color is...
New study re-examines the 'just say no' tactic in drug refusal skills training for adolescents
By Brittney Nadler
September 15, 2014
It was a girl that changed *Derrick's life the night she introduced him to alcohol. In high school, he was the kid that got mad at friends who used substances and often wondered why anyone would hang out with "that" crowd. He was "in the shell," and a "loser," as he described himself. Until he...


text:
Confirmed October Half Term Activity Camp Location!
Fit For Sport Camps promise to deliver another October Half Term to remember with a huge variety of multi-activity programmes. Harvest your energy for our Awesome Autumn Half Term as we look forward to a holiday jam-packed full of fun for your children while ensuring a safe space throughout the holiday period. Children can enjoy lots of activity, new games, screen free time, build up their confidence, resilience, and much more!
Extended Schools
Fit For Sport would like to extend a warm welcome to all families and are excited to invite you to join us at our action packed Extended School Club at your school. Secure your spot by hitting the Book Now button!
At Fit For Sport, we believe that getting active is the perfect way to kick off the start of a new term. They have planned lots of exciting activities to keep pupils active and engaged whilst learning the benefits of leading a healthy lifestyle!
Park Walk
London SW10 0AY
October Half Term - Monday 26th October - Friday 30th October
4-5 Years
6-7 Years
8-12 Years
Schedule Times
Full Day - 08:30 - 17:30
Activities will include multi-sports, arts & crafts, outdoor adventures, parachute games, team games and much more. *Please note that these activities are subject to change.
*Activity Camp Pricing:
3 Day Booking (Tue-Thu) - £108
5 Day Booking (Mon-Fri) - £155
*Ad Hoc Day Booking (Daily) - £31
Fit For Sport advises children to bring the following:
We do ask that all items are labelled so we can ensure your child goes back home with everything.


text:
Sam Smith delivers a hot remix after a cool message.
When Smith collected one of his four Grammy awards on Sunday, he told audiences the success followed after he embraced who he was as an artist and human being. On his new appearance on The Ellen DeGeneres Show, Sam tells Ellen he's proud of his newfound liberty:
"I haven't played a character. I didn't rehearse anything I said last night. It's just a genuine response."
Now that Sam is a globally-recognized artist, he can chuck his slow songs to a producer, remix the background with punchy beats and breathe a little new life into them. His new song "Lay Me Down" sees such treatment.
DJ Paul Woolford stripped back Smith's emotional ballad, adding in his own unique production using slick and intense production blends elegantly with Sam's distinguishable vocals, transforming the ballad into a high powered remix worthy of dancefloors across the globe.
Listen to that here:
Smith recently said food is better than *** or music, but perhaps he'll rethink that after his major win on Sunday. Then again, he does tell Ellen he flew his family out to eat In N Out to celebrate, so… there's that.


text:
Property Details
3094 Procter Avenue, West Vancouver, BC, V7V 1G1, Canada
This Semi-waterfront French Country view home & surrounding gardens will take your breath away. Featuring the absolute best in finishings, this 5 bedroom, 5 bath home offers the best of West Vancouver living built by Goldwood Homes. Beautiful, open plan living with 2 storey windows looking out onto the gardens, wide plank walnut flooring, zinc and slate roof and numerous decks & patios overlooking the ocean views & spectacular gardens.
Copyright and Disclaimer
The data relating to real estate on this web site comes in part from the MLS Reciprocity program of the Real Estate Board of Greater Vancouver. Real estate listings held by participating real estate firms are marked with the MLSR logo and detailed information about the listing includes the name of the listing agent. This representation is based in whole or part on data generated by the Real Estate Board of Greater Vancouver which assumes no responsibility for its accuracy. The materials contained on this page may not be reproduced without the express written consent of the Real Estate Board of Greater Vancouver. Copyright 2020 by the Real Estate Board of Greater Vancouver, Fraser Valley Real Estate Board, Chilliwack and District Real Estate Board, BC Northern Real Estate Board, and Kootenay Real Estate Board. All Rights Reserved.
- Calvin R. Lindberg Angell Hasman & Associates
- 604.351.3000
- 604.351.3000
- firstname.lastname@example.com
- Angell Hasman & Associates Realty Ltd.
- 203-1544 Marine Drive
- West Vancouver BC, BC


text:
INB Wealth offers tailored strategies to help you fulfill your personal and business goals. We are able to draw from a comprehensive list of financial products and services from numerous companies in order to fit your specific needs.
INB also serves as a constant point of contact for financial support.
Learn more about investments with INBWealth.com
*Offering general securities through INFINEX INVESTMENTS, INC. Member: FINRA/SIPC Investment and insurance products and services are offered through INFINEX INVESTMENTS, INC.
You are leaving INB's website. INB is not responsible for the content of
the linked site. Please be advised that you will no longer be subject to, or under the protection of, the privacy
and security policies of our website. We encourage you to read and evaluate the privacy and security policies of
the linked site, which may be different than ours. Please confirm that you would like to continue.