text:
Stone wanted to 'debrief' Kushner on DNC email hack
WASHINGTON -- Trump confidant Roger Stone wanted to contact Jared Kushner in order to "debrief" the president's son-in-law about hacked emails that were damaging to Hillary Clinton during the 2016 presidential campaign, a former Trump campaign aide said Tuesday.
Rick Gates, who was Donald Trump's deputy campaign chairman and became a key cooperator in the special counsel's Russia probe, appeared on the witness stand in Stone's criminal case in federal court in Washington. Stone is charged with witness tampering and lying to Congress about his attempts to contact WikiLeaks about the damaging material during the 2016 presidential campaign.
The testimony spelled out Stone's efforts to at least be seen by the highest ranks of the Trump campaign as a go-between with WikiLeaks , the anti-secrecy group that released the damaging emails. Last week, Steve Bannon, who served as the Trump campaign's chief executive, said the campaign saw Stone as an "access point" with WikiLeaks.
Gates received a text message from Stone on June 15, 2016, asking for Kushner's contact information, so Stone could "debrief" Kushner on developments about the hacked emails, he said. Kushner was a senior adviser to the Trump campaign at the time.
Gates did not say if Stone received Kushner's information. Kushner's attorney did not immediately respond to a message seeking comment.
The prosecution rested their case Tuesday morning after recalling a former FBI agent who had previously testified about a series of phone calls between Stone and then-candidate Trump - including three calls on July 14, 2016 - the day that a massive hack of the Democratic National Committee's servers was reported.
The prosecution's case did not provide any dramatic new evidence about whether Trump was aware of the impending WikiLeaks releases, but emphasized that senior campaign officials were deeply engaged in trying to figure out what was happening with WikiLeaks. The president told Mueller's prosecutors in written response to questions that he had no recollection of any particular conversations about the hacked emails.
Gates told jurors that the Trump campaign had discussed how they would handle the release of WikiLeaks' disclosures based both on what they were learning from Stone and WikiLeaks' public statements.
His appearance came a week after the Justice Department released documents detailing how he described the campaign's interest in obtaining stolen emails of Democrats to the FBI.
On the stand Tuesday, Gates detailed overhearing a speakerphone conversation in July 2016 between Stone and Paul Manafort, his longtime business associate and the campaign chairman, after WkiLeaks released its first batch of emails, and Stone told Manafort that "additional information would be forthcoming."
"Mr. Manafort thought it would be great," Gates testified.
At the end of July, Gates said he was with Trump on a car ride from Trump Tower to LaGuardia Airport when Trump was in the midst of a conversation with Stone, whose voice Gates recognized on the other end of the line.
Defense lawyers objected to the question when Gates was asked about it, but he was allowed to testify that Trump indicated after the call concluded that "more information would be coming," presumably related to WikiLeaks.
On cross examination, Gates acknowledged that he could not hear specifically what Stone was telling Trump on the phone call.
Gates was among the first Trump associates charged in special counsel Robert Mueller's Russia investigation and was charged alongside Manafort in October 2017. He turned on Manafort in February 2018, pleading guilty to financial crimes arising from the pair's international consulting work in Ukraine and to making false statements to investigators.
He has since been one of the government's top cooperators in the Russia investigation and testified at Manafort's 2018 trial and more recently in the case against Greg Craig, a high-powered Washington lawyer who was acquitted in September on allegations that he lied to the Justice Department about his international lobbying work.
In a sign that his cooperation is nearing an end, prosecutors and defense lawyers filed a joint notice Monday that they were ready for the judge to schedule a sentencing date in the middle of next month.
Associated Press writer Zeke Miller contributed to this report.


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Jun 12
Olay: Life Changes FastPosted in: Uncategorized
Life changes fast and so does your skin.
..::Secret Weapons for the Creative Kind::..
Life changes fast and so does your skin.
No related posts.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.

subset: commoncrawl


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1974' MG Mgb Gt Bgt
Welcome to our first auction of 2020.
The vehicle listed here will be offered for auction on Saturday February 8th.
We also have a new 'Virtual Tour' link on our site enabling you to 'walk around' the full premises.
We again have an entry number of over 125 vehicles and 100 memorabilia lots with memorabilia starting at 10am with vehicles starting at 12 noon.
We are open for viewing 7 days a week and actively encourage pre-sale viewing.


text: 10.1021/ie500503b.s001 Tongbao Zhang Dawei Xin Yangcheng Lu Guangsheng Luo Direct Precipitation for a Continuous Synthesis of Nanoiron Phosphate with High Purity 2014 American Chemical Society purity pH species source Fe iron phosphate precipitation High PurityA microreactor mixture HPO phosphoric acid addition nanoiron phosphate precipitation process hydrolysis 2014-04-23 00:00:00 article https://acs.figshare.com/articles/journal_contribution/Direct_Precipitation_for_a_Continuous_Synthesis_of_Nanoiron_Phosphate_with_High_Purity/2303374 A microreactor competent to control the microprecipitation environment is exploited to investigate the direct precipitation process between iron and phosphorus sources. The dependency of the reaction species on the purity of the final products is revealed. The Fe3+ hydrolysis and the pH of the mixture are confirmed to have decisive influences on the generation of byproducts. The addition of phosphoric acid in the iron source is verified to be an effective method to simultaneously inhibit Fe3+ hydrolysis and adjust the pH of the mixture. By optimizing the amount of phosphoric acid addition, pure nanoiron phosphate with an average size of ca. 20 nm is successfully prepared by a continuous precipitation process. Assuming instantaneous mixing and fast precipitation reactions, Fe3+ and HPO42– are indicated as the main species during the pure iron phosphate precipitation. The criteria would lay a practical guidance for achieving a continuous synthesis of nanoiron phosphate with high purity.


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New FBI Director Named as Comey says Trump Demanded "Loyalty"
This is Cipher Brief Level I Member Only content. It can be accessed via login or by signing up to become a Cipher Brief Member. Joining this high-level, security-focused community is only $10/month (for an annual $120/yr membership). What a great and inexpensive way to Feed Your Need to Know….


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Views: 66248 Date: 07.08.2019 Favorited:36
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Diamond quality plays an important role when someone purchases diamond earrings or diamond engagement rings. The quality of diamonds can be graded on four factors or 4Cs - cut, clarity, color, and carat weight of the diamond. It is very important to know the characteristics of these precious stones while you are purchasing them. When diamonds were first introduced in the mid-20th century, the world had a universal standard to assess the quality of the diamonds. Hence, the 4Cs became an important tool to understand why you would choose one diamonds over another.
This standard of assessment was very important as it was really tough to recognize the differences in quality between two such precious stones with the naked eye. The question that often arise - which is the most important factor to assess the quality of a diamond. Many people find it confusing to determine the most important factor out of 4Cs. Check out here which is the most important C for diamonds.
Generally, clarity refers to the presence of identifying marks on the surface (blemishes) and inside (inclusion) the diamond. Given that tremendous amount of pressure used to create diamonds naturally, it is not quite unnatural to have flaws. The two types of flaws generally include blemishes and inclusions.
The surface flaws are known as blemishes while internal flaws are called inclusions. It is natural for diamonds to have both blemishes and inclusions at the same time. Blemishes generally include chips, scratches, and pits. Many times blemishes occur because of cutting. Inclusions generally include cracks, air bubbles, and non-diamond materials inside the diamond. However to grade diamonds, all flaws are called inclusions.
Diamond color means the lack of color in a diamond. When it comes to diamond color, the lesser the visible color, the higher is the grade of the diamond. So it can be said that the whiter the diamond, the greater its value. The degree of the color of these precious stones is tested over certain levels that generally range from colorless (D) to significantly colored (Z).
Diamonds that posses a low rating on the scale are generally have a mucky yellowish or brownish color. Diamonds that range from D to H on the scale are whiter while from grade I some yellow color will be visible. Generally, the color of the diamond is a result of its composition and hence the color does not change over a course of time. A colorless diamond allows more light to pass through than a colored diamond, and thus emit more sparkle and brilliance.
Carat is the unit to measure the weight of diamonds. One carat of diamond generally equals 200 milligrams or 1/5 of a gram (0.2 grams). The term carat comes from the pod of the carob tree, a tree that is located in tropical areas.
The way a diamond is polished and cut affects its brilliance, sparkle and the fire of the stone. When a diamond is cut properly, it allows light to reflect and refract internally. It also helps to emit from the top causing a dazzling effect.
If you like to have unique diamond rings that have amazing sparkle then you should go for diamonds that are cut with precision. When a diamond is not cut properly, it emits light through the sides and bottom and not through the top.
A diamond is known for its brilliance, and sparkle. A proper symmetric cut along with accurate polish can result in more of this dazzling effect.
Irrespective of the right presence of carat weight, color, and clarity, if the fire and brilliance are absent then the diamond is not that valuable. A diamonds cut is always gets higher rank than its color, clarity and carat weight. Cuts vary from a diamond to diamond and how cutters choose to shape, facet and polish the diamond. Experts recognize cut to be the most important out of the 4Cs because of brilliance and fire of a diamond.
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So whether you are looking to purchase engagement rings or a diamond promise rings for your sweetheart, or a nice necklace does not forget to pay attention to its brilliance and sparkle.


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Belgian Air Force F-16 fighter jet intercepts Russian military aircraft over Baltic
The Belgian Air Force F-16AM "Fighting Falcon" fighter jet has intercepted Russian military aircraft over the Baltic, the service announced.
This is the 14th intercept since the beginning of the NATO enhanced Air Policing Mission (EAPM) to safeguard the Baltic skies.
Based on the images released by the Belgian Air Force, the intercepted Russian aircraft include Sukhoi Su-24 "Fencer" attack aircraft, Antonov An-26 "Curl"military transport aircraft and an Antonov An-72 "Coaler" STOL transport aircraft.
Today @BeAirForce #F16 conducted 14th Air Policing intercept since beginning of @NATO EAPM deployment to safeguard #Baltic skies pic.twitter.com/FY8LVrJDQR
— Belgian Air Force (@BeAirForce) October 27, 2017
The Baltic air-policing (BAP) mission is a NATO air defence Quick Reaction Alert (QRA) in order to guard the airspace over the three Baltic states of Estonia, Latvia and Lithuania.
For the next two months, the United States and Belgium will conduct the BAP mission, safeguarding the airspace over the region.
The U.S. assumed the lead role of the mission from Poland at Šiauliai Air Base in Lithuania on 30 August while Belgium took over supporting role of NATO's Baltic Air Policing (BAP) mission from Spain on Sept. 5 at Ämari Air Base in Estonia.
Belgium Air Force is conducting the mission with F-16A-MLU jets assigned to its 10th and 2nd Tactical Wings, and the U.S. Air Force is conducting the mission with F-15C Eagle jets assigned to its 48th Fighter Wing.


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On Monday September 4, 2017 Issa Amro was arrested by the Palestinian Authority for posting to Facebook that the PA should not arrest a journalist. Freedom of expression is a universal right.
Dear President Mahmoud Abbas,
We demand you immediately release Human Rights Defender Issa Amro from arrest by Palestinian security forces. Issa's Facebook post criticizing the PA for the arrest of a journalist should be recognized as a protected for of freedom of expression. We are joining the call from the UN, Amnesty International and numerous human rights groups. Free Issa Amro!
Who's signing
Kate Goetz
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5,739 signatures


text:
Binkelman is looking for a Sales Engineer to join our growing team. This is a relationship-based sales role that will require you to develop and create new opportunities within your customer base.
As a consultative Sales Engineer, you will be working with plant managers, purchasing agents, engineers, maintenance and safety personnel on a regular basis and will be expected to add value and provide solutions at every level.
To apply, please email your resume and a letter of interest to email@example.com.
- Piqua, OH
- Saginaw, MI
Primary Duties
- Achieve sales and profit targets by developing new business as well as growing existing customers
- Develop strong relationships with customers
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- Identify customer needs and provide product and application solutions
- Preparing sales reports, creating strategic plan to accomplish sales goals
- Maintain a high level of customer satisfaction throughout the entire sales process
- Develop quotes, follow-up quotes, maintain open orders, be flexible and adapt to customer's needs
Working Conditions
- Job may require some overtime, weekends, traveling, and after-hours service
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- Frequently driven by changing priorities
Required Skills/Qualifications
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- Short-Term Disability (STD) and Long-Term Disability (LTD)
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Job Type
- Full-time
Work authorization
- United States (Required)


text:
Taylor Wimpey's development is expected to appeal to Brits with a penchant for interior design.
New build offers at Taylor Wimpey's Watermill Grange scheme in Maidstone, Kent, are likely to appeal to house-proud Brits.
More than 70 new houses and apartments for sale at the site will be available to view from May 21 and have been described as perfect for first time buyers.
Taylor Wimpey sales and marketing director in the south east, Jason Stokes, explained that one of the most appealing elements of the new build properties is their potential for decoration.
He said that the show home gives an "invaluable insight" into what can be achieved with an off-plan property purchase.
"We can't reveal too much just yet about what this stunning show house will look like, but property seekers can be sure that when the 'Delamere' is launched, there will be some truly inspirational interior designs on display," he added.
Another Taylor Wimpey development in Coventry is also expected to impress.
New homes at The Chesterfields have already proved popular with prospective buyers, with a third of those for sale having already been snapped up.
Some information contained herein may have changed since it was first published. SmartNewHomes strongly advises you to seek current legal and/or financial advise from a qualified professional.


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and#039Nobody will dieand#039 says defiant Scolari
TERESÓPOLIS- Brazil coach Luiz Felipe Scolari defended his record on Wednesday as the football-mad nation struggled to absorb the World Cup debacle against Germany.
A day after Braziland#039s hopes of a sixth World Cup had been crushed in a record 7-1 semi-final defeat to the Germans, Scolari awoke to find many newspapers calling for his head.
But in a combative press conference at Braziland#039s training camp outside Rio, Scolari batted away questions about his future, saying he would not discuss it until the World Cup was over.
And he insisted that despite the catastrophic end to Braziland#039s campaign, the overall performance in the tournament had not been as bad as suggested.
and#034Nobody will die (as a result of the loss). We will look to correct the path of our lives to deal with yesterday´s tsunami,and#034 Scolari said.
and#034If we had lost 1-0 it would not be a catastrophe.
and#034Itand#039s the first time we reached a semi-final since 2002 so maybe our work wasnand#039t so bad,and#034 Scolari said.
and#034We win and we lose together. There are good and bad moments. I know people feel bitterness and shame.
and#034But life goes on. We shall look ahead to other goals, starting with securing third place on Saturday.
and#034I thank my players. In a year and a half together we played 28 games and won 19, drew six and lost three.
and#034In official games we won eight, drew two and lost this one — ok, catastrophically. But this episode is over now. We must look forward.and#034
Scolari has faced calls to go after Tuesdayand#039s debacle in Belo Horizonte.
and#034o To Hell Felipao,and#034 the daily O Dia newspaper said along with a photo splash of the manager holding up seven fingers during the game.
Scolari was adamant however that his side had prepared well.
and#034This defeat hurt us deeply but we had a system going in (to the event) and were confident it would get us results,and#034 Scolari said.
and#034The first 10 minutes we were good but then we conceded and then there followed those six fatal minutes,and#034 he added referring to the disastrous spell where Brazil conceded four goals in six minutes.
and#034We have a good team, good players — most did a good job,and#034 added Scolari, who bemoaned his teamand#039s ability to reproduce the form which won last yearand#039s Confederations Cup.
and#034We did not have the same level as last year,and#034 he said.
and#034We played pretty well in the opening phase but then it was tough against Chile and we were not at our best against Colombia but we pulled out a result. and#034Against Germany, after those few fateful minutes we could not dig ourselves out.and#034
Brazil´s 2002 World Cup-winning coach said his squad remained a work in progress compared to their conquerors.
and#034You have to progress gradually as the Germans have been doing. They are now in their first final,and#034 he said.
Scolari said his future would be settled after the World Cup.
and#034We have a commitment with the CBF (Brazilian Football Confederation) until the end of the World Cup,and#034 he said.
and#034And the end of the World Cup is Saturday,and#034 he added referring to the play-off.
and#034It is only after this game we will talk with the direction of the CBF, thatand#039s when we will decide,and#034 added Scolari, who started a second stint as Brazil coach in December 2012.
SOURCE: Daily Monitor


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A training course on the general principles of strategic planning on Tuesday concluded in Sanaa.
The course is a positive step to give the participants the knowledge and capabilities about strategic planning and organization to ensure the success of the activities and programs of the Authority.
The four-days course organized by the General Authority for Zakah.
Source: Yemen News Agency


text:
Share Your Memory of
Obituary of Margaret Diane St. John
Ms. Margaret "Diane" St. John, age 66, of Collinsville passed away February 3, 2020. Funeral services will be held at 12noon on Friday, February 7, 2020 from the W.T. Wilson Funeral Chapel. Burial will follow in Collinsville cemetery. The Family will receive Friends from 5-8pm on Thursday, February 6, 2020 from the W.T. Wilson Funeral Chapel. *Survivors* Significant Other, Lanny Priester Daughters, Jennifer Sullivan Amy (David) Dickinson Sister, Gertrude Hood Brother, J.W. St. John Grandchildren, Corey Otto, Desiree Sullivan, Matthew Sullivan, Devin Corbin, Emily Corbin, Logan Corbin, Austin Jones, Shelby Jones, Kayla Jones, Mitchell Stapp, Hunter Stapp Great Grandchild, Aria Sullivan, Liam Lopez *Preceded in death by: Husband, Roger Clontz, Daughters, Connie Stapp, Donna Jones; Sisters, Bonnie Morgan, Virginia Smith; Brother, Randall St. John; Parents, Leonard & Edna St. John.
Services for Margaret St. JohnVisit the Tribute Store


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( SOLD IN ITALY ) ZENITH waterproof chronograph with push-buttons – steel case – caliber 146D
- Description
( Item code Zenith061 )
ZENITH rare waterproof chronograph with two counters with waterproof push-buttons and screw-on caseback. 37 mm steel case, crown not included. Original crown with 5-point Zenith logo. Original silver dial in very good condition, black printed graphic, with steel bar indexes and steel bar spheres. Zenith chronograph 146 D. Original watch in every part, difficult to find and in excellent condition, perfectly working as a watch and chronograph.
Age: presumably late 60s and early 70s;
Case: in steel, in three bodies, with a smooth bezel and screw-down caseback, pump-impermeable buttons. Original crown with Zenith logo (5-pointed star). The external bottom has the serial number. Internally we find the following writings: Acier inoxidable – Zenith – Swiss Made. Case dimensions: net diameter 37 mm (crown and shoulders excluded) x 44 mm (from handle to handle). The geneal conservation conditions are excellent;
Dial: original, silvery color with three counters, black printed graphic with peripheral tachymeter scale on 1000 base, at 12 o'clock: Zenith logo (5-pointed star) applied in steel and Zenith writing. At 6 o'clock: Swiss Made writing. Bar indexes in polished steel, bar spheres in polished steel, central sphere of the black chrono;
Movement: caliber Zenith 146 D, regularly punched on the bridge, perfectly functioning as a watch and chronograph;
Strap: generic in dark brown leather, new;
Buckle: Zenith with 5-pointed star logo;
Shipping costs: to be added – express courier (traceable – delivery in Italy in 24/48 hours) to the conditions available on the home page. We send watches to the world by express courier, write me for price or information.


text:
Vanico-Maronyx Duo Bathroom Vanity - DUO1B210
The DUO collection is available in one or two colors to apply the magic of contrasts at the discretion of the buyer. It maximizes storage capacity with its spacious drawers and its multi-function linen cabinet with the option to add toe-kick drawer.
We have priced this as a 24" single cabinet with mirror and polymar top with built-in sink in Melamine. Many other options and choices in size, layout and finishes are available.
Contact us for more detail
Browse our Vanico-Maronyx Collections here to get your desire items.
IF you are looking for a particular item that's not in our store. Don't hesitate to contact us for the items and always for better suggestion.


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We are delighted to present the details for Hillview Lakes - Beech Lodge ideal for a cottage holiday in Skegness, Lincolnshire. To book or find out more please use the Booking Info or Availability buttons below.
Sleeps 6 persons | Bedrooms 3 | Bathrooms 2 | Pets 1
Close to the coast, guests are just 2 miles away from Chapel St. Leonards beach or further afield is Skegness.
There is wifi or internet access available at Hillview Lakes - Beech Lodge in Skegness. Perfect for searching for things to do whilst on holiday, catching up on emails or even work if you have to.
Hillview Lakes - Beech Lodge sleeps up to 6 people so could be perfect for your family or group. So if you are looking for a family holiday in Lincolnshire then Hillview Lakes - Beech Lodge could be just the ticket.
If you have a dog and you want to bring them with you on your holiday in Lincolnshire then... Great news! Hillview Lakes - Beech Lodge welcomes dogs. Often cottage owners have some restrictions on where your dog can roam in the property and there may be a small extra charge. However, there is no reason why your pet needs to miss out on the family holiday.
These lovely, detached holiday cottages (refs 30936, 30937 and 30938) are part of Hillview Lakes, adjacent to the owner's property and set in 25 acres of landscaped parkland around four well-established and renowned fishing lakes. For those who enjoy fishing, the lake is straight in front of the cottage and this tranquil and peaceful location has also received five David Bellamy Gold Awards for conservation. Enjoy the relaxed atmosphere of this exceptional leisure park, close to the coast, with the beach at Chapel St. Leonards within 2 miles. Or for more lively seaside fun, Skegness and Fantasy Island Theme Park is under 8 miles. Nature reserves, golf courses, farmers' markets and quaint towns are all easily accessible. Beach 2 miles. Shop, pub and restaurant ¼ mile. Please note: Properties E4649, E4650, 30936, 30937 and 30938 can be booked together to accommodate up to 22 guests.
All on ground floor: Living room with patio doors/dining room/kitchen. 3 bedrooms: 1 double (5ft) with en-suite bathroom with shower over bath and toilet, 2 twin. Shower room with toilet.
Electric coal-effect fire in living room included. Gas included. Gas cooker. Washing machine. Lawned garden with decked area and furniture. Parking (1 car). Cycle store.
All properties: Gas central heating, electricity, bed linen and towels included. 32" Freeview TV. DVD. Stereo/CD. iPod dock. Microwave. Dishwasher. Fridge/freezer. Wi-fi. Barbecue. Coarse fishing on site (£20per week, £4 per day, licence required). No smoking. NB: Unfenced lake in grounds.
This cottage Sleeps 6
Price: £ 430 - £ 868
Cottage address: Hillview Lakes - Beech Lodge, Skegness, Lincolnshire.30938
As you can see Hillview Lakes - Beech Lodge is located in a great location. The perfect base for any holiday around Skegness. And well suited to explore the whole of Lincolnshire.
| This cottage is within 5 miles of the sea
|Things to do & places to visit in Lincolnshire near Hillview Lakes - Beech Lodge
Coastal holiday cottages in Lincolnshire
If you are looking for a coastal cottage holiday then Hillview Lakes - Beech Lodge could be what you are looking for. It's within 5 miles of the coast. You will be able to get a better idea of how close to the sea Hillview Lakes - Beech Lodge is by looking at the map. There may be more information in the description above too
Golfing holiday in Lincolnshire?
If you enjoy a round of golf and would like to combine your holiday in Lincolnshire with a game of golf then Hillview Lakes - Beech Lodge could be perfect for you.
There are plenty of great places to vist near Hillview Lakes - Beech Lodge. Take a look at out holiday ideas pages for details of many places that are well worth considering visiting whilst on holiday at Hillview Lakes - Beech Lodge.
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SWCC Library
Library Student Handbook
My Account:
Use My Account located near the top of the Library Catalog web page to access your personal library account information. Sign in with your SWCC username and password. See what you have checked out, when an item is due back to the Library, if you have fines, or if there are any messages for you from the Library. You can renew your checked out items from My Account if they are not overdue, put on hold by someone else, or renewal limits have been reached. Click here for circulation periods of Library materials. If you need help accessing My Account, call the Library Circulation Desk at 276.964.7265.
As you do a search in the Library Catalog, put items of interest to you in your eShelf for later viewing during the search session.
E-mail saved items to yourself or save them locally on your computer.
Course Reserves:
The Course Reserves function allows you to see lists of items that your instructor may have put on Reserve for your class. Click on the Course Reserves link, and then choose Southwest Virginia CC. Search for your instructor's name, or search by the name of your course. Once you have located a list of items, click on the small number to the left of an item to see more information about that item.
LRC Live!:
Use the LRCLive Help link for quick access to a virtual chat session with a librarian who will help guide you with your research. Click here for more info.
Use the A-Z Databases link to locate VIVA/VCCS databases or to Find an E-Journal. Log in with your SWCC username and password. Find Database locates databases that are available to you via the Virtual Library of Virginia and through your Library–SWCC. Find E-Journal allows you to search for full-text, online journals or magazines. QuickSearch allows you to search multiple SWCC (Southwest Virginia Community College) databases simultaneously.
You can search for databases or for e-journals by using a Starts with or Contains search. For example, if you are doing a search to locate a database or journal on the subject of history, you could do a Contains search and search for the terms history or historical. Once you locate a database or e-journal, take notice of the dates of coverage, if given.


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First of all, Paramount's upcoming live-action Dora The Explorer film is gonna have a slightly more interesting title than it's cartoon predecessor- Dora And The Lost City of Gold.
Second of all, that monkey does not LOOK like it's wearing boots. BUT- we do know who's voicing him, and it's none other than Danny Trejo! (He also revealed the first trailer will be coming this weekend during the Nickelodeon Kid's Choice Awards)
The rumors are true, I finally can tell you I am a monkey…Boots!!! Don't miss the @DoraMovie trailer this Saturday 3/23, debuting live during the @Nickelodeon Kid's Choice Awards! #DoraMovie pic.twitter.com/gr5rq0xRYp
— Danny Trejo (@officialDannyT) March 21, 2019
Thirdly, an official synopsis for the film:
Having spent most of her life exploring the jungle with her parents, nothing could prepare Dora (Isabela Moner) for her most dangerous adventure ever – High School. Always the explorer, Dora quickly finds herself leading Boots (her best friend, a monkey), Diego (Jeffrey Wahlberg), a mysterious jungle inhabitant (Eugenio Derbez), and a rag tag group of teens on a live-action adventure to save her parents (Eva Longoria, Michael Peña) and solve the impossible mystery behind a lost city of gold.
We also know that Adriana Barraza, Temuera Morrison, Nicholas Coombe, Madeleine Madden, and Danny Trejo are on board for the film, as well as Benicio del Toro as the villainous Swiper.
James Bobin is directing for Paramount Players, and the film is expected to hit theaters on August 2nd, 2019.


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Old Hilliardfest Art & Street Fair10:00 am Old Hilliard
Old Hilliardfest is a street fair that takes place in Old Hilliard on Main Street each fall, the second Saturday in September. It includes an Art & Street Fair with local artisans & organizations; This year's event will feature live music on three stages, great food and beer, kids games and inflatables, a touch-a-truck event, and of course, various local businesses and organizations.
In partnership with Old Hilliardfest, the Hilliard Rotary Club will host their annual Run to Remember 5k the morning of the festival and the race will complete in the middle of Old Hilliardfest at First Responder's Park.
For more information, please visit: www.oldhilliardfest.org
Old Hilliard
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Why Lisbon?
Travelling by tram or on foot is by far the best way to travel around this city as even the trams can take you into the cobbled, multi-coloured streets with the tiny cafes and restaurants. Whether it's history or culture or music that you're looking for it would be a real challenge to be disappointed with a Lisbon escape.
Lisbon is the capital of Portugal and although a big city in Iberian terms it still manages to have a village kind of feel about it making it a popular choice and it's not hard to see why. It is almost impossible to have enough time in one trip to visit everything that you would like to see whilst doing it at your leisure but there are certain things that really cannot be missed by anyone visiting this cosmopolitan city.
Visit the sights…
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Everyone knows about the tourist guide "must do and see" lists for this amazing place but not many have discovered the hidden gems and how to really experience life as a local in Lisbon. A fantastic way to experience the food and drink which is hugely popular in Lisbon is with Eat Portugal. They take you on tours around the capital where you stop off for fabulous food and drink all day whilst experiencing hidden streets on foot. This is truly a great way to experience Lisbon as a local and find those hidden gems that can only be found with a true local.
A local tradition that is almost unmissable whilst in Lisbon is their music. Whether you're just strolling through the streets or having dinner at a restaurant you are bound to at some point hear some Fado which is thought to have originated in the 1820s in Portugal. Spending an evening at Casa de Fado is truly an incredible experience and essential for those wanting to experience some real Lisbon culture.
Golf and football it is…
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Why not visit a beautiful town…
A little further afield from Lisbon is a smaller but equally as stunning town just 40km south of Lisbon called Sesimbra. It is situated on an incredible coastline with some stunning beaches and surrounded by Serra de Arrabida national park which is perfect for those looking for some activities during their holiday. Although Sesimbra has managed to maintain the feel and atmosphere of a quiet fishing village is carries the bustle of the fun nightlife equally as well. Sesimbra is off of the usual tourist trail which makes is perfect for peace and quiet and time to see what life is like in a traditional Portuguese town. However, it is increasingly popular with Portuguese tourists but this only means that if you are to go to Sesimbra you should expect traditional and authentic Portuguese food as well as reasonably priced restaurants and bars – what could be more perfect?
If a golfing competition, staying in a fantastic hotel and some wine tasting appeals to you then Orizonte Golf offer a Golf Trophy event at the end of February. Guests will stay in the centre of town in the stunning SANA Sesimbra Hotel and play four rounds with other guests and participate in a wine tasting event and also a prize-giving lunch when the tournament is over. This hotels location is fabulous overlooking a perfect sandy beach and still within walking distance of the many great bars and restaurants that Sesimbra has to offer.


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Faithful, Lossy, Radical: Talking Translation With 최 Lindsay & Erik Isberg
Sarah Clark: You recently released a joint bilingual issue of the Berkeley Poetry Review and Ordkonst together, that you describe as "poems, translations, and experiments in collaboration." I'd love to know more about your thoughts on the collaborative nature of translation, and what some of your goals were.
최 Lindsay: We began our editors' note by writing about "compromise" as a guiding concept in our project — so compromise seems a good place to begin our conversation.
Our journal begins with an excerpt from Anna Moschovakis's poem, "Flat White (20/20): A compromised translation with, and for, Samira Negrouche":
I have read that language / leaves \ that it leaves a trace //
OK \ 'I draw a /\ line' Samira the security system of this
translation has been compromised."
In this passage, "compromise" could mean both:
"A coming to terms, or arrangement of a dispute, by concessions on both sides; partial surrender of one's position, for the sake of coming to terms"
"A putting in peril or hazard, endangering, exposure to risk or suspicion."
(These are the definitions I found in the Oxford English Dictionary).
Looking towards the etymology of the word, we find, also: comprōmittĕre (Latin) — to promise together; a mutual promise.
And the journal "begins" with this poem in another sense, as well — our call for submissions included a specific call for "compromised translations," citing Moschovakis's work as an example, as well as Athena Farrokhzad and Svetlana Cârstean's collaborative work in Trado. And this strikes me as important, as the concept of "compromise" in context of translation marks a departure from "faithfulness." In Asclepias: The Milkweeds, Nathanaël writes of translation as a matter of non-reciprocity, obliquity — "It is this misunderstanding, this inability to reciprocate, which enflames desire's hold."
Nathanaël also writes that translation "can only present itself in catastrophic echo to what might otherwise be. Which is to say that translation is nothing other than the matter of death itself." And, earlier in the text: "To say what a world is would require recourse to vocabularies that escape me; perhaps it is enough to say that it is nothing more or less than what disappears from it."
When we talk about compromise, I want to also talk about desire, and disappearance, non-emergence, latency — I'm hoping that talking about this with you might help me understand the relationship I sense between these terms. Here's an initial suggestion: compromise's two definitions, together, imply something corrosive that's also constitutive; a mode of being that's both felicitously and corrosively with another.
I'm still working through a lot of thoughts, and I don't feel at all like I've landed on a finality or a stable claim, in thinking of translation. But I'm more interested in the process than a sense of stability. The big hope for this conversation, on my part, isn't to land on a decisive position, so much as it's to isolate some themes, and to see what comes of talking about them together. I'm in this to learn — so I'm really looking forward to hearing your thoughts, Erik.
Erik Isberg: I'm so glad you bring up "compromise" as the starting point of this conversation, since it has been a concept that has followed us through the work with the journal.
Lindsay: After releasing the issue, I looked back at our call for submissions, and it feels as though "compromise" didn't just follow us through the work of putting together the journal — it was the generative desire behind the journal:
"For this inaugural collaborative issue between BPR and Ordkonst, we're looking for:
— Translations — we're equally interested in complete works and fragments, or works-in-progress.
— Bilingual/multilingual poems or statements of poetics
— Project proposals. The goal of this issue is to encourage collaborations between poets and translators in either language, and as such, we'd love above all to receive submissions that highlight the process of translation, collaboration, or correspondence. We're also interested in letters, notebook pages, and other documentations of process."
Erik: I find it interesting how there were additional themes — the interest in fragments and works-in-progress — that never made it into the issue.
Lindsay: At least not in a readily apparent way — what comes to mind for me is the process of working with Sheri Hellberg's translations of Olga Ravn. I remember that we received an initial draft, and some months later, a revision that we ended up publishing. Sheri wrote to us that, considering the collaborative theme of the issue, she reached out to Olga, and the two of them made revisions to the translation together. So you and I got to see the work in progress — and it's fun to think that even some of the pieces in our journal that look like "straight" translations are collaborative.
Sarah: That's especially interesting, given it's traditionally something of a taboo for writers to be involved with their own translations. I'm curious, if you have thoughts about developments in the future of translation?
Lindsay: That's really interesting! I wasn't actually aware of this taboo — the process I just spoke about felt so natural, I think Erik and I were both glad to hear that Olga and Sheri were collaborating. So much didn't make it into the issue, and the process has hidden parts and desires that gradually moved out of view. It feels really fitting, for a call for submissions that asks for lossy or compromised objects. Erik, why did we want these things?
It seems like the dual-sidedness of compromise as a concept informing thought on translation is exciting because it suggests a possibility of complicating the negativity of loss, or appraising its expansiveness.
Erik: This made me think of your definition of compromise, how it simultaneously "impl[ies] something corrosive that's also constitutive; being that's both felicitously and corrosively with another." To me, this might be a good way to address the question of why we were asking for compromised and lossy objects, rather than translations in a traditional sense.
I think of how useful the notion of corrosiveness seems in this context, as a force that threatens the integrity of a physical body, slowly causing its dissolvement. Working with compromised translations as a practice of not seeing translation as the process of the movement between two separate entities — the original and the translation — with the goal to keep the original as intact as possible, but instead, to search for the poetics of what's lost on the way, of the possibility that lies in the compromise of the original.
The desire to step away from the "faithful" translation is to step away from the idea of translation as the transition from one unit to another, and acknowledging, in the words of Swedish philosopher Marcia Sá Cavalcante Schuback, the multiplicity of voices, relationships and motions of every translation. I think of this multiplicity in relation to what the two definitions of compromise might mean together: the dissolvement of one possible translation into a multitude, the possibility that lies in the corrosive approach.
(Adding on to that note — another trope that keeps returning when translation is discussed is the "can you really translate poetry?" which seems to imply that the loss is indeed irredeemable, that the compromise — in the second meaning of the word — is impossible to cover up for. This seems to be a consequence of considering the poem as pure, as a self-sufficient text existing outside the material world that surrounds it, rather than as relational, in transit, as closed rather than open.)
Lindsay: Yes! There's something really satisfying about the turn of phrase you use — the "poetics of what's lost on the way." I want to pick up on this again later — but first, I'm excited by what you said, on the idea of a direct relationship between multiplicity and corrosion in translation. It seems so clear now. Doesn't this describe Ursula Andkjær Olsen and Katrine Øgaard Jensen's collaboration — their Third Millenium mistranslations — in our journal? It makes me happy that talking to you about this has made it easier for me to see what's already been in front of us. Ursula and Katrine's mistranslations, as they shuttle the same poem from Third Millenium Heart between the two of them through increasingly "unfaithful" processes of translation — their process generates excess, multiplicity — it has a kind of choral effect — even as the translation corrodes, so to speak, in its faithfulness to the original.
I wrote to Katrine earlier, and again in our editors' note, that their project was exciting to us as a mode of translation that highlights its own relational qualities and internal processes of revision — that it draws out the common root (vertere, "to turn") between "version" and "verse." So I'm pleased by the way this introduces a kind of motion, or choreography — like you say, a transit! — to the poetics of "what's lost on the way." And by the way that this begins to suggest a kind of physicality — the embodied presence of the translator.
Erik: I'm glad you bring up Ursula Andkjær Olsen and Katrine Øgaard Jensen's collaboration, since it really, when you connected it with the notion of corroding the original poem, captures what I think compromise can mean in the context of literary translation. Particularly, the way they introduce the multiplicity by creating boundaries for their "mistranslations," formalizing them after sets of rules — one rule being, for example, "rhyme all words with the words in the previous poem" — this seems to highlight the element of contingency of their final versions. Their mistranslations are not the only possible outcome, but one of many. I love how you used the word "choral" to describe it and it made me think of how the openness of their process not only creates a multitude of voices within their work, but also how there are additional voices that hides in the background as possibilities, as not realized but still present.
I think you helped me connect the dots with the insertion of the common roots of the words "verse" and "version" (vertere, "to turn") as it, as you point out, implies a motion, and, I think, suggests how translation, rather than being the transformation of one stable entity that becomes another stable entity, can also function to highlight how languages are always mobile, a motion among motions.
Sarah: It does seem like the political is missing from a lot of conversations about translation. I love the ideas of "openness" and "additional voices" as destabilizing compulsory Anglocentrism in translation, as well as the idea of languages being "mobile" in an era of increasingly stigmatized migration. I'm wondering whether there's a link between "faithful" translations, the recognition of the human beings behind their texts, and where you see the field, politically.
Erik: The notion of an embodied presence of the translator makes me think about what Johannes Göransson and Sara Tuss Efrik write in their collaborative entry for Ordkonst x BPR: "The translator is not invisible / the translator has a body in the underworld." The compromise being the embodied presence of the translator, lurking around in the text, contaminating the perceived purity of the translation. Abandoning the notion of faithfulness is also to renegotiate the place of the translator in the translation process, as it means leaving the inverse relationship between the translator's presence and the idea that everything is kept intact.
Lindsay: I love this line! "The translator has a body in the underworld." It brings together excess (does the line imply to you as well that the translator has multiple bodies?) and death. Or, to ease back to a less bold claim (is it bold to associate the underworld with death?) — excess and the non-emergent, the subterranean. I think of Persephone — who, according to Ovid, spends half the year in the underworld, and whose passage between that world and ours causes the seasons. You probably know this better than I do — and can correct me if this is misguided — but globalization, time-rendering technologies, and the conditions of the Anthropocene — all of these factors seem to come together to confound the seasonality that underpins this myth. Where is Persephone's body now? I think I'm thinking of translation and asynchrony — and (maybe tangentially?) thinking of the politics of the Anthropocene in translation. If these things can be brought together sensibly.
It seems like when we talk about the politics of translation, ecology rarely enters the picture. But it feels important for me — for reasons I hope you can help me clarify. My first thought is that discussing the politics of the Anthropocene necessarily involve discussing capital, national and colonial histories, and being attentive to strange material-semiotic nodes — which I'm filtering into the way in which we've been attempting to volumize loss, in this conversation. I wonder if it's possible to transpose the logics of ecology to a discussion of translation; ecology's relationality and circulation. Ecological relation, also, voids centrality and stable entity — so, in a way, the politics of ecocriticism seems like a setting where a discourse on translation can take place.
As you're writing this in English, Erik, do you have a body in the underworld?
I'm thinking of transits, again, and reminded of ephemerides — an ephemeris records the motion of an astronomical body by points of incidence — specific locations at points in time. So what isn't recorded is what's live — the omission is a swath of motion. Ephemeris comes from the Greek ephēmeros — daily, or lasting only a day — it also means "diary." In this way, the ephemeris strikes me as a literary form where it's clear how the inclusion of loss is a kind of maximalism — the "poetics of what's lost on the way."
I wonder if you saw — a portion of Johannes and Sara's collaboration is published in a new issue of seedings, as well. This one has a line I also love: "The singular is what's lost in translation."
Erik: I really love the connection between Persephone and the line about the translator having a body in the underworld. Especially considering, as you mention, the increasingly ambiguous position of this body in the underworld, of Persephone, of what is above ground and what is below it. Does it seem too farfetched to talk about the underworld as an actual physical place, as part of the strata, a geological phenomenon in a time in which the underworld is seeping into our existence and we into the underworld? I think of a line further down in the same poem by Göransson and Tuss Efrik: "This is the quarantine that fails / Language leaks in and out." In relation to what you said about material-semiotic nodes, and the attempt to volumize loss, the materiality of language in Göransson and Tuss Efrik's poem seems, to me, to point in the direction of collapsing the difference between the material and the discursive. Bringing the politics of ecocriticism into the politics of translation is very intriguing to me as it opens up for a decentralization of the place of translation and suggests a possibility to rethink the liminal space between texts and between languages.
Haha, I can't help feeling dramatic stating that, yes, I'm pretty certain I have a body in the underworld. A weird Swedish presence, even as I am writing in English. You mentioned to me that you have been home visiting your parents and therefore mostly been speaking Korean. Do you feel like you have a body in the underworld, too?
To be honest, I had never heard about an ephemeris before, but thinking about how it maps the presence of an absence, as you put it, the "inclusion of loss as a kind of maximalism" seems to tie into Øgaard Jensen and Andkjær Olsen's practice of mistranslation. In their work in the issue, the dissolvement of the original poem leads to a kind of maximalism as the new renditions both break down the original and expands into new meanings.
Lindsay: Oh wow — when is my body not in the underworld? Hahaha. It's a continuous descent. I have been at home, and living in a kind of flux of languages; it's kind of a comfort to think that Hermes, the Greek god of communication, is also the god responsible for ushering the souls of the dead to the underworld.
On that note — have you read Donna Haraway's essay in Arts of Living on a Damaged Planet? There's a section where she describes Crochet Coral Reef, a collaborative art project involving about 8,000 participants across 27 countries. She associates their coordination across vast temporal and spatial difference, as well as the project's attempt to forge a kind of intimate connection with endangered coral reefs through mimetic art practices, with the phrase "intimacy without proximity."
This is a phrase I get a lot of pleasure from, as it seems to generate some confusion — it was coined in an article by Jacob Metcalf, about grizzly bears as a companion species. But I've found that more often than not, when people first hear it, they think of long-distance relationships. I think Metcalf is describing a kind of ecological relationship between two parties that collaborate, or depend upon one another, despite the fact that these parties may be better off if they never actually encounter — it's their separate, but ecologically-intertwined rhythms of life and modes of existence that forge this sense of intimacy.
And this phrase, with its flexibility, is what comes to mind when I think about your impression of translation as a liminality between texts; it helps me, at least, model what we've been discussing: relationships of non-encounter, or near-misses, that manage anyway to be choral.
And I started thinking about The Princess of Cleves — of relationships of non-encounter, the erotics of non-incidence — deferral, mediation, indirection. I think I'm trying to collapse two things. The erotic and the ecological interpretations of "intimacy without proximity" — desire and non-incidence as the kind of necessary distance that actually allows for collaboration (this also collapses several senses of "compromise" into one).
Erik: I have read that essay — and I love the fact that you bring it up in this context! I read it a year ago in a completely different setting, but thinking about the implications of the Crochet Coral Reef in relation to what we've been discussing here seems, to me, somehow almost obvious. Particularly, I think about the notion of an "intimacy without proximity," and how it suggests a new set of embodied relationships in the Anthropocene. Perhaps could it be thought of as an invoking of topology, of how relational rather than strictly topographical distances becomes more prominent with the dissolvement of the sense of being in a physical place as well as the physical place's interconnectedness with its surroundings. I think of Kathryn Yusoff's concept "geosociality" and how the geological and the social are enmeshed in new configurations as the distance between them are breaking down. In relation to the matter of distance, of liminality, the example of the grizzly bears to me emphasizes how the notion of long-distance can be reconceptualized in the context of the emergence of a sociality of the strata.
Going back to the definition of compromise and, as you point out, how the ecocritical approach opens for a collapse of its possible meanings into one. As the issue has, since the beginning, been preoccupied with questions of compromise, and how it can be both generative and corrosive, I think the collapse of this duality can be a good way to describe what we have tried to do with this issue — and how that, hopefully, can be part of a discussion on the politics and aesthetics of translation.
Sarah: These are exciting ideas about the evolution of translation. Whereas, translation has been thought of as serving to "bring" non-English work into English, and to export English-language publications — do you have any more thoughts about translation as an avenue for reclamation or resistance, rather than imperial entitlement, and whether there are nuances to Erik's and your personal nuances and philosophies surrounding translation that might play into this.
Erik: Another trope that keeps returning when translation is discussed is "can you really translate poetry?" Which seems to imply that loss is indeed irredeemable, that the compromise — in the second meaning of the word — is impossible to cover up for. This seems to be a consequence of considering the poem as pure, as a self-sufficient text existing outside the material world that surrounds it, rather than as relational, in transit, as closed rather than open.
Lindsay: I agree with Sarah's sense of political urgency in disrupting the centrality of Anglophonic literature. I think that for me, the stakes of thinking of translation through these strange modes of relation, which we've been discussing, and through multiplicity, corrosion, obliquity, and ecology, are precisely that these conceptualizations seem to leave little room for the notion of "centrality" in discourses of translation. I suspect it's the notion of centrality that generates translation's associations with "unfaithfulness," as well as the carnivorous, colonial, Anglo-centric attitude which Sarah mentions.
Jørn H.Sværen writes in his book, Queen of England, "[…t]ranslation is politics, what gets translated and how." We talked about how the real generative desire in the whole process of building this issue was the call for submissions for "compromised" or lossy work — I think, on my part, it was precisely for the politics of this aesthetic. And from there, the potential of thinking about lossiness as a vital and politically potent quality of translation.
Sarah: Complicating this notion of "lossy" translation — I've always loved how you refuse to translate your family name, Lindsay, especially as it's a name that American tongues never get quite right. In your work, as well, I like that there's an element of responsibility — a slight correcting of power imbalance — where a reader who doesn't read Korean has to either sit with the discomfort of some words not being for them, or else to look it up, disrupting Anglocentrism (and I'm always interested in disrupting Anglocentrism). Meanwhile, in Erik's case, Swedish is a language that's less frequently prioritized by American translators, and sometimes erased, altogether (besides Strindberg). I feel there's an increased agency and autonomy among younger writers, translators, and editors, and I'd be interested if any of this intersected with your practices as translators.
Lindsay: I think Sarah is right to point towards my name when they mention the influence of personal methods of translation, or experiences of it, on my politics and desires regarding translation. I have some complicated feelings about the journal we edited together. Swedish and English, as far as I know, don't have a colonial relationship, insofar as Sweden has never been colonized by America. The colonial relationship between English and Korean motivates my choice not to Romanize my name — I dislike the assimilatory gesture and its colonial valances, and want to resist it. But I am still coming to this project as an American citizen, and as someone born and raised in America.
Johannes says in a recent interview that readers from the U.S. have been brought up in a hegemonic position of power — I'm still thinking about this (I agree with him, mostly), and how it relates to my experience of being an American citizen from a background fraught by American imperialism. My urge is to say that readers from the U.S. are often brought up in a setting where America's position of hegemonic power in international contexts is naturalized — which is slightly different, and I'm open to being corrected.
But I agree that — and this is probably understating it — American exceptionalism and Americentricism doesn't stop short at poetry. I think that through the process of making this journal, I spent a lot of time thinking about the positionality of being an American citizen, an American poet, studying English literature at an American university, as a child of immigrants — and the positionality of being American by way of diaspora, as a consequence of American imperialism and U.S. military presence in Korea. My relationship to English, as well as translation, is complicated. What are the qualities of loss in translation (in the glitchy sense of it — as in a lossy compression)?
It feels important to me, as an editor, to publish translation and multilingual poetry in America. As a counterpoint to the centrality of English as the language of literature, as it's taught in America, and as a counterpoint to any urge to think of America as the site where literature happens. I'm hoping in the future to work with translation between Korean and other languages, as well.
Thinking of translation as an avenue for reclamation or resistance — I like not translating the Korean in my name and my poetry, for exactly the qualities Sarah notices: "a reader who doesn't read Korean has to either sit with the discomfort of some words not being for them, or else to look it up." This gap, the nature of it, is what I think I've been spending much of our conversation here talking about: the nuances of lossiness, or compromise, in translation — I hope it's beginning to cohere, or at least constellate.
What are your thoughts, Erik? I'm curious about your end.
Erik: I agree that much of the political qualities in the issue lies in its — and our — interest in thinking about how to transcend the tropes about "lost in translation" and the notion of translation as practice that aims to not be visible.
In relation to Sværen's definition of the politics of translation, I think we have paid a great deal of attention, in this conversation, to the politics of "how" something gets translated. But as you point out, there is also the "what": relationships of power, colonial history, and economic conditions that sets the framework for what can get translated and what can not. Swedish and English doesn't, as you point out, have a colonial relationship, and they are two, globally speaking, privileged languages.
However, the role of English in Swedish literature, and culture more generally, has still been a subject of debate in Sweden and coming into this project I was definitely mindful of these discussions going on. I would agree with Johannes Göransson that there is an American cultural hegemony in Swedish poetry — some estimations show that two-thirds of all translated poetry comes from English — and this is often at the expense of smaller, marginalized languages.
Working on this issue, from a Swedish context, it felt important to be attentive to this broader cultural landscape, and I think both the general theme of "compromise," and the attention given to the Bay Area poetry scene (I think particularly of Amy Berkowitz, who is introduced in Swedish for the first time in our issue), and how these have been ways to offer alternate ways of how translation can be produced and understood in a Swedish-American setting. To me, the American dominance in what gets translated into Swedish is intimately connected with the power of large publishing houses and their commercial interest in popular American contemporary literature. I hope that the issue we made together can, both by invoking compromised translation as a starting point, as well as highlighting voices that wouldn't reach Sweden otherwise, avoid the most common traps of introducing American authors in Swedish.
Lastly, I feel like I should also add that two of the poets in the issue, Olga Ravn and Ursula Andkjær Olsen, are Danish, and not Swedish. Thereby, the issue consists of three languages rather than two, which perhaps could be seen as part of the politics of the issue in turning away from dichotomies, invoking plurality rather than unity.
Lindsay: Yes! We do have Danish in the issue, as well. And I think you've just said the most interesting things in this conversation — to me, at least. I want to ask you to speak a little more about the relationship between contemporary Danish and Swedish poetry, but it looks like we're running out of time. This feels a little awful and ironic, since we were just talking about wanting a conversation about poetry that doesn't center America! I'm counting on our conversation continuing.
Erik: That is something I'm counting on, too! I'm glad we got this opportunity to talk about the issue and the work we've been doing. I think you helped me better understand what we've been trying to do all along.
Based in Berkeley, CA, 최 Lindsay (b. 1996) is the author of TRANSVERSE (Futurepoem, 2020) and a chapbook, MATRICES (speCt! Books, 2017). More of their work can be found in Omniverse, Apogee, The Felt, and elsewhere, including the Berkeley Art Museum's recent exhibit, Way Bay. They are a Kundiman fellow and an incoming Ph.D. candidate in English literature at the University of California, Berkeley. They are currently working on a manuscript of research and variations on translation, based on modernist Korean poetry. Visit them at lindsaychoi.com.
Erik Isberg (b. 1994) lives in Malmö, Sweden, where he works as an editor of Ordkonst. He holds an MA in the History of Ideas and Sciences from Lund University and is a former visiting student at CSTMS at UC Berkeley.


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25. September 2019 - 18:30
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Computing Games written by R.J. SwiftThe following is a list of Computing Games written by R.J. Swift in the Centre for Computing History collection. It is not an exhaustive list of and other games may have been published. If you have any games or software that you would like to donate to our collection, please view our donations page.
There are 1 Computing Games written by R.J. Swift in our collection :
|Order By : Title - Release Date - Publisher
Software House: Digital Integration
Author: R.J. Swift
Platform : ZX Spectrum


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Shots and Angles
Folies Bergeres de Paris
SO MANY dramatists have tried their hand at the situation of the husband who disguises himself as an actor that the idea is beginning to get a little dog-eared. This time it is Maurice Chevalier who doubles as a music-hall impersonator and a Parisian count; and as might be expected, matters get most complicated when the impersonator—or maybe it was the count impersonating the impersonator—finds his way into the countess's bedroom.
From that point on, the only thing to do is to sit back and let the other people do the worrying; knowing that when all the improprieties have been duly observed the right I people will find their way into the right (quarters; i.e., the right sleeping quarters. This gives you time off to observe and admire M. Chevalier's ingratiating antics,
I and Merle Oberon's oblique-eyed beauty,
! together with some elaborate ensemble numbers arranged with umbrellas and ! umbrella-sized hats. On the whole, "Folies i Bergeres de Paris" is a rather minor Chevalier item, w'ith its special entertainment features too thinly spread out to cover the threadbare plot.
The Good Fairy
IN THIS picture, pretty Margaret Sullavan has a rôle that might have suited the early Mary Pick ford perfectly; providing, of course, that Miss Pickford didn't understand the worst parts. It is all about an idealistic little orphan, Luisa, who spends her time telling fairy tales to the other orphans. Luisa believes that the outer world is simply the setting for a larger fairy tale, and when she suddenly finds herself actually out in it she is delightedly ready to accept sables, cheques and motor cars from a rich, middleaged admirer, looking on them as a fairy gift rather than as a basis for practical negotiation.
The plot thus skates along very gracefully for an hour and a half over the thinnest possible ice; but in the end Luisa finds riches, happiness and true love without the sacrifice of anything but her time. Frank Morgan's brilliant comedy as the rich admirer keeps things continuously on the move and covers up satisfactorily the occasional places where the plot is stretched a little thin. "The Good Fairy" is a wickedly innocent little anecdote which delicately avoids giving offense.
The Man Who Knew Too Much
THIS English film is one of the very best mystery plays of the season, finely acted and tersely and dramatically directed. It is a gangster play, but on an international scale, w'ith kidnappings, code messages, war mutterings on the Balkan front, and death threats carried on in the polite accents of European diplomacy.
There is a fine exciting climax in a London street bombardment, w'ith, as an ingratiating British touch, the Chief of Police taking tea at the very pitch of operations. Peter Lorre's performance as a sort of undercover Napoleon working blandly to stand Europe on its head, is one of the most brilliant screen achievements of the year.
The Mystery of Edwin Drood
HOLLYWOOD continues to give the Dickens enthusiasts cause for cheering.
! "Edwin Drood," it will be remembered, is the story that Dickens never finished, the darkling tale of drugs and murder and cathedral crypts. In this case the collaboration between the author and the movies is so close that unless you know the story you won't be able to recognize the point at
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Like most mystery stories, "Edw'in Drood" is a little hampered by its love interest, the heroine in this case being one of those flighty young ladies on whom Dickens seemed to dote—a crinolined piece w'ho giggled, sucked lollypops and sw'ooned at the breath of danger. Once the facts are established, however, and Edwin Drood (David Manners) is marked for his awful fate—the tomb selected, the quicklime prepared—there isn't any lack of excitement. In fact it's the sort of picture that makes you sit forward chewing your ticket-stubs to rags and muttering warnings to the victim. Claude Rains, one of the exceptional actors who can play a monster rôle without the aid of hobgoblin make-up, gives a chilling performance as John Jasper the murderer.
The Little Colonel
SHIRLEY TEMPLE'S pictures all tend to be pretty much the same, being built entirely around her special qualities and talents. As she is young, amiable and feminine, she is invariably shown in contrast to a disagreeable old gentleman. Because she can make her lip quiver alarmingly, she is usually deprived of one or both of her parents in the course of the story. The dog angle has to be taken into consideration— Shirley photographs nicely with a dog.
"The Little Colonel" doesn't vary much from formula except that this time we have Shirley Temple in technicolor, the whole picture flushing up a wondrous pink in the final sequence. Meanwhile Shirley is stretching up and threatening to outgrow not only her clothes but her stories and her career. There are signs, too, of increasing precocity and self-possession which threaten her childish charm. With Shirley's astonishing brightness, it can scarcely have escaped her attention that she is the It child of America.
WHEN JOE MARTIN, a professional dancer (George Raft) asks the heroine of "Rumba" (Carole Lombard ) the name of her perfume, she answers dreamily. "All I know is it cost $35 an ounce." This gives a clue not only to her financial rating but to her point of view. Hers is the shopping attitude toward life and love. But when she attempts to negotiate her admirer through her $20,000,000 drawing account, he rejects her promptly and sets out to humiliate her. So their affair rumbas on through a long series of dancing acts, misunderstandings, passionate avowals and withdrawals.
George Raft's performance as the dancer is professionally acceptable though not particularly exciting. And Carole Dimbard continues to look like something grown very specially under glass, and to reveal herself as one of the most affected young women on the screen.