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GETPWENT_R(3) Linux Programmer's Manual GETPWENT_R(3) NAME getpwent_r, fgetpwent_r - get passwd file entry reentrantly SYNOPSIS #include <pwd.h> int getpwent_r(struct passwd *pwbuf, char *buf, size_t buflen, struct passwd **pwbufp); int fgetpwent_r(FILE *fp, struct passwd *pwbuf, char *buf, size_t buflen, struct passwd **pwbufp); Feature Test Macro Requirements for glibc (see feature_test_macros(7)): getpwent_r(), _BSD_SOURCE || _SVID_SOURCE fgetpwent_r(): _SVID_SOURCE DESCRIPTION The functions getpwent_r() and fgetpwent_r() are the reentrant versions of getpwent(3) and fgetpwent(3). The former reads the next passwd entry from the stream initialized by setpwent(3). The latter reads the next passwd entry from the stream fp. The passwd structure is defined in <pwd.h> as follows: struct passwd { char *pw_name; /* username */ char *pw_passwd; /* user password */ uid_t pw_uid; /* user ID */ gid_t pw_gid; /* group ID */ char *pw_gecos; /* user information */ char *pw_dir; /* home directory */ char *pw_shell; /* shell program */ }; For more information about the fields of this structure, see passwd(5). The nonreentrant functions return a pointer to static storage, where this static storage contains further pointers to user name, password, gecos field, home directory and shell. The reentrant functions described here return all of that in caller-provided buffers. First of all there is the buffer pwbuf that can hold a struct passwd. And next the buffer buf of size buflen that can hold additional strings. The result of these functions, the struct passwd read from the stream, is stored in the provided buffer *pwbuf, and a pointer to this struct passwd is returned in *pwbufp. RETURN VALUE On success, these functions return 0 and *pwbufp is a pointer to the struct passwd. On error, these functions return an error value and *pwbufp is NULL. ERRORS ENOENT No more entries. ERANGE Insufficient buffer space supplied. Try again with larger buf- fer. CONFORMING TO These functions are GNU extensions, done in a style resembling the POSIX version of functions like getpwnam_r(3). Other systems use pro- totype struct passwd * getpwent_r(struct passwd *pwd, char *buf, int buflen); or, better, int getpwent_r(struct passwd *pwd, char *buf, int buflen, FILE **pw_fp); NOTES The function getpwent_r() is not really reentrant since it shares the reading position in the stream with all other threads. EXAMPLE #define _GNU_SOURCE #include <pwd.h> #include <stdio.h> #define BUFLEN 4096 int main(void) { struct passwd pw, *pwp; char buf[BUFLEN]; int i; setpwent(); while (1) { i = getpwent_r(&pw, buf, BUFLEN, &pwp); if (i) break; printf("%s (%d)\tHOME %s\tSHELL %s\n", pwp->pw_name, pwp->pw_uid, pwp->pw_dir, pwp->pw_shell); } endpwent(); exit(EXIT_SUCCESS); } SEE ALSO fgetpwent(3), getpw(3), getpwent(3), getpwnam(3), getpwuid(3), putp- went(3), passwd(5) COLOPHON This page is part of release 3.74 of the Linux man-pages project. A description of the project, information about reporting bugs, and the latest version of this page, can be found at http://www.kernel.org/doc/man-pages/. GNU 2010-10-21 GETPWENT_R(3)
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Blount, William
Blount, William, 1749–1800, American political leader, b. near Windsor, N.C. He served in the American Revolution and later became a legislator in North Carolina, a member of the Continental Congress (1782–83, 1786–87), and a delegate to the Federal Constitutional Convention (1787). Washington appointed (1790) him governor of the Territory South of the River Ohio (present-day Tennessee), and there he also had charge (1790–96) of Native American affairs. Blount handled this dual position successfully until financial difficulties forced him into a plan whereby frontiersmen and Native Americans were to help the British conquer Spanish Florida and Louisiana. Before the plan was discovered he presided over the Tennessee constitutional convention (1796) and became one of the state's first U.S. Senators. When the Florida plot was discovered he was expelled (1797) from the Senate. While impeachment proceedings (later dropped) were being instituted, Blount was elected (1798) to the Tennessee senate and was chosen its speaker.
See biography by W. H. Masterson (1954, repr. 1969).
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2023, Columbia University Press. All rights reserved.
See more Encyclopedia articles on: U.S. History: Biographies

subset: commoncrawl


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Thanks, Cruz-TA-Welding!
Early on April 29th, Vince opened the gate to mow the back yard. A routine event for a Saturday morning, but the hinge on the 100-pound rebar iron gate broke. The gate crashed to the ground. BAM!
Luckily neither the cats nor Puppy Girl was going through the posts of the gate at that time. Vince stepped back in time, too.
Well, not literally in time. It was still 2017.
Now We're Breaking the Law!
The weather in California has been up and down this spring. One day it's 100 degrees and two days later it's 65 degrees. Nonetheless, kids had already texted us to come swimming. Our gate is locked because that's the law, and besides, we don't want kids swimming unsupervised.
Vince panicked. Who would come to fix it? He remembered a sign for a business down the street. Cruz-Ta-Welding, so he drove down to the shop. Juan Cruz greeted him, and Vince shared his sad story.
Juan said, "Sit down. I'll finish my breakfast, and follow you back to your house."
Minutes later he and another welder drove up, and within 1/2 hour they finished. Amazing service, wouldn't you say?
Juan Cruz loves the United States. He came to California from Mexico thirty years ago. He's been in business in Woodlake for sixteen years and has six employees.
"I love it here," he told us. "I love the system. If you work hard, you will grow. I don't believe people can't find a job. I've worked hard. Picking pears is the hardest. They are so heavy. Picking grapes is hard too."
What's the hardest job he's ever had as a welder?
"We moved an entire factory from Visalia to Iowa. We had to dismantle all the equipment and put it back together in Iowa."
Cruz-TA-Welding did a great job for us, and he serves the community as well. We opened the Woodlake Valley Cultural Museum a year ago. Cruz-TA-Welding donated all the labor to fence the building.
Thanks for all you do for Woodlake, California, Cruz-TA-Welding.
If you live in this area and need a welder, we recommend him, and so does the Woodlake Chamber of Commerce.
Woodlake Related Posts
- Who Opens A New Business in Woodlake on Veteran's Day? (Goin Postal)
- Local Woodlake: Constructing a Beautiful Future
- Woodlake Valley Cultural Museum Has First Event
What's So Great About Woodlake, CA?
Woodlake, located in the foothills of the Sierra Nevada, only 40 minutes from the Sequoia National Park, takes pride in its little town. Founded in 1912, today it is the smallest incorporated town in Tulare County. Residents primarily work in agriculture where the average annual income is $32,559, half of California's median. Even so, a few years ago Woodlake High School Foundation was recognized as giving out more in scholarships than any community its size in the United States.
You Can Help Woodlake Thrive
- Support the Woodlake High School Foundation with the purchase of Images of America Woodlake. You can buy it directly from the high school and 50% of the purchase price go to the Foundation (100% of the profits).
Click to order.
- You can support the business community and join the Woodlake Valley Chamber of Commerce.
- Support this website, Traveling and Blogging Near and Far and Always Write. I have started a Blogging and Virtual Assistant Training Program at the High School. At the end of the 20 hours, I either need to hire the students or let them go. So far my blogs have not produced any income. But with the help of my student assistants, I'm hoping we will. I'm going to use 100% of the income to invest in their future.
- Enter the Traveling and Blogging Near and Far sweepstakes to get a free book.


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After months of criticism over its recently launched painkiller Zohydro, the maker of the powerful narcotic is highlighting an unusual oversight board that it's assembled to try and prevent abuse of the drug.
Zogenix's president and director, Stephen Farr, told The Associated Press that the outside group of seven medical, addiction and law enforcement specialists will be able to spot early signs of misuse using data from sources that include prescribing statistics, addiction center reports and law enforcement records.
"We will be monitoring patients, prescribers, pharmacists, supply chains and abusers, so all the populations that would potentially touch our product," Farr said in the interview.
The comments come as Zogenix tries to move past negative publicity surrounding Zohydro, the first single-ingredient hydrocodone drug ever approved for U.S. patients. Critics say the pill -- which contains up to five times more hydrocodone than Vicodin -- will add to the epidemic of opioid drug abuse that is blamed for about 16,000 overdose deaths a year.
The Food and Drug Administration approved Zohydro last October and the drug began shipping to pharmacies this month. Now, Zogenix is publicizing its efforts to make sure the drug is used safely. The company's approach is unusual: safety monitoring boards are generally used in experimental drug testing, but rarely for drugs already on the market.
While they acknowledge that Zogenix's approach is innovative, experts say there is little evidence that the so-called "safe-use board" will ensure Zohydro is used appropriately.
"Is it nice that they're putting together an external review panel of independent people? That's fine," said Dr. Allen Vaida of the Institute for Safe Medication Practices. "But is the group going to have any authority or power whatsoever?"
Critics also question whether the panel will be truly independent from the company. Five out of seven experts on the board have previously received consulting payments from the company. All panel members will be compensated for quarterly meetings to review Zohydro data. And at least two of the physicians on the panel have served as consultants and paid speakers for other drug companies, including Pfizer and Eli Lilly & Co.
"If Zogenix is paying them, they're working for Zogenix," said Dr. Andrew Kolodny, co-founder of Physicians for Responsible Opioid Prescribing. "It's plain silly to pretend this group is external and independent."
Zogenix, which is based in San Diego, said that none of the members have ever served as paid speakers for the company and that they are "barred from any other paid role with Zogenix in the future."
And to address concerns that the group will not have power, Zogenix's Farr said the group "will have the ability to go directly to our board of directors" if its recommendations on Zohydro are not heeded.
The move comes amid ongoing criticism of Zohydro from anti-addiction groups, politicians and law enforcement officials who say the drug will be easily abused by people addicted to opioids. Zohydro is an extended-release version of the opioid hydrocodone, which is designed to provide 12 hours of relief for patients with round-the-clock chronic pain.
Before Zohydro's approval hydrocodone was only available in immediate-release combination pills like Vicodin. Much of the concern over Zohydro's safety has focused on its high dose of hydrocodone, but the formulation is not unusual compared to other extended-release opioids.
Nearly a dozen members of Congress and more than two dozen state attorneys general have called on the FDA to withdraw Zohydro or to require that it be reformulated to prevent users from crushing the pills for snorting or injection.
The FDA has repeatedly stated that Zohydro meets its standards and provides an important treatment option for patients with chronic pain. The agency also points out that abuse-deterrent formulations are in the early stages of development. The FDA has only approved one anti-abuse opioid: a crush-resistant version of OxyContin approved in 2010.
Under current FDA requirements, Zogenix and all other makers of extended-release opioid drugs must sponsor training for doctors and distribute informational pamphlets to patients. Zogenix's monitoring board is a voluntary measure on top of those FDA requirements.
In the interview last week, Zogenix's president stressed that the board is only one safety measure it's using. The company is also educating doctors and compensating sales representatives based on educational goals, rather than drug sales targets.
But even experts who work with Zogenix and other pain drugmakers say such multi-pronged safety plans -- known as risk evaluation and mitigation strategies, or REMS -- have not curbed the rising number of fatal overdoses.
"There is no evidence whatsoever that any of the REMS interventions have been effective," said Dr. Nathaniel Katz, a former FDA advisor who now consults for drugmakers. "How would you consider them effective in the context of all those deaths?"


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A Writing Woman
At what point does autobiography graduate into memory shaped by art? How does a writer know when to stop telling it as it is or was and make of truth a superior fiction? Readers and writers alike perennially ponder such questions.
On weekend mornings my mother sat at the typewriter in a sunny breakfast nook and wrote stories about women, young women like herself, who, after some difficulty necessary to the plot, got their men. In the adjoining kitchen, my grandmother washed the breakfast dishes and kept asking, "What do you two think you could eat for lunch?" My mother and I would groan in unison. Who could imagine lunch when we'd just finished breakfast? Besides, we had more important things to do than eat.
Already, at the age of five, I had allied myself with the typewriter rather than the stove. The person at the stove usually had the thankless task of fueling, whereas, if you were faithful to your vision at the typewriter, by lunchtime you could make two more characters happy ‑ even if you weren't so happy yourself. What is more, if you retyped your story neatly in the afternoon and sent it off to New York in a manila envelope, you'd get a check back for $100 within two or three weeks (2 cents a word, 300 words to the page, 16 or 17 pages; in 1942, $100 went a long way). Meanwhile, she at the stove ran our mundane life. Still new to the outrageous vulnerability of widowhood, she was glad to play Martha to my mother's Mary. In our manless little family, she also played Mother, and could be counted on to cook, sew on buttons, polish the piano, and give encouragement to creative endeavors. She was my mother's first reader, while the stories were still in their morning draft; "It moves a little slowly here," she'd say, or, "I don't understand why the girl did this." And the tempo would be stepped up, the heroine's ambiguous action sharpened, in the afternoon draft; for if my grandmother couldn't follow tempo and motive, how could all those other women who bought the magazines?
To my grandmother's Mother, my mother played Father; she was the provider. She took her skill off to the next town each weekday on the bus and returned home at night, rumpled and exhausted and as in need of being waited on as any man. Lucky for her, most of the men were overseas at war, and the Asheville Citizen needed reporters. Out she went daily; at new Army hospital, she interviewed wounded soldiers who had been flown back home; she followed Eleanor Roosevelt all over town one day and bore the brunt of a restaurant owner's ire when Mrs. R. insisted upon taking a local black civic leader to lunch; in her college French she interviewed Bela Bartok; whenever Mrs. Wolfe phoned the paper to announce, "I have just remembered something else about Tom," my mother went off immediately to the dead novelist's home on Spruce Street. From time to time, during blackouts, she arrived home with a police escort; her employers at the Citizen did not think a young woman should be alone in all that darkness. But after the war, she was told her skills would not be needed anymore. "The men need their jobs back, you see."
My preschool occupation consisted in being the adored Child on whose behalf this family had been created. For if I had not existed, my mother and grandmother might have worked out different plots for themselves. My elegant, feminine grandmother, doted on by men who wanted to protect her, would not have remained long on her own. My mother was still young, pretty as any of the girls who stepped off trains or entered fateful rooms in her stories. She had a master's degree in English ("The Stage Sets of Inigo Jones": her thesis). An only child, she had been brought up in comfort, riding around the country on passes ‑ her father was with Southern Railways ‑ shopping almost daily for clothes from the moment she could walk with her mother (I can open her college diary today and read about the rose silk pajamas they bought, or the yellow taffeta tea gown, and what movie they saw afterward), and I know (also from the diary) that in the years just before me her main problem had been choosing between men. At Chapel Hill, she often had five dates in one day ‑ and the energy of the true candleburner‑at‑both‑ends; she thought nothing of staying up during what was left of the night, typing nineteen‑page term papers, or writing her own plays. But at home one weekend, she was playing bridge with her girlfriends on the porch when a man limped by. It was Mose Winston Godwin, the handsome local bachelor, who had snapped his ankle playing tennis. My mother's little dog, incensed by something in the man's gait, rushed down the stairs and bit his good leg.
And that was that. Sealed. My mother's fate. And mine.
Girl meets man. Mutual attraction. Things develop. A problem arises. Conflict and doubt. Resolution of conflict. Final embrace. The formula was unvarying. All the stories that bought my clothes, my storybook dolls, my subscriptions to children's magazines, were contained by, were imprisoned in, that plot. Did my young divorced mother, while typing in that sun-filled breakfast nook, ever have moments of bitter irony when she was tempted to rip out the "happily ever after" lie she was perpetrating, roll a fresh sheet into the carriage, and tell her own story? It would have been much more interesting.
But here is a story that my mother did not write: A woman coming home late from her creative writing class, walks past the Casa Loma nightclub on the way to her bus stop. She sees a man go in, a handsome, laughing, well‑dressed man with his arm around a platinum blond. Upstairs in the nightclub, the band is in the throes of "Stardust." The woman downstairs in the night, alone, has been up since six that morning, teaching at two schools, teaching, among other things, Romantic Literature. She has been unable to collect a single child‑support payment from the handsome man. But now he has sneaked into this town, unable to resist its fashionable haunts. He has not seen the woman in the rumpled tweed suit, downstairs in the night. An irresistible impulse rises in her. She goes to the nearest phone and calls the police and identifies herself. They remember her, from her wartime job at the paper; many of them had taken turns driving her home during the blackouts. She has my father locked up. She misses her bus, but boards the next one and rides through the starry night, a weird joy throbbing through her veins and making her feel lightheaded. When she arrives home, she gives in to another irresistible impulse and wakes her little girl. "It's almost midnight," cries the grandmother, "are you crazy?" "No," she says, smiling. She hugs them both. She will keep her secret for tonight, as it will just upset her mother, who fears scandal as much as disease. "I want Gail to see the stars," she says. "They have never seemed quite so close."
Fact and fiction, fiction and fact. Which stops where, and how much to put in of each? At what point does regurgitated autobiography graduate into memory shaped by art? How do you know when to stop telling it as it is, or was, and make it into what it ought to be—or what would make a better story?
I sat down to write my first story at age nine. What was the story about? A henpecked husband named Ollie McGonnigle, who insults a man one morning only to come home that evening and discover that his wife has invited that same man to dinner. And, moreover, that man is ‑ the mayor of the town!
My mother remarried, one of the ex‑GI students from her Romantic Literature class. She wrote a novel about a college teacher, courted by several veterans, each of whom has a story to tell about his life and about the war. The teacher marries one of the veterans. This novel, called And Not To Yield, contained, to my memory, some of the most erotic love scenes I have ever read. Amazing, when you think of it: the sheltered little girl and her grandmother, sitting down each evening to read the next installment of And Not To Yield. It was fiction, of course. My grandmother had not approved of the new groom, but this book was interesting. Hmmm. "Your mother certainly knows how to keep a reader's interest," my grandmother said, moistening her thumb to turn the page. "Kathleen Cole writes like an angel," wrote the publisher to my mother's agent, "at times. At other times, she is much too facile . . . and sentimental."
I went to a private school run by a French order of nuns. I was the poorest girl in the class, the only one who could not fork up the $25 for the eighth‑grade trip to Washington. What story did I write in those days? One about a little rich boy, who lived all day behind elegant iron gates and had everything he wanted except a friend he could confide in.
My mother miscarried her first son. Her husband got a job as a management trainee at Kress, for $45 a week. A courtly older man in town, the renowned local portrait painter (also the man who taught my mother in creative writing class), painted my mother's portrait in oils. In the portrait she wore a jade green silk blouse and a gold Chinese pin. She also wore an enigmatic smile. She started a new novel about a famous woman writer with two men after her. One, her ex‑husband, now her literary agent, always levels with her about her work. The other is a celebrated portrait painter. She also has a daughter, "pretty but selfish." The daughter gets to marry the boy she loves: the son of the painter. The portrait painter, who has been looking for the "perfect woman" to paint, chooses another woman in town, a less beautiful but selfless woman who has been a wonderful mother. At the end of the novel, the successful writer heroine is told by her ex‑husband that her writing has become too facile and shallow. Having lost both the portrait painter and her writing, she turns to religion. When she has chastened herself sufficiently, she remarries her ex‑husband. This novel was called The Everlasting Door. It went the round of the publishers. Take out the religion, some publishers said. Take out the sex, said others, and maybe a religious house would be interested.
Begin again.
My mother had a baby girl. I was fifteen and fell in love with an athlete nobody approved of but me. But soon we were going to move from that town to Norfolk ‑ Kress moved my stepfather often - and what I wanted to do more than anything else was "stay out all night" with Larry. So I lied, and did. We didn't "do" anything, of course: it was 1953, and it had been drummed into me often enough what my most valuable commodity was. But the girl I was supposed to be spending the night with "told," and I was disgraced. I lost all my friends the same week I moved from that little South Carolina town. In Norfolk, we knew not one soul. There was a whole summer ahead of me in which to smolder over the injustice of society. I borrowed my mother's typewriter and wrote a short novel called I Broke the Code. I have this piece of work before me now, an interesting artifact: part truth, part lie; part gauche attempt at craft ("True, some believe the worst, but I like to think that every small town has a forgiving streak that crosses right down center like the railroad tracks") and part cliché ("A wave of shame rushed through me"). Pretty disgusted with the results, I condescended and sent it to True Confessions, which returned it with the reader's note clipped to the top: "Some good writing but overdone. Also much too long. Also nothing much happens."
My mother had another, miscarriage in Norfolk. Like me, she had no friends yet. So she organized a local Toastmistress Club, her civic specialty, begun back in Asheville when, after hearing a Red Cross volunteer open her speech with, "Ladies, our deficit is astounding," my mother decided it was indeed, and that women should do better than this. Now Norfolk women flocked to learn how to organize their thoughts and project their voices before crowds. My mother was gratified; her spunk returned. "Oh, what the hell," she said. "I am going to sit down and write a dirty novel that will really sell."
The Otherwise Virgins was set on a college campus in the South. It had three heroines: Debby, a poised and beautiful redhead, president of her sorority, who, unbeknownst to her friends, was a call girl in New York until a southern senator decided to adopt her and give her a new start; Lisa, a dark‑haired freshman, beautiful but spoiled, and determined to win the love of Mark, an ex‑GI just returned to campus; and Jane, a minister's daughter, a shy and scholarly girl, who joins Debby's sorority and rooms with Lisa. Complications arise when Mark discovers Debby on campus. He remembers her from her other life. They had a night together before he shipped out with his regiment for France. Further complications arise when Jane discovers she is a lesbian and deeply loves her roommate Lisa.
I loved that novel. What excitement, during those dreary summer days in Norfolk when we knew nobody, to read each new page as it came out of the typewriter. My mother sometimes wrote twenty pages a day; a compulsion came over her when she wrote novels that drove her to the end. Unlike me today, she always wrote with the completion taken for granted. It never occurred to her that she might get stuck, might not finish. She had always finished her stories for the old wartime pulps ‑ unfinished stories didn't sell. A photographer from the Norfolk paper came and took my mother's picture at the typewriter, flanked by her sixteen‑year‑old daughter and her seven-month‑old daughter. MRS. COLE WRITES NOVELS AND STARTS TOASTMISTRESS CLUBS IN HER SPARE TIME, the caption read.
"The Otherwise Virgins has come heartbreakingly close," wrote the agent, many months and submissions later. "What the publishers seem to feel is that this novel is neither fish nor fowl. The campus life is realistic, but the situation is implausible. Also the World War II background is dated. Perhaps if you made it the Korean War and took out the part about the southern senator..."
But if she took out the southern senator, she must take out Debby's past life, and if she took that out, the plot would go. And the Korean War had ended only the year before. Besides, we were moving again, across the river to Portsmouth. My mother consoled herself by starting another Toastmistress Club.
The writing bug did not bite again until a year later. We had been talking about my father and whether I should invite him to my high school graduation. She sat down and wrote a story about a selfish playboy father who suddenly takes an interest in his seventeen-year‑old daughter, whom he has not seen for years. He invites her to come and live with him in his sumptuous house. ("Keep it," his rich second wife had said, "I never had a happy moment in it.") The girl goes, but ends up being more of an opportunist than he. She abandons him after two months when the rich ex‑wife offers to send her to art school. "Nothing is going to stop me from reaching my goal," the daughter writes in her farewell note, which she leaves with his housekeeper. "Maybe you're thinking I am ungrateful. But really, these two months have been so little in comparison with all you could have given me in seventeen years." She even takes the curtains and bedspreads from her room.
"I'm not that bad, am 1?" I asked.
"Of course not, darling. You're ambitious, like she is, but you would never have taken the curtains. I've brought you up better. But I needed her to be as ruthless as she is because I wanted this story to have that fated circular shape, like Greek drama."
The magazines rejected my mother's story about the father and daughter. "Well written, but there are no sympathetic characters," wrote one editor.
My father floored everyone by showing up for my high school graduation. He had to introduce himself, as I had no idea who he was. I flung myself, weeping, into his arms and he invited me to live with him.
'It was a little scary," my mother told me a long time afterward. "I felt I had somehow made it happen by writing that story."
The house of the real father was not sumptuous, and his second wife (not rich) still lived in it with him. It was he, not she, who sent the ambitious daughter off to college. He could afford only the first year: his playboy days were over; he sold cars for his wife's brother-in‑law. In real life, it was he, not the daughter, who left first. For some reason, he took off his watch and placed it on the bedside table. His wife returned from the grocery store and found him lying on the floor, but with his head off the rug to spare her the necessity of dry cleaning it. He needn't have worried; it was a neat job. The coroner found that the first shot had misfired. So he had made his decision twice. There was no explanation, no farewell note to anyone. The daughter was in her third year of college, on a scholarship now. She was rewriting her mother's abandoned novel, The Otherwise Virgins, updating the Chapel Hill campus her mother remembered from too long ago. Mark became a Korean War veteran, as it was now 1958 and there was plenty of information to look up on that war. "I give it to you," her mother had said, now the mother of a little boy, too, and soon to be the mother of a second. "If you can do anything with it, you're welcome. I've somehow lost the urge."
Miss Gail Godwin
The Miami Herald
Fort Lauderdale, Fla.
November, 1959
Dear Miss Godwin:
Haven't I seen this novel before? You say you have just finished it, but I'm sure I recall the kindly southern senator and I'm sorry to say the plot is still as implausible as ever. Regretfully, I am shipping back The Otherwise Virgins to you under separate cover.
Sincerely yours,
Lurton Blassingame
How could I have been so stupid? I thought my mother's agent was Ann Elmo. But obviously, at some point, she must have switched agents. Why can't I pay attention? What a stupid, self-defeating thing to do!
To: Gail Godwin
From: Keith Blackledge, Fort Lauderdale Bureau
Chief, The Miami Herald
August, 1960
...I have spent more time working and worrying over your future than I have spent on the entire rest of the staff combined. I must confess I've been a failure. I apologize for my mistakes. But the fact remains that I cannot see any further benefit from my efforts or yours and I am convinced it would be to your benefit to find someplace to "start over." This has been harsher than I intended it to be. I really feel badly that I have failed to make a good reporter out of obviously promising material. I hope you can use this experience somewhere but I'm afraid you won't do it successfully until you look facts in the face and at the same time quit expecting to get to the moon in one day.
Failed! A failed writer, a failed journalist, at twenty‑three, I don't know what to do. I'd rather die than tell my mother I was...fired. I'm afraid to kill myself, though. I don't have his nerve. I'll get married.
Divorced and twenty‑four, I used the slow hours at my job at the U.S. Embassy in London to work on my novel Gull Key, about a young wife left alone all day on a Florida island while her husband slogs away at his job on the mainland (he is a newspaper photographer). Her discontent swells like a tidal wave...neighbors bicker and age and are held back by their children, making her wonder if marriage and motherhood are for her...a tryst with a sensitive man met in the art section of the public library provides the denouement in which the husband "finds out" and his fist comes crashing through the glass door which she has locked against him and she bandages it up and they decide to separate. The final scene shows the heroine, chastened but reenergized, driving north on A1A, a modern Nora fleeing her doll's house in her own compact car.
After a dozen English publishers turned it down, I sent it off to an agency I'd seen advertised in a magazine: WANTED: UNPUBLISHED NOVELS IN WHICH WOMEN'S PROBLEMS AND LOVE INTERESTS ARE PREDOMINANT. ATTRACTIVE TERMS.
Many months went by and no response. I called directory assistance. The agency had no phone. I went around to the address. It was an empty building. I had made only one copy of Gull Key.
The City Literary Institute was located in a cavernous old building in north London. Somebody said it had been a prison in Dickens's time. But once I discovered it, I attended it every Tuesday evening with the desperate faith of an afflicted person attending a religious shrine. I was badly in need of a miracle. I was twenty‑seven years old and had not yet become what I had wanted to be since the age five: a writer. True, I wrote every evening, long exhaustive entries in my journal, to compensate for boring days. I had stayed for three years in my cushy government job ‑ helping the British plan their holidays in the United States ‑ though I had intended to stay one year. I had begun countless stories and novels but there was something "off" about all of them. Either they had the ring of self‑consciousness about them, or they started too slowly and petered out before I ever got to the interesting material that had inspired me in the first place, or they were so close to the current problems of my own life that I couldn't gain the proper distance and perspective.
Our teacher at the City Literary Institute was an appealing woman who looked as though she had stepped out of another century. She wore her dark hair like Charlotte Brontë did; her skirts were much too long for fashion. She had a rich, dramatically paced voice with which she read to us from the great writers. (When I reread Chekov's "Anyuta" recently, it seemed flat without Miss S.'s enthusiastic intonations and pregnant pauses.) But however she looked our teacher was a thoroughly modern woman and something of a heroine. She worked daytimes as an editor in a prominent publishing house, did interviews for the BBC on weekends, and taught these classes to support herself and her small illegitimate son. Miss S. not only knew what good fiction was, she could tell you why it was good; she at once zeroed in on me, and with a modicum of English tact, told me why my fiction wasn't working. That she was able to tell me, moreover to prescribe exercises to correct my faults, was my good fortune.
The first exercise she gave me was to write a story of 200 words. Two hundred words is less than a typewritten page. Therefore it is necessary to get at the heart of the matter at once. Two hundred words leaves no space for meandering preludes or "artistic" posturings.
Write a story of 300 words. Write a story of 450 words, beginning with this sentence: "Run away," he muttered to himself, sitting up and biting his nails.
When that must be your first sentence, it excludes a story about a woman in her late twenties, adrift among the options of wifehood, career, vocation, a story which I had begun too many times already ‑ both in fiction and in reality ‑ and could not resolve. My teacher wisely understood Gide's maxim for himself as writer: "The best means of learning to know oneself is seeking to understand others."
At last the evening came when I was invited by Miss S. to read my latest story to the class. I was up 4500 words by then. The story was about an English vicar who has seen God, writes a small book about his experience, and becomes famous. He gets caught up in the international lecture‑tour circuit and winds up his exhausting American tour at a small Episcopal college for women in the South. He is at his lowest point, having parroted his own written words until he has lost touch with their meaning. He fears that, given the present pace and pressure of his public life, he will never again approach that private, meditative state of mind that brought God into focus for him.
Many drafts and two years later, this story, first titled "The Illumined Moment ‑ and Consequences," later "An Intermediate Stop," would get me accepted into the Iowa Writers' Workshop. "She has some affectations, but we'll prune them," wrote a member of the reading committee on the bottom of my application.
After I had read my story to Miss S.'s class, its most interesting member came up to me and pronounced himself pleased. Though he never turned in stories himself, he could be depended upon to deliver penetrating judgments upon the work of his classmates. His name was Dr. Marshall, and even the astute Miss S. was a little in awe of him. He was a tall, dark, scowling man with a slight limp who came to class with a motorcycle helmet under his arm, often accompanied by a horsey woman carrying a motorcycle helmet under her arm. Tonight, however, his companion had not come, and after we had discussed certain religious images in my story, he told me he was a psychotherapist. We discovered we lived on the same street in Chelsea, and he rode me home that evening on the back of his Vespa. Within two months we were married and I had time, as did my character Dane Empson, the American girl in The Perfectionists, to meditate amply upon the consequences of our impulsiveness. It had been, on both our parts, a "nervous attachment, rather than a sexual love," as D. H. Lawrence described the marriage of the couple in St. Mawr, a work I had the misfortune to discover after I became Mrs. Marshall. For one year, we did our best to drive each other crazy ‑ and both almost succeeded. Our union finally dissolved in a nightmarish vacation in Majorca; the figurative truths of that year, if not the literal ones, were to become my first published novel. But to give credit where it is due, this man who was impossible as my mate was the person who may well have made it possible for me to start being the writer I knew I could be. And I don't mean the obvious ‑ that our marriage was to become the material for my novel.
As I have mentioned, he was a psychotherapist, and during our year together I saw him do wonders for several people. Some doctors are extraordinarily gifted as diagnosticians, and he was one of them; also, he was willing to try the most unorthodox of cures. This bothered me at the time; more conventional than I am now, I wanted him to declare himself a Jungian, a Freudian. Meanwhile, off he went to a Scientology lecture, to sees what useful ideas he could derive from that controversial organization. My own "cure," ironically, was derived from a method he had picked up from the Scientologists. It consisted in asking the patient the same question over and over again until the patient came up with an answer that set off a feeling of "release" in him, a relieving certainty that he had at last really answered the question.
Shortly after our fiasco‑vacation in Majorca, and just before I was to depart for a visit to the United States from which I suspect both of us unconsciously knew I would not return, we sat under a very old mulberry tree, which was staked and wired together to preserve it as long as possible. It was known locally Sir Thomas More's mulberry, though that would have made it over four hundred years old. The building where we lived was on land that had once been his.
"I am going to die if I can't be a writer," I said.
"Why can't you be a writer?" he asked.
"Because...I don't know....something keeps getting in the way."
"I see. But why can't you be a writer?"
"Because! I told you, something never quite...jells."
"Hmm. But...why can't you be a writer?"
"Oh, I don't know. Look at my mother. She wrote and wrote and wrote. And nobody ever published her novels. Heartbreaking."
"Yes. But why can't you be a writer?"
"When I write in my journals, it's fine. You know it is, you bastard, you've read them yourself, without my permission. They flow, they're real. Whereas, the minute I put on my writing hat and sit down to 'write a story' I bore myself to death. I kill it, I kill the whole thing."
"I see. Why can't you be a writer, then?"
"Because. . . because. . . OH, GOD! Because I'm afraid I might fail!"
The sun was weakening, cold for June, but I felt as if I'd been given an injection of some warm energy. "Good God," I said, "that's it! That's it, you know. What a spineless, lily‑livered fraidy-cat I have been!
"Yes, that's it," he said, in his cool, professional voice. But I saw the blood come into his face; the blush of exultation; he knew he had freed me. Even if it meant freeing me from him.


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Most readers may be very familiar with Italian architecture lab Cityvision for its thought-provoking architectural ideas competitions [...]. Now Cityvision goes traveling and pitches its tent in Los Angeles this March. For the first time abroad, the exhibition Worlds of Cityvision will be on display at Woodbury University's WUHO Gallery from March 6-23. — bustler.net
Worlds of Cityvisions will also see the launch of the new international competition Evolution: the architecture of future mankind, about the future of Beijing featuring a special jury panel comprised of Sou Fujimoto, Greg Lynn, Sanford Kwinter, Eric de Broche des Combes and Ai Weiwei. View full entry
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I loved this quote by Woody Allen…
It's just an accident that we happen to be on earth, enjoying our silly little moments, distracting ourselves as often as possible so we don't have to really face up to the fact that, you know, we're just temporary people with a very short time in a universe that will eventually be completely gone.
And everything that you value, whether it's Shakespeare, Beethoven, da Vinci, or whatever, will be gone. The earth will be gone. The sun will be gone. There'll be nothing. The best you can do to get through life is distraction. Love works as a distraction. And work works as a distraction. You can distract yourself a billion different ways. But the key is to distract yourself.
Source: Esquire


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Southern Forest Futures Project
Technical Report Released
The Technical Report has been released as Southern Research Station General Technical Report 178.
The HTML version of the technical report is available here.
The science findings and modeling results could inform management and policy analysis of the South's forests. In the chapters of this technical report, the authors provide detailed findings and results as well as sets of key findings and implications.
Summary Report
The Summary Report has been released as Southern Research Station General Technical Report 168. You can also view the "Summary Report Contents" in HTML form at the Forest Futures Summary Report Website with the associated menu selection.
Major Findings Unveiled
The U.S. Forest Service and Southern Group of State Foresters unveiled findings of the Southern Forest Futures Project on May 17, 2011.
The project is a multi-year research effort that forecasts changes in southern forests between 2010 and 2060.
The News Release is available here.
Project Leader Biographies
- David Wear, co-project lead, economist, Southern Research Station
- John Greis, co-project lead, forester, Southern Region
10 Key Findings
- The interaction of population growth, climate change, timber markets, and invasive species will define the South's future forests.
- Urbanization is forecasted to result in forest losses, increased carbon emissions, and stress to other forest resources.
- Southern forests could sustain higher timber production levels, but demand is the limiting factor and demand growth is uncertain.
- A strong market for biomass energy could bring wood demands that are large enough to trigger changes in forest conditions, management, and markets.
- A combination of factors has the potential to decrease water availability and degrade quality; forest conservation and management can help mitigate these effects.
- Invasive species create a great but uncertain potential for ecological changes and economic losses.
- An extended fire season combined with obstacles to prescribed burning would increase wildland fire-related hazards.
- Private landowners continue to control the future of forests in the South, but ownership patterns could change and modify the future.
- Threats to species of conservation concern are widespread but are especially concentrated in the Coastal Plan and the Appalachian-Cumberland subregions.
- Increasing populations would increase demand for forest based recreation while the availability of land to meet these needs is forecasted to decline.
The Summary Report provides more details on the project's findings. For more information visit the News page.
About the Southern Forest Futures Project
The Southern Forest Futures Project (SFFP) is a multi-year research effort that analyzes and forecasts probable changes in southern forests between 2010 and 2060. It builds from the Southern Forest Resource Assessment completed in 2002 and addresses a set of contemporary issues surrounding forests in the South.
Using computer modeling and cutting-edge scientific analysis, SFFP presents a range of plausible futures or scenarios of the South's forests based on a variety of influences such as urbanization, bioenergy, climate change, land ownership changes, and invasive species. Forecasts provide a foundation for examining several broad "meta-issues" affecting southern forests, including fire, bioenergy, water supply, and wildlife.
The overall goal of SFFP is to inform land management strategies, policy discussions, and program decisions with the clearest understanding of the potential long-term implications of changes in forests of the 13 southern states.
The research project was chartered by the USDA Forest Service Southern Region, the Forest Service's Southern Research Station, and the Southern Group of State Foresters.
SFFP will release findings in two phases:
Phase 1: Two reports that examine issues across the South:
- A 17-chapter technical report containing detailed findings;
- A summary report that provides a synthesis of the most critical findings


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Call for Makers World Maker Faire New York 2013
Maker Faire showcases the amazing work of all kinds and ages of makers—anyone who is embracing the do-it-yourself (or do-it-together) spirit and wants to share their accomplishments with an appreciative audience.
When: September 21 & 22, 2013
Where: New York Hall of Science
The deadline for Maker entries has passed. We have received an unprecedented number of applications for World Maker Faire New York 2013 and are not considering any new applications at this time. However, you can still participate:
- If you would like to volunteer your time and make an invaluable contribution to the success of Maker Faire, please sign up for our Maker Corps at Maker Faire Program, which is a platform to enhance your skills and learn about the Maker Movement. You will have a behind-the-scenes experience, and help make the Greatest Show (and Tell) on Earth happen! Learn more here.
- Plan to come as an attendee, enjoy the show and support the Maker movement by purchasing your tickets early!
ENTRY INFORMATIONEntry Opens: Wednesday, June 5, 2013
Entry Closes: Sunday, August 4, 2013
- Further details and descriptions of these categories can be found below.
- You can fill out more than one proposal in one or more categories.
- Before you start your application, select a quality photo of your project and yourself.
- 1) Third-party cookies must be enabled in your browser. Find instructions here.
- 2) If you used a social media account to register, use the same one each time you login.
Application InformationWe have upgraded our application system. The first step to participating in Maker Faire is to submit an entry using the appropriate link above. To apply, you will need to create a NEW Maker Media profile. The next step is filling out the Maker Faire exhibit application.
We particularly encourage exhibits that are interactive and that highlight the process of making things.
Here are just some of the topics that we're looking for:
- Student projects
- Robotics
- Arduino projects
- Raspberry Pi
- Space projects
- Food makers
- Conductive materials projects
- Kit makers
- Interactive art projects
- 3D Printers and CNC Mills
- Textile Arts and Crafts
- Home Energy Monitoring
- Rockets and RC Toys
- Sustainability
- Green Tech
- Radios, Vintage Computers and Game Systems
- Electronics
- Electric Vehicles
- Biology/Biotech and Chemistry projects
- Puppets
- Kites
- Bicycles
- Shelter (Tents, Domes, etc.)
- Music Performances and Participation
- Unusual Tools or Machines
- How to Fix Things or Take them Apart (Vacuums, Clocks, Washing Machines, etc.)
Entry Form TypesMaker Exhibit: Individuals, groups, schools and organizations that would like to demonstrate what they make and/or how it works in an all-weekend exhibit space; interactive exhibits are encouraged. For maker groups, please have one point person to coordinate your efforts. No fee for standard Maker Exhibits. Maker Exhibit can also include these two sub-types:
- Non-Profit and Cause or Mission Based Associations, Institutions and Organizations : In an effort to respond to requests from a variety of organizations that would like to participate in Maker Faire, we have created a special category where organizations can qualify for special reduced rates to participate in Maker Faire. (Please note that this fee is due for a 10 x 10 space only and does not include electrical, internet or other requirements.) Complete the Maker Exhibit Form and someone from the Maker Faire team will contact you with details. This statement does not apply to makerspaces or hackerspaces, which receive free exhibit space at Maker Faire. If your organization cannot afford this fee, please continue to fill out the application, indicate you are a Non-Profit or Organization and provide details in the space indicated. We will take this into consideration while reviewing your application.
- Commercial Makers : Individuals who would like to sell or market products along with demonstrating what they make at their maker exhibit. Submit a Maker Exhibit application and indicate that you are a Commercial Maker. There is a fee of $300 for a standard set-up (fee due September 6th). Please note, companies or commercial entities do not qualify as Commercial Makers. If you are a company or commercial entity, we have great opportunities available—please see Sponsors.
- If you need a space, away from a stage to perform many times during the weekend, fill out the Maker Exhibit application.
- If you plan to have a scheduled performance once or twice during the faire, fill out the Performer application.
Sponsors: Companies and commercial entities are welcomed as sponsors at Maker Faire. For more information about becoming a sponsor, please see Sponsors.
Entry Form Photo InformationWhen applying, you are required to provide a project (or presentation) photo and a bio photo. Please have these ready before you start your application.
Other Ways to Participate at Maker FaireRoad to Maker Faire Challenge: Presented by Esurance, the Road to Maker Faire Challenge will award one lucky maker with $2,500 to bring their project to World Maker Faire New York! You may apply with the same project you are submitting to Maker Faire. Applications are now open, and you have until August 5th to submit a project via the Road to Maker Faire Challenge website.
Crafters: If you are an indie crafter, and your primary intent is to sell your products at Maker Faire, apply to BUST Craftacular. BUST Craftacular is an independent craft faire held within Maker Faire. Both Commercial Makers and BUST vendors are a part of Maker Faire. BUST Craftacular is an area dedicated to people who are only selling their wares. Commercial Makers exhibit in various areas of the event, demonstrating what they make and selling as an side-addition to their DIY demonstration; selling is not the focus of their exhibit.
Volunteer / Maker Corps at Maker Faire Training: For information about making an invaluable contribution at Maker Faire, please stay-tuned for our Maker Corps at Maker Faire training program. Link and information coming soon.
Food Vendors: Food concessionaires follow a different application process. Do not fill out the entry forms above. If you are interested in food vending at Maker Faire, please email details to email@example.com.
What Happens NextImmediately following your submission, you will receive and email confirming that we have your application. If you don't receive this email, let us know: firstname.lastname@example.com. Acceptances are sent via email approximately 2 months before the show. Once accepted, begin to plan for your participation. We will send regular Maker Newsletter updates and your Maker Agreement in advance of the event.
Aspiring makers are encouraged to follow Maker Faire on Twitter, via our Maker Faire Facebook feed, and on G+ to keep up with the latest news on makers and Maker Faire.
We look forward to seeing you at World Maker Faire New York!


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Outgoing SMTP Authentication
Article Information
|This article applies to the following ZCS versions.
When you need to route all outgoing mail through your ISP's MTA, and that MTA requires that you authenticate, certain settings in postfix are required.
For this example, we will use mailrelay.example.com as the outgoing relay The authentication user will be username The password will be password
The outbound destination should be the canonical address. postfix will resolve CNAMEs to canonical addresses and then use that to lookup the username and password .
Godaddy example:
smtpout.secureserver.net is really smtp.starfieldtech.com, so make sure you enter smtp.starfieldtech.com nslookup smtpout.secureserver.net ... Non-authoritative answer: smtpout.secureserver.net canonical name = smtp.starfieldtech.com. Name: smtp.starfieldtech.com Address: 126.96.36.199
Run all commands as the zimbra user
Setting a relay host
see also Sending mail through an external relay
Set the relay host in the admin console, MTA tab to point to your ISPs outgoing mail server. Your ISP can tell you the proper value for this.
You may have to set the port, as well. From the command line:
zmprov ms server.domain.com zimbraMtaRelayHost external.relay.com:#
Enabling SMTP authentication
Create a text file mapping which name/password should be used for each given outbound destination:
echo mailrelay.example.com username:password > /opt/zimbra/conf/relay_password
Create a postfix lookup table:
postmap hash:/opt/zimbra/conf/relay_password
To test that the lookup table is correct, the following should return username:password:
postmap -q mailrelay.example.com /opt/zimbra/conf/relay_password
Configure postfix to use the new password map:
postconf -e smtp_sasl_password_maps=hash:/opt/zimbra/conf/relay_password
Configure postfix to use SSL authentication:
postconf -e smtp_sasl_auth_enable=yes
Configure postfix to use the outgoing servername rather than the canonical server name:
postconf -e smtp_cname_overrides_servername=no
smtp_cname_overrides_servername=no is used because many smtp servers forward the connection different server than the one set in the smtp_sasl_password_maps file.
Example of the problem :
/opt/zimbra/conf/relay_password :
smtp.gmail.com firstname.lastname@example.com:password
but postfix connects to gmail-smtp.l.google.com
Postfix will not send the authentication info contained in smtp_sasl_password_maps file because it as no entry for the server gmail-smtp.l.google.com but has one for smtp.gmail.com
If you apply smtp_tls_per_site settings then smtp_cname_overrides_servername may become obsolete.
Restart postfix:
postfix reload
Enable TLS
As Zimbra user:
postconf -e smtp_use_tls=yes postfix reload
After sending a test message, check the Log Files for the error:
(Authentication failed: cannot SASL authenticate to server ...: no mechanism available)
You can fix this problem by tweaking the auth mechanisms that postfix is willing to use. First check what auth mechanism postfix is configured to use - by default, you will see:
postconf smtp_sasl_security_options smtp_sasl_security_options = noplaintext, noanonymous
Since noplaintext is present, postfix will refuse to use a mechanism that sends passwords in the clear. If your upstream relay host only supports PLAIN or LOGIN mechanisms (both of which send password in the clear), you have to remove noplaintext from smtp_sasl_security_options.
To see if you upstream relay expects passwords in clear, enable higher level logging by setting the following flags and reloading postfix. (Replace mail.host.com with your relay name). This should increase what's logged for the smtp auth transaction. For more information read man 5 postconf.
postconf -e debug_peer_list=mail.host.com postconf -e debug_peer_level=3 postfix reload
The log file /var/log/zimbra.log will contain something like the following:
Aug 3 17:50:19 mailserver_name postfix/smtp[7273]: smtp_sasl_authenticate: mail.host.com[000.000.000.000]:25: SASL mechanisms PLAIN LOGIN
To remove the noplaintext option, do the following:
postconf -e smtp_sasl_security_options=noanonymous postfix reload
If you are concerned about password-in-the-clear and your upstream relay host offers TLS, you might be interested in this smtp_use_tls variable.
See also [1].
Don't use brackets [] around the server name definition as seen in many places. Exp.:[smtp.gmail.com]
AT&T Yahoo DSL Specific
If outgoing mail is not being delivered and /var/log/mail.log shows:
(lost connection with smtp.att.yahoo.com while receiving the initial server greeting)
Some ISP's SMTP servers do not implement TLS properly on port 465 (AT&T Yahoo DSL in particular); mail clients handle this when making an SSL connection, however Postfix loses the server connection in this case. Port 587, the standard secondary SSL SMTP port, does work properly with TLS.
The proper commands for AT&T DSL customers in the above setup are:
zmprov ms server.domain.com zimbraMtaRelayHost external.relay.com:#
zmprov ms server.domain.com zimbraMtaRelayHost smtp.att.yahoo.com:587
And add:
postconf -e smtp_sasl_mechanism_filter=plain,login postconf -e smtp_sasl_security_options=noanonymous postconf -e smtp_tls_security_level=may
With those changes the connection works properly. Source [2]
Beware, new wrinkle if using Yahoo!/AT&T DSL's outgoing SMTP. You MUST login to your Yahoo! webmail account once a year or the account is disabled. They take their sweet time reenabling it (as I'm finding out today) and your outgoing mail is bounced in the meantime.
Persistence across Zimbra restarts
In my experience with ZCS 6.0.2 the postconf commands did not stick across restarts which resulted in mail getting queued up or bounced for many hours before I noticed. After much frustration and Googling I discovered the answer is to use zmlocalconfig either instead of or in addition to postconf. Postconf & postfix reload will apply the settings immediately but not persist across restarts. zmlocalconfig requires a full Zimbra restart using 'zmcontrol stop' and 'zmcontrol start' or 'service zimbra restart'.
zmlocalconfig -e postfix_smtp_sasl_password_maps=hash:/opt/zimbra/conf/relay_password zmlocalconfig -e postfix_smtp_sasl_security_options=noanonymous zmlocalconfig -e postfix_smtp_use_tls=yes zmlocalconfig -e postfix_smtp_cname_overrides_servername=no
With the above settings in addition to the settings in #Enabling SMTP authentication I am able to keep settings across restarts. Keeps my users happy and my sanity intact.
Persistence across Zimbra upgrades
I just did an upgrade of Zimbra 5.0.5 to 5.0.8 after doing the above - and all of the relay smtp auth changes stayed - they were not wiped out by the upgrade.


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The Intercultural Theatre Project ''Koran School''Intensive Course in Muslim Life in Germany
It's an intensive course on Islam and migration in Germany – a hands-on, interactive experience. A Koran diploma in sixteen lessons? Maybe not that, but the evening certainly does provide a significant insight into the everyday life of Muslims in Germany.
'Koran School', the title of the project, might for some theatregoers initially evoke unpleasant associations. But this is something the project organizers are consciously playing with. The idea is for people to let themselves in for things they're not used to; to challenge their preconceptions. There is, of course, an additional educational aspect, and that's why the piece is structured into lessons.
Different subjects are addressed in different locations, like individual teaching units. The aim is for non-Muslims to overcome their reservations in dealing with Muslims. For the Muslims whose voices are the piece, education is an important element of their faith: they themselves once had to read about what it means to be a Muslim and form their own opinion on the subject.
Immersing oneself in everyday Muslim life
School begins on the forecourt of the National Theatre, where first of all the curious theatregoers are all given Muslim names. Klaus becomes Musan, Michaela becomes Suveda, and Martin is Cihad. It's not so easy for a man called Christian suddenly to think of himself as Hassan.
But it immediately becomes clear what this is all about: really immersing yourself in everyday Muslim life, without over-intellectualizing it, without reservation, and above all without fear.
To start off with there is a brainstorming session in which the audience gets all their ideas and prejudices about Islam off their chest, covering everything from fasting to Salafists. Immediately afterwards we set off to test these against reality.
We are taken by taxi (the fact that the driver looks Arab and is called Tahir is probably a coincidence) to Jungbusch, a part of town with a similar reputation to Neukölln in Berlin: migrant neighbourhood, problematic, poor. There is an element of truth to this, as the visitors will discover for themselves. But their impression will also be enhanced by other characteristics: friendliness, openness, diversity, and joie de vivre.
Revelation of the Koran in the local dialect
This impression is communicated by more than just the Sunni community's Christmas greeting poster stuck on a column of the Fatih Mosque, or by the imam who relates the story of the revelation of the Koran in the local Mannheimer dialect and promises to reward his patient listeners with gummi bears. The children shouting outside in the playground as we sit in the mosque's impressive prayer room and the hip-hop music playing in the street also convey this sense of a life both vivid and perfectly normal.
Individual portraits of Mannheim Muslims, whose personal stories are conveyed with intensity by actors from the theatre, demonstrate how Islam can be lived in a variety of different ways.
A young woman in a hairdressing salon tosses her long hair as she explains how important her faith is to her, and that as far as this is concerned she doesn't let anybody tell her what to do – not even her family. At the conference table in the advertising agency a hardworking boss reveals his disappointment that the good relationship his children had with their female teacher broke down over the fact that his wife wears the full-body veil.
A female refugee from Iraq tells in broken German of her depressing life in the asylum seekers' hostel, and her experience in a chapel of a quiet peace that moved her to tears. The deeply religious family man who receives the guests in his living room may not believe that Christians will be admitted to Paradise, but he even wishes "that the Koran is wrong, so that you will be admitted to Paradise too".
Fiction for some – for others, faith
We then take the tram for an interactive return journey to the National Theatre. Over the loudspeaker a real muezzin calls us to prayer – the final big challenge for the curious cultural explorer. For those who dare to join in (and for the faithful), the next step is taking off our shoes, unrolling the prayer mat, copying the imam's movements: learning by doing, familiarising ourselves, overcoming inhibitions. Fiction for some – for others, faith.
The final prayer functions as a self-test for each individual. How open am I? Am I open to things that are unfamiliar? There's no diploma at the end of the course, but the willingness to learn and understand earns rousing applause.
The 'Koran School' grew out of an initiative by the National Theatre of Mannheim, which regularly runs projects in the city that go beyond the theatre itself, or involve the participation of local people. Nina Gühlstorff and Dorothea Schröder, the two directors of the project, also already have experience in staging interview-based city projects in several towns.
There is a logic to their choice of Islam as the subject to address in Mannheim. The Yavuz Sultan Selim Mosque here is home to one of the biggest mosque congregations in Germany, and foreigners in general are very much a part of the townscape. On the other hand, there is also a lack of daily contact between the various population groups in the city, and one encounters the same resentments that are found elsewhere in Germany as well.
Excellent cooperation with the Muslim community
The directors conducted around fifty interviews with people of very different origins and religious orientations. These were used as a basis for the actors' monologues, which are intended to reproduce voices that are otherwise seldom heard in the public sphere. The local context is a key element in this. The piece is specifically about the life and religious practice of Muslims in Mannheim, not some abstract Islam somewhere in Europe.
According to the dramaturge Jan-Philipp Possmann, the cooperation with the Muslim community was excellent. The fact that only one mosque is used as a location has nothing to do with lack of interest from other congregations, he says; it is simply a question of the timeframe that has to be adhered to.
Hardly anyone voiced any objections in the run-up to the project. Some commentators criticized the production for not maintaining the necessary critical distance to the religion. Possmann's response is that there are hardly any Muslim characters in contemporary theatre. "We have Christian characters and Christian subject matter on stage all the time, and no one ever says we're not maintaining the necessary distance to them. For us, in the first place, the most important thing was that we address the topic at all."
This is also the main aim of the project: to introduce an unknown topic, to convey knowledge, and in doing so to break down prejudices, using simple and sometimes very private questions. "What does it mean to wear a headscarf? How does it feel to be a Muslim?"
The fact that the perspective in this instance is a non-Muslim one is the logical consequence of the way the project came about. Its initiators also have no illusions about the fact that 90% of the audience are non-Muslims. What they want to do, though, is to set in motion a process between the Muslim community involved in the piece and the visitors, who encounter each other on the evening of the performance.
If those present that evening acquire a different perception of their surroundings, the 'Koran School' will have achieved its purpose. Everyone moves up a class. The next educational target is for them to apply this newly-acquired knowledge in their everyday lives.
Susanne Kappe
© Qantara.de 2012
Translated from the German by Charlotte Collins
Editor: Lewis Gropp/Qantara.de
'Koran School' runs for a total of ten performances in May, June and July at the National Theater Mannheim, Germany
Comments for this article: Intensive Course in Muslim Life in Germany
i am interested to study Muslim lifestephen g ndungu10.03.2014 | 14:06 Uhr


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Things to see
The incredible number of art pieces are displayed chronologically; visitor can get lost admiring unique masterpieces like Giotto and Cimabue paintings, Masaccio and Piero della Francesca works or the famous and breathtaking Birth of Venus by Sandro Botticelli!
It is also possible to book a visit to the Vasari Corridor that connected The Uffizi Gallery with Palazzo Vecchio and Palazzo Pitti. Long over a kilometer the Corridor is embellished by 17th and 18th century paintings. The views of Florence from its windows are simply spectacular!
Today the Uffizi Gallery is among the most famous attractions of Florence with almost two millions visitors every year.


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text: Jason Bittner, started taking formal drum lessons at the age of ten years old, however he had been banging on pots, pans, and garbage cans since he was about five. A native of Albany, NY, he continued to take lessons and perform in his middle school and high school jazz and orchestra ensembles before heading off to the prestigious Berklee College of Music in 1988. After studying theory, arranging, and Latin and jazz drumming styles, he left Berklee to pursue his musical career outside the educational environment. This led to playing in various metal and hard rock bands throughout the late eighties and early nineties. During this period he was also attending a local community college (for an unrelated degree) and performing with their jazz and percussion ensembles. In 1994 he joined Stigmata, who was, at the time, one of the biggest hardcore bands on the New York scene. Over the course of the next 7 years, he recorded 3 albums, released a home video, and toured the U.S. and Europe with this outfit. After being together for over a decade, the band decided to call it a day in 2001. As luck would have it, it would be the fall of 2001 when Bittner joined Century Media recording artists Shadows Fall. Initially he signed on just to do one tour of Europe with the band, but considering that fact that the band had so much going for them, and the chemistry between the 5 members was so great, he decided to quit his job and stay a permanent member. In September of 2002 the band released "The Art of Balance" and went on to tour relentlessly all over the US, Japan and Europe from venues ranging from small clubs to the stage of OZZFEST 2003. It was also during this time period when Bittner won his first Modern Drummer Reader's poll for #1 Up and Coming Drummer of 2004. September of 2004 brought the release of the album "The War Within", which debuted at #38 on the Billboard charts. Over the next year, the band once again toured all over the world, including arena tours with Slipknot, and a main stage spot on OZZFEST 2005. At this time, TWW has scanned over a quarter million copies, and has also received a Grammy nomination for Best Metal Performance. This record was also powerful enough to help Bittner win again in the 2005 MD readers'poll, this time for #1 Best Recorded Performance, and #1 Metal drummer. Over the course of 2005, Bittner started establishing himself as a clinician as well. He performed at the Modern Drummer Festival in May of 2005 to a standing ovation. In September, he performed at the DRUMMER live festival in the UK, followed by a clinic tour of Germany, and he also performed at PASIC in November of 2005. November of 2005 also brought the release of Shadows Fall's first ever DVD, "The Art of Touring" which Bittner helped film and produce. In 2006 Bittner was a very busy man. In the first three months he played fill in gigs for Anthrax, Hudson Music released a joint DVD with him and Chris Adler, Pro-Mark introduced the Jason Bittner Signature model 5BX drumstick, and Meinl introduced the Bell Blast ride, designed in conjunction with Jason. He was the cover feature of the UK drum publications, DRUMMER and Rhythm, and the cover feature of DRUM! In July. He was also one of the handful of lucky drummers who got to participate on Magna Carta's Drum Nation 3 record. Jason also won the Modern Drummer Reader's poll for the second year in a row for 2006 #1 Metal drummer. As for Shadows Fall, 2006 was also very productive year. The band released "Fallout From the War" on Century Media Records. Signed a Major Label Deal with Atlantic. Records. Toured throughout July and August in support of "Fallout", and spent the remainder of the year writing and recording "Threads of Life" at Studio 606 in L.A. with Producer Nick Raskulinecz (Foo Fighters, RUSH). So far 2007 has been just as busy for Bittner and Shadows Fall. In the early Winter months, Jason spent much of his time writing and recording new material for his side project, "Burning Human". He also released a new book called "Drumming Out of The Shadows", authored by Joe Bergamini, available through Carl Fischer Publications. From March through May, Shadows Fall toured in support of Stone Sour on the Jagermeister Music Tour. "Threads of Life" was released by Atlantic Records on April 3rd, and the band signed an International Label deal with Road Runner records to distribute the new release overseas. In May, Jason was the cover feature of Modern Drummer magazine, and then went on to take the #2 Metal drummer and #5 Educational DVD positions in their 2007 reader's poll. On June 9th, Shadows Fall rocked the Main Stage at the massive Download Festival, In Donningon, UK. From July through August, Shadows Fall will be featured on The Sounds of the Underground tour alongside GWAR, Chimaira, Job For A Cowboy, and Every Time I Die. In other international news, Bittner has signed on to write a monthly drum column for RYTHYM magazine in the UK starting in August. And lastly, he has been selected to be a faculty member at the Drum Fantasy Camp to be held at Seton Hall University, August 17th - 21st, alongside Steve Smith, Dave Weckl, and Horacio Hernandez.


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Now showing items 1-5 of 5
Snake Venomics of the Central American Rattlesnake Crotalus simus and the South American Crotalus durissus Complex Points to Neurotoxicity as an Adaptive Paedomorphic Trend along Crotalus Dispersal in South America
We report a comparative venomic and antivenomic characterization of the venoms of newborn and adult specimens of the Central American rattlesnake, Crotalus simus, and of the subspecies cumanensis, durissus, ruruima, and ...
Profiling the venom gland transcriptomes of Costa Rican snakes by 454 pyrosequencing
(BMC Genomics, 12:259, 2011, 2011)
Background: A long term research goal of venomics, of applied importance for improving current antivenom therapy, but also for drug discovery, is to understand the pharmacological potential of venoms. Individually ...
Venomic and antivenomic analyses of the Central American coral snake, Micrurus nigrocinctus (Elapidae)
The proteome of the venom of Micrurus nigrocinctus (Central American coral snake) was analyzed by a "venomics" approach. Nearly 50 venom peaks were resolved by RP-HPLC, revealing a complex protein composition. Comparative ...
Venoms of Micrurus coral snakes: evolutionary trends in compositional patterns emerging from proteomic analyses
The application of proteomic tools to the study of snake venoms has led to an impressive growth in the knowledge about their composition (venomics), immunogenicity (antivenomics), and toxicity (toxicovenomics). About ...
Snake venomics and antivenomics: Proteomic tools in the design and control of antivenoms for the treatment of snakebite envenoming
Snakebite envenoming represents a neglected tropical disease that has a heavy public health impact, particularly in Asia, Africa and Latin America. A global initiative, aimed at increasing antivenom production and ...


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Brookshaw Pl. 73, White Filbert; Scarlet Filbert; Barcelona Filbert; English Cob Nut; two varieties from Isaac Swainson; White Hazle Nut; Brown Hazle Nut
Published by Oppenheimer Editions, 2011
Limited edition of 200
23" x 18 1/2"
Framed Option:
Available After Adding Item to Cart
Type of Artwork: Oppenheimer Editions Print
Brookshaw Pl. 73, White Filbert; Scarlet Filbert; Barcelona Filbert; English Cob Nut; two varieties from Isaac Swainson; White Hazle Nut; Brown Hazle Nut
Oppenheimer Editions Print
23" x 18 1/2"
Limited edition of 200
Published 2011
Blind embossed with the Oppenheimer Editions logo
Pomona Britannica—Published by Oppenheimer Editions
Pomona Britannica, or a Collection of the Most Esteemed Fruits at present cultivated in the country…selected principally from the royal gardens at Hampton Court…accurately drawn and coloured from nature, with full descriptions was published in London from 1804—1812. Comprising 90 aquatint engravings, including 256 depictions of British fruit, after paintings by George Brookshaw. Published in London and engraved by R. Brookshaw and H. Merke.
George Brookshaw (1751—1823) was born in Birmingham, England where he was apprenticed to Samuel Troughton (d. 1783), a Birmingham painter and japanner. According to a recent blog post related to St. Philips Cathedral, Birmingham, England, entitled In Search of Sobieski Brookshaw, by Gill Partridge, he may have received some art training from his father, also named George Brookshaw, who is listed as an engraver in a document dated 1751. George Brookshaw's brother, Richard Brookshaw (1736—c.1804) was a portrait painter and engraver well versed in mezzotint and copperplate engraving techniques, and may have instructed his brother.
In 1777, Brookshaw moved from Birmingham to London and began a celebrated career building fine cabinets detailed with hand-painted botanical and pomological motifs. Shortly afterward, in 1778, he married Sobieski Grice (1749—1811), daughter of William Grice, a prosperous gunsmith.The Prince of Wales was the most distinguished of Brookshaw's well-heeled patrons, and today examples of Brookshaw's cabinetry may be seen at the Victoria & Albert Museum, London. According to church records noted in Gill Partridge's post, both George Brookshaw and Sobieski Grice were baptized at the Birmingham Cathedral. In his cabinet-making shop, Brookshaw also offered lessons in flower painting to 'Ladies of Taste and Fashion'.
During the mid 1790s, it appears his furniture-making business went bankrupt, and he led his life under an assumed name, G. Brown. In 1991, Lucy Wood wrote two articles in which she drew the connection between G. Brown and George Brookshaw. During his years of anonymity, Brookshaw worked as an illustrator of botanical books and gave flower-painting lessons, which may have been his primary source of income. Apparently, the marriage dowry he enjoyed while married to Sobieski Grice was lost after their marriage dissolved. Brookshaw returned to public view as the earliest parts of Pomona Britannica were issued.
In Flower and Print Books of the 18th and Early 19th Centuries, Gordon Dunthorne extolls the virtues of George Brookshaw's large folio edition. "One of the eminent English artists of the early nineteenth century is George Brookshaw, who issued in 1812, Pomona Britannica. Ninety aquatint plates, printed in colour and on a scale comparable to Thornton's Temple of Flora, depict the fruit grown around London and particularly in the royal gardens at Hampton Court. In Aquatint Engravings, George Brookshaw's Pomona Britannica is described by S. T. Prideaux as "one of the finest colour plate books in existence." In many of these plates the lovely mellow tones of the fruit glow against the dark or light brown backgrounds."
References: Sacheverell Sitwell, Great Flower Books 1700—1900; Flower and Print Books of the 18th and Early 19th Centuries, Gordon Dunthorne, 1938, pages 179—180.
Established in 1999, Oppenheimer Editions has partnered with prestigious museums to make prints from their holdings. Works from the New-York Historical Society's unrivaled collections of John James Audubon's watercolors and the Hudson River School paintings are examples of art that otherwise would be unobtainable. Among the institutional collections we have partnered with are the American Museum of Natural History, the Field Museum, and Royal Botanic Gardens, Kew. These are not mere reproductions. They are limited-edition fine art prints made with the finest quality archival pigments on rag watercolor paper and executed to exacting standards.


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For Worldwide Release: July 2013
Release Number: M8PR13
Caterpillar Marine Power Systems is pleased to announce the introduction of the Cat® Powered Marine Hybrid System, a complete hybrid propulsion package applicable to all engine platforms. Developed with electrical specialists Aspin Kemp & Associates (AKA), the package utilizes AKA's XeroPoint Hybrid marine propulsion system and provides fuel savings of up to 25% and even emissions reductions. A recent CARB study found a 73% reduction in PM, 50% reduction in NOx & 26% reduction in CO2. Significant improvements are also seen in performance, control and noise levels. The new Cat Powered Marine Hybrid System is currently available for order through the Cat Dealer network.
"Caterpillar has a long history of providing innovation to the marine industry. As an organization with a large global footprint, we recognize the importance of environmental sustainability," noted Tom Frake, Caterpillar Marine and Petroleum Power Division vice president. "At Caterpillar, we have made it a priority to leverage the technology and innovation that will minimize emissions and fuel consumption while optimizing the use of renewable resources. We believe that AKA's XeroPoint Hybrid marine propulsion system aligns very well with our corporate strategy and we are delighted to work with them to offer hybrid technology to our worldwide client base."
The Cat Powered Marine Hybrid System is currently being utilized in the global tug and salvage market. The RT Adriaan, a hydrid tug built by Kotug, features 3x Cat 3512 marine engines as well as the new hybrid system. Pleased with the performance of the Cat hybrid system, Kotug has elected to install the system on two new tugs currently under construction at the DAMEN shipyard. Two more hybrid ready tugs are currently under construction at CHEOY LEE Shipyard.
Kotug COO, Harrold van der Meer said "We chose the Cat Powered Hybrid Solution because of Caterpillar's proven track record of hybrid systems across industries. We're clearly experiencing better performance and fuel economy overall, and particularly at low load where we operate the majority of the time. You can't beat the reliability of Cat 3500s, and with the total package being delivered to the yard from the Cat dealer, it was easy for everyone involved. And, we can feel great about the ultra-clean emissions."
The Cat Marine Hybrid System optimizes the use of currently available components and operates diesel engines at peak efficiency. For customers, this means significant reductions in owning and operating costs, with decreased fuel consumption and maximized reliability. With the Cat hybrid system, vessels have the potential to increase operating efficiencies as well as meet or exceed increasingly stringent environmental requirements. The system is completely customizable to specific customer specifications and can provide payback periods in less than 5 years in many instances.
"Although the projects up to now have exclusively been in tug boats, we are confident that other applications, such as pleasure craft or offshore, will also find this an attractive proposition," said Michael Braun, Caterpillar Marine Power Systems tug and salvage segment manager. "Essentially any vessel that sees duty cycle benefit would also benefit from a hybrid solution. For yacht applications, the hybrid system is able to help the vessel silently maneuver in and out of harbors. For offshore oil and gas applications, the hybrid system provides ample safety benefits in areas of hazardous conditions by being able to operate on purely electrical power."
For more information about Caterpillar and MaK marine engines, please visit MARINE.CAT.COM/pr
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Caterpillar Marine Power Systems, with headquarters in Hamburg, Germany, groups all the marketing and service activities for Cat® and MaK marine engines within Caterpillar Inc. The organisation provides premier power solutions in the medium- and high-speed segments with outputs from 93 to 16,800 kW in main propulsion and 10 to 16,100 kWe in marine generator sets. The sales and service network includes more than 2,100 dealer locations world-wide dedicated to support customers in ocean-going, commercial marine and pleasure craft wherever they are.
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As he watched the 2012 Olympic Games in London, Nathan Golding, 43, thought about the life-changing decision that allowed him to continue his passion for endurance sports.
"I've been athletic since the age of 12," said Golding. "But in the last six years I had chronic pain around my right hip. Incrementally, I was going from being able to run two hours with discomfort to not being able to sleep at night."
Nathan Golding rides again just 3 weeks after surgery.
"Eventually, even 20-minute runs were bugging me, and cycling and swimming did not feel any better. I was worried I may have developed arthritis," said Golding.
Golding's sister had recently been diagnosed with femoroacetabular hip impingement (FAI), a condition where the ball (femoral head) and socket (acetabulum) rub abnormally, creating damage to the hip joint.
"She suggested that I get my hip checked," said Golding. "My primary physician X-rayed my hip several times and said my hip joints appeared remarkably healthy."
But it was a conversation Golding had with his neighbor that changed the course of his health care.
"My neighbor was doing his residency in orthopedics at UC San Diego Health under Dr. Robertson and suggested I go to her for a second opinion," said Golding.
"Nathan and I discussed a number of treatment options. Because he is a very dedicated athlete and had failed other treatments, we decided to move forward with hip arthroscopy to repair the labrum and shave down the abnormal bone," said Catherine Robertson, MD, assistant clinical professor with the Department of Orthopedic Surgery at UC San Diego School of Medicine.
"The closer I got to my procedure, the more scared I was of having my hip explored and repaired, a procedure that would require having my hip temporarily dislocated. But I was quickly put at ease by Dr. Robertson and her staff," said Golding.
When Golding woke up from surgery, he was informed that more repairs were needed than originally anticipated.
"There was more cartilage damage than the MRI had indicated," said Robertson. "But the good news was that Nathan's joint was in good health."
Golding started the rehabilitation process soon after surgery, pushing himself a little more each day.
"I trained on my bike every day, and within a week, I started physical therapy. I was very motivated to heal," said Golding. "Pretty soon I was doing hill intervals at Torrey Pines and five hour bike rides on the road."
Golding says there was a bit of discomfort in his hip at night if he pushed himself a little too hard on his bike, but he learned how to listen to his body during the recovery process.
"One day I was so frustrated, I threw my crutches against the floor," said Golding. "I just wanted to be able to walk without them, and after about two months, I did."
It was Robertson's approach to surgery and the patient that Golding says lead to his successful recovery.
"I was so impressed with Dr. Robertson's technical knowledge and understanding of the hi-tech materials she uses to make repairs. I could not have asked for a better surgeon who not only understands orthopedics, but is also in tune with the psychological and emotional needs of her patients," said Golding.
Although he still has minor tightness in his hip, Golding is back to doing all the activities he loves.
"For me, the difference has been like night and day. I have gone from not being able to comfortably run, to running three hours on trails. I have run two half marathons within a month," said Golding. "I went through years of unnecessary misery until I decided to have this surgery. Like with any surgical intervention, the patient must be realistic about recovery and understand the risks involved. I took the risks and could not be happier about my outcome."