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|Jorge Luis Borges in 1921 at age 22
Jorge Francisco Isidoro Luis Borges
(24 August 1899 – 14 June 1986) was an Argentine writer. His output includes short stories, essays, poetry, literary criticism, and translations. He was influenced by Dante Alighieri, Miguel de Cervantes, Franz Kafka, H. G. Wells, Rudyard Kipling, H. P. Lovecraft, Arthur Schopenhauer, G. K. Chesterton, Leopoldo Lugones, and R. L. Stevenson.
Borges's mother, Leonor Acevedo Suárez, came from an old Uruguayan family. His 1929 book Cuaderno San Martín included a poem "Isidoro Acevedo," commemorating his maternal grandfather, Isidoro de Acevedo Laprida, a soldier of the Buenos Aires Army who fought against Juan Manuel de Rosas. A descendant of the Argentine lawyer and politician Francisco Narciso de Laprida, Acevedo fought in the battles of Cepeda in 1859, Pavón in 1861, and Los Corrales in 1880. He died in 1905 of pulmonary congestion in the same house in Serrano Street, Buenos Aires, where his grandson Jorge Luis Borges was born.
Borges's father, Jorge Guillermo Borges Haslam, was a lawyer and psychology teacher with literary aspirations. ("…he tried to become a writer and failed in the attempt," Borges once said, "…[but] composed some very good sonnets"). His father was part Spanish, part Portuguese, and half British; his father's mother was British and maintained a strong spirit of English culture in Borges's home. In this home, both Spanish and English were spoken and from earliest childhood Borges was bilingual, reading Shakespeare, in English, at the age of 12. He grew up in the then somewhat poor neighborhood of Palermo, in a large house equipped with an extensive English library. The family name Borges may have been derived from the English surnames Burroughs or Burgess, analogous to the transformation of the surname Evans into Ibanez.
Jorge Guillermo Borges was forced into early retirement from the legal profession owing to the same failing eyesight that would eventually afflict his son, and in 1914, the family moved to Geneva. Borges senior was treated by a Geneva eye specialist, while his son and daughter Norah attended school. There Borges junior learned French, initially with some difficulties, and taught himself German. He received his baccalauréat from the Collège de Genève in 1918.
Borges was born in 1899 in Buenos Aires to an educated family descended from famous military figures in Argentina's history; in accordance with Argentine custom, he never used his entire name. His family was comfortably wealthy, but not quite wealthy enough to live in downtown Buenos Aires. Instead, they lived in the then suburb of Palermo, famous for its knife-fights, where urban space gave way to the countryside.
In 1914 the Borges family went to Europe and stayed until 1921 because of World War I and domestic unrest in neutral Argentina. First in Switzerland and later in Spain, Borges came into contact with several authors who would impact his writing, Arthur Schopenhauer and Gustav Meyrink's The Golem (1915) being key examples. After World War I ended, the Borges family spent three years living in various cities: Lugano (Switzerland), Barcelona, Majorca, Seville, and Madrid. In Spain, Borges became a member of the avant-garde Ultraist literary movement (anti-Modernism, which ended in 1922 with the cessation of the journal Ultra). His first poem, "Hymn to the Sea," written in the style of Walt Whitman, was published in the magazine Grecia ("Greece", in Spanish). There he frequented such notable Spanish writers as Rafael Cansinos Assens and Ramón Gómez de la Serna.
|Borges in 1951, by Grete Stern
In 1921, Borges returned with his family to Buenos Aires where he imported the doctrine of Ultraism and launched his career as a writer by publishing poems and essays in literary journals in the Criollismo style. In 1930, Nestor Ibarra called Borges the "Great Apostle of Criollismo." His first published collection of poetry was Fervor de Buenos Aires (1923). He contributed to the avant-garde review Martín Fierro (whose "art for art's sake" approach contrasted to that of the more politically-involved Boedo group); co-founded the journals Prisma , a broadsheet distributed largely by pasting copies to walls in Buenos Aires), and Proa ). Later in life Borges would come to regret some of these early publications, attempting to purchase all known copies to ensure their destruction.
By the mid-1930s, his writings began to deal with existential questions, and with what Ana María Barrenechea has called "irreality." Borges was not alone in this task. Many other Latin American writers such as Juan Rulfo, Juan José Arreola, and Alejo Carpentier investigated these themes in their writings, influenced by the Phenomenology of Husserl and Heidegger or the Existentialism of Jean-Paul Sartre. Even though existentialism saw its apogee during the years of Borges's greatest artistic production, it can be argued that his choice of topics largely ignored existentialism's central tenets. To that point, Paul de Man has written:
Whatever Borges's existential anxieties may be, they have little in common with Sartre's robustly prosaic view of literature, with the earnestness of Camus' moralism, or with the weighty profundity of German existential thought. Rather, they are the consistent expansion of a purely poetic consciousness to its furthest limits.
He was, from the first issue, a regular contributor to Sur, founded in 1931 by Victoria Ocampo, then Argentina's most important literary journal. Ocampo herself introduced Borges to Adolfo Bioy Casares, another well-known figure of Argentine literature, who was to become a frequent collaborator and dear friend. Together they wrote a number of works, some using pseudonyms (H. Bustos Domecq), including a parody detective series and fantasy stories.
Also during these years Macedonio Fernández became a major influence on Borges, who inherited the friendship from his father. The two would hold court in cafés, country retreats, or Macedonio's tiny apartment in the Balvanera district.
In 1933 Borges gained an editorial appointment at the literary supplement of the newspaper Crítica, where he first published the pieces later collected as the Historia universal de la infamia (A Universal History of Infamy). This involved two types of pieces. The first lay somewhere between non-fictional essays and short stories, using fictional techniques to tell essentially true stories. The second consisted of literary forgeries, which Borges initially passed off as translations of passages from famous but seldom-read works. In the following years, he served as a literary adviser for the publishing house Emecé Editores and wrote weekly columns for El Hogar, which appeared from 1936 to 1939.
In 1937, friends of Borges found him working at the Miguel Cané branch of the Buenos Aires Municipal Library as a first assistant. His fellow employees forbade Borges from cataloging more than 100 books per day, a task which would take him about one hour. The rest of his time he spent in the basement of the library, writing articles and short stories.
Borges's Cosmopolitanism allowed him to free himself from the trap of local color. The varying genealogies of characters, settings, and themes in his stories such as "La muerte y la brújula" were Argentine without forcing them to be Argentine by pandering to his readers. In his essay "El escritor argentino y la tradición" Borges notes that the very absence of camels in the Koran was proof enough that it was an Arabian work, inferring that only someone trying to write an "Arab" work would purposefully include a camel. He uses this example to illustrate how his dialoguing with universal existential concerns was just as Argentine as writing about gauchos and tangos (both of which he also did).
Borges' father died in 1938, a tragedy for Borges: father and son were very devoted to each other. During Christmas Eve 1938, Borges suffered a severe head wound: during treatment, he nearly died of septicemia. While recovering from the accident, he began tinkering with a new style of writing, for which he would become famous. The first story penned after his accident was Pierre Menard, Author of The Quixote in May 1939. In this story, he examined the relationship between father and son and the nature of authorship.
His first collection of short stories, El jardín de senderos que se bifurcan (The Garden of Forking Paths) appeared in 1941, composed mostly of works previously published in Sur. Though generally well received, El jardín de senderos que se bifurcan failed to garner for him the literary prizes many in his circle expected. Ocampo dedicated a large portion of the July 1941 issue of Sur to a "Reparation for Borges"; numerous leading writers and critics from Argentina and throughout the Spanish-speaking world contributed writings to the "reparation" project.
When Juan Perón became President in 1946, Borges was dismissed, and "promoted" to the position of poultry inspector for the Buenos Aires municipal market (he immediately resigned; he always referred to the title of the post he never filled as "Poultry and Rabbit Inspector"). His offenses against the Peronistas up to that time had apparently consisted of little more than adding his signature to pro-democratic petitions, but shortly after his resignation he addressed the Argentine Society of Letters saying, in his characteristic style, "Dictatorships foster oppression, dictatorships foster servitude, dictatorships foster cruelty; more abominable is the fact that they foster idiocy."
Without a job, his vision beginning to fade due to hereditary retinal detachment, and unable to fully support himself as a writer, Borges began a new career as a public lecturer. Despite a certain degree of political persecution, he was reasonably successful, and became an increasingly public figure, obtaining appointments as President of the Argentine Society of Writers, and as Professor of English and American Literature at the Argentine Association of English Culture. His short story Emma Zunz was turned into a film (under the name of Días de odio (English title: Days of Wrath), directed in 1954, by the Argentine director Leopoldo Torre Nilsson). Around this time, Borges also began writing screenplays.
In 1955, and after the initiative of Ocampo, the new anti-Peronist military government appointed him head of the National Library. By that time, he had become completely blind, like one of his best known predecessors, Paul Groussac (for whom Borges wrote an obituary). Neither coincidence nor the irony escaped Borges and he commented on them in his work:
Let neither tear nor reproach besmirch
this declaration of the mastery
of God who, with magnificent irony,
granted me both the gift of books and the night.
The following year he received the National Prize for Literature from the University of Cuyo, the first of many honorary doctorates. From 1956 to 1970, Borges also held a position as a professor of literature at the University of Buenos Aires, while frequently holding temporary appointments at other universities.
His eyesight deteriorating, he relied increasingly on his mother's help. When he was not able to read and write anymore (he never learned the Braille system), his mother, to whom he had always been devoted, became his personal secretary.
A story of Borges was first translated into English in the August 1948 issue of Ellery Queen's Mystery Magazine; the story was "The Garden of Forking Paths," the translator Anthony Boucher. Though several other Borges translations appeared in literary magazines and anthologies during the 1950s, his international fame dates from the early 1960s. In 1961, he received the first International Publishers' Prize Prix Formentor, which he shared with Samuel Beckett. While Beckett was well-known and respected in the English-speaking world, and Borges at this time remained unknown and untranslated, English-speaking readers became curious about the other recipient of the prize. The Italian government named Borges Commendatore; and the University of Texas at Austin appointed him for one year to the Tinker chair. This led to his first lecture tour in the United States. The first translations of his work into English followed in 1962, with lecture tours in Europe, and in subsequent years the Andean region of South America. In 1965, Queen Elizabeth II of the United Kingdom appointed him O.B.E. In 1980 he was awarded the Prix mondial Cino Del Duca; numerous other honors were to accumulate over the years, such as the French Legion of Honour in 1983, the Cervantes Prize, and even a Special Edgar Allan Poe Award from the Mystery Writers of America, "for distinguished contribution to the mystery genre".
In 1967, Borges began a five-year period of collaboration with the American translator Norman Thomas di Giovanni, thanks to whom he became better known in the English-speaking world. He also continued to publish books, among them El libro de los seres imaginarios (The Book of Imaginary Beings, (1967, co-written with Margarita Guerrero), El informe de Brodie (Dr. Brodie's Report, 1970), and El libro de arena (The Book of Sand, 1975). He also lectured prolifically. Many of these lectures were anthologized in volumes such as Siete noches (Seven Nights) and Nueve ensayos dantescos (Nine Dantesque Essays).
Borges's change in style from criollismo to a more cosmopolitan style brought him much criticism from journals such as Contorno ), a left of center, Sartre-influenced publication founded by the Viñas brothers (Ismael & David), Noé Jitrik, Adolfo Prieto, and other intellectuals. Contorno "met with wide approval among the youth [...] for taking the older writers of the country to task on account of [their] presumed inauthenticity and their legacy of formal experimentation at the expense of responsibility and seriousness in the face of society's problems" (Katra:1988:56).
Borges and Eduardo Mallea were criticized for being "doctors of technique"; their writing presumably "lacked substance due to their lack of interaction with the reality [...] that they inhabited", an existential critique of their refusal to embrace existence and reality in their artwork.
When Perón returned from exile and was re-elected president in 1973, Borges immediately resigned as director of the National Library. In 1967 Borges married the recently-widowed Elsa Astete Millán. It was commonly believed that his mother, who was 90, and anticipating her own death, wanted to find someone to care for her blind son. The marriage lasted less than three years. After a legal separation, Borges moved back in with his mother, with whom he lived until her death at age 99. Thereafter, he lived alone in the small flat he had shared with her, cared for by Fanny, their housekeeper of many decades.
After 1975, the year his mother died, Borges began to travel all over the world, up to the time of his death. He was often accompanied in these travels by his personal assistant María Kodama, an Argentine woman of Japanese and German ancestry.
|1983. Borges and María Kodama stroll along the
(Photo from Frank Spooner Pictures, as found in James Woodall's Borges: A Life.)
Jorge Luis Borges died of liver cancer in 1986 in Geneva and is buried in the Cimetière des Rois (Plainpalais). A few months before his death, via an attorney in Paraguay, he married Kodama. After years of legal wrangling about the legality of the marriage, Kodama, as sole inheritor of a significant annual income, has control over his works. Her administration of his estate has bothered some scholars; she has been denounced by the French publisher Gallimard, by Le Nouvel Observateur, and by intellectuals such as Beatriz Sarlo, as an obstacle to the serious reading of Borges' works.
J. M. Coetzee said of Borges: "He more than anyone renovated the language of fiction and thus opened the way to a remarkable generation of Spanish American novelists."
Though reputed to be a perennial contender, Borges was never awarded the Nobel Prize in Literature. Especially in the 1980s, when he was clearly growing old and infirm, this became a glaring omission. It was speculated that he was considered unfit to receive the award for his political views.
Although this political stance stemmed from his self-described "Anarcho-Pacifism", it placed him in the distinguished company of Nobel Prize in Literature non-winners, a group including, among others, Graham Greene, James Joyce, Vladimir Nabokov, Marcel Proust, Leo Tolstoy and Alfonso Reyes. He did, however, receive the Jerusalem Prize in 1971, awarded to writers who deal with themes of human freedom and society.
In addition to his short stories for which he is most famous, Borges also wrote poetry, essays, several screenplays, and a considerable volume of literary criticism, prologues, and reviews, edited numerous anthologies, and was a prominent translator of English-, French- and German-language literature into Spanish (and of Old English and Norse works as well). His blindness (which, like his father's, developed in adulthood) strongly influenced his later writing. Paramount among his intellectual interests are elements of mythology, mathematics, theology, and, as a personal integration of these, Borges' sense of literature as recreation — all of these disciplines are sometimes treated as a writer's playthings and at other times treated very seriously.
Since Borges lived through most of the 20th century, he was rooted in the Modernist period of culture and literature, especially Symbolism. His fiction is profoundly learnéd, and always concise. Like his contemporary Vladimir Nabokov and the older James Joyce, he combined an interest in his native land with far broader perspectives. He also shared their multilingualism and their playfulness with language, but while Nabokov and Joyce tended–as their lives went on–toward progressively larger works, Borges remained a miniaturist. Also in contrast to Joyce and Nabokov, Borges' work progressed away from what he referred to as "the baroque," while theirs moved towards it: Borges' later writing style is far more transparent and naturalistic than his earlier works.
Many of his most popular stories concern the nature of time, infinity, mirrors, labyrinths, reality, philosophy, and identity. A number of stories focus on fantastic themes, such as a library containing every possible 410-page text ("The Library of Babel"), a man who forgets nothing he experiences ("Funes, the Memorious"), an artifact through which the user can see everything in the universe ("The Aleph"), and a year of time standing still, given to a man standing before a firing squad ("The Secret Miracle"). The same Borges told more and less realistic stories of South American life, stories of folk heroes, streetfighters, soldiers, gauchos, detectives, historical figures. He mixed the real and the fantastic: fact with fiction. On several occasions, especially early in his career, these mixtures sometimes crossed the line into the realm of hoax or literary forgery.
Borges' abundant nonfiction includes astute film and book reviews, short biographies, and longer philosophical musings on topics such as the nature of dialogue, language, and thought, and the relationships between them. In this respect, and regarding Borges' personal pantheon, he considered the Mexican essayist of similar topics Alfonso Reyes "the best prose-writer in the Spanish language of any time." (In: Siete Noches, p. 156). His non-fiction also explores many of the themes found in his fiction. Essays such as "The History of the Tango" or his writings on the epic poem Martín Fierro explore specifically Argentine themes, such as the identity of the Argentine people and of various Argentine subcultures. His interest in fantasy, philosophy, and the art of translation are evident in articles such as "The Translators of The Thousand and One Nights", while The Book of Imaginary Beings is a thoroughly (and obscurely) researched bestiary of mythical creatures, in the preface of which Borges wrote, "There is a kind of lazy pleasure in useless and out-of-the-way erudition." Borges' interest in fantasy was shared by Adolfo Bioy Casares, with whom Borges coauthored several collections of tales between 1942 and 1967, sometimes under different pseudonyms including H. Bustos Domecq.
Borges composed poetry throughout his life. As his eyesight waned (it came and went, with a struggle between advancing age and advances in eye surgery), he increasingly focused on writing poetry, since he could memorize an entire work in progress. His poems embrace the same wide range of interests as his fiction, along with issues that emerge in his critical works and translations, and from more personal musings. This breadth of interest can be found in his fiction, nonfiction, and poems. For example, his interest in philosophical idealism is reflected in the fictional world of Tlön in "Tlön, Uqbar, Orbis Tertius", in his essay "A New Refutation of Time", and in his poem "Things." Similarly, a common thread runs through his story "The Circular Ruins" and his poem "El Golem" ("The Golem").
As already mentioned, Borges was notable as a translator. He translated Oscar Wilde's story The Happy Prince into Spanish when he was nine, perhaps an early indication of his literary talent. At the end of his life he produced a Spanish-language version of the Prose Edda. He also translated (while simultaneously subtly transforming) the works of, among others, Edgar Allan Poe, Franz Kafka, Hermann Hesse, Rudyard Kipling, Herman Melville, André Gide, William Faulkner, Walt Whitman, Virginia Woolf, Sir Thomas Browne, and G. K. Chesterton. In a number of essays and lectures, Borges assessed the art of translation, and articulated his own view at the same time. He held the view that a translation may improve upon the original, may even be unfaithful to it, and that alternative and potentially contradictory renderings of the same work can be equally valid.
Borges also employed two very unusual literary forms: the literary forgery and the review of an imaginary work. Both constitute a form of modern pseudo-epigrapha.
Borges' best-known set of literary forgeries date from his early work as a translator and literary critic with a regular column in the Argentine magazine El Hogar. Along with publishing numerous legitimate translations, he also published original works after the style of the likes of Emanuel Swedenborg or The Book of One Thousand and One Nights, originally passing them off as translations of things he had come upon in his reading. Several of these are gathered in the Universal History of Infamy. He continued this pattern of literary forgery at several points in his career, for example sneaking three short, falsely attributed pieces into his otherwise legitimate and carefully researched anthology El matrero.
At times, confronted with an idea for a work that bordered on the conceptual, rather than write a piece that fulfilled the concept, he wrote a review of a nonexistent work, as if it had already been created by some other person. The most famous example of this is "Pierre Menard, author of the Quixote", which imagines a twentieth-century Frenchman who tries to write Miguel de Cervantes' Don Quixote verbatim—not by having memorized Cervantes' work, but as an "original" narrative of his own invention. Initially he tries to immerse himself in sixteenth-century Spain, but dismisses the method as too easy, instead trying to reach Don Quixote through his own experiences. He finally manages to (re)create "the ninth and thirty-eighth chapters of the first part of Don Quixote and a fragment of chapter twenty-two." Borges' "review" of the work of the fictional Menard uses tongue-in-cheek comparisons to discuss the resonances that Don Quixote has picked up over the centuries since it was written, by way of overtly discussing how much "richer" Menard's work is than that of Cervantes, even though the actual words are exactly the same.
While Borges was certainly the great popularizer of the review of an imaginary work, it was not his own invention. Borges was already familiar with the idea from Thomas Carlyle's Sartor Resartus, a book-length review of a non-existent German transcendentalist philosophical work, and the biography of its equally non-existent author. This Craft of Verse (p. 104) records Borges as saying that in 1916 in Geneva he "discovered — and was overwhelmed by — Thomas Carlyle. I read Sartor Resartus, and I can recall many of its pages; I know them by heart." In the introduction to his first published volume of fiction, The Garden of Forking Paths, Borges remarks, "It is a laborious madness and an impoverishing one, the madness of composing vast books — setting out in five hundred pages an idea that can be perfectly related orally in five minutes. The better way to go about it is to pretend that those books already exist, and offer a summary, a commentary on them." He then cites both Sartor Resartus and Samuel Butler's The Fair Haven, remarking, however, that "those works suffer under the imperfection that they themselves are books, and not a whit less tautological than the others. A more reasonable, more inept, and more lazy man, I have chosen to write notes on imaginary books." [Collected Fictions, p.67]
Borges' work maintained a universal perspective that reflected a multi-ethnic Argentina, exposure from an early age to his father's substantial collection of world literature, and lifelong travel experience. As a young man, he visited the frontier pampas where the boundaries of Argentina, Uruguay, and Brazil blurred, and lived and studied in Switzerland and Spain; in middle age he traveled through Argentina as a lecturer and, internationally, as a visiting professor; he continued to tour the world as he grew older, ending his life in Geneva where he had attended high school (he never went to university). Drawing on influences of many times and places, Borges' work belittled nationalism and racism. An Argentinian, Borges set some of his historical fiction in Uruguay.
He grew acquainted with the literature from Argentine, Spanish, North American, English, French, German, Italian, and Northern European/Icelandic sources, including those of Anglo-Saxon and Old Norse. He also read many translations of Near Eastern and Far Eastern works. The universalism that made him interested in world literature reflected an attitude that was not congruent with the Perón government's extreme nationalism. That government's meddling with Borges' job fueled his skepticism of government (he labeled himself a Spencerian anarchist in the blurb of Atlas). When extreme Argentine nationalists sympathetic to the Nazis asserted Borges was Jewish (the implication being that his Argentine identity was inadequate), Borges responded in "Yo Judío" ("I, a Jew"), where he said, while he would be proud to be a Jew, he presented his actual Christian genealogy, along with a backhanded reminder that any "pure" Castilian just might likely have a Jew in their ancestry, stemming from a millennium back.
Borges' Argentina is a multi-ethnic country, and Buenos Aires, the capital, a cosmopolitan city. At the time of Argentine independence in 1816, the population was predominantly criollo, which in Argentine usage generally means people of Spanish ancestry, although it can allow for a small admixture of other origins. The Argentine national identity diversified, forming over a period of decades after the Argentine Declaration of Independence. During that period substantial immigration came from Italy, Spain, France, Germany, Russia, Syria and Lebanon (then parts of the Ottoman Empire), the United Kingdom, Austria-Hungary, Portugal, Poland, Switzerland, Yugoslavia, North America, Belgium, Denmark, the Netherlands, Sweden, and China, with the Italians and Spanish forming the largest influx. The diversity of coexisting cultures characteristic of the Argentine lifestyles is especially pronounced in Six Problems for Don Isidoro Parodi, co-authored with Adolfo Bioy Casares, and in the unnamed multi-ethnic city that's the setting for "Death and the Compass", which may or may not be Buenos Aires. Borges' writing is also steeped by influences and informed by scholarship of Christian, Buddhist, Islamic, and Jewish faiths, including mainline religious figures, heretics, and mystics. For more examples, see the sections below on International themes in Borges and Religious themes in Borges.
If Borges often focused on universal themes, he no less composed a substantial body of literature on themes from Argentine folklore, history, and current concerns. Borges' first book, the poetry collection Fervor de Buenos Aires (Passion for Buenos Aires), appeared in 1923. Considering Borges' thorough attention to all things Argentine — ranging from Argentine culture ("History of the Tango"; "Inscriptions on Horse Wagons"), folklore ("Juan Muraña", "Night of the Gifts"), literature ("The Argentine Writer and Tradition", "Almafuerte"; "Evaristo Carriego") and current concerns ("Celebration of The Monster", "Hurry, Hurry", "The Mountebank", "Pedro Salvadores") — it is ironic indeed that ultra-nationalists would have questioned his Argentine identity.
Borges' interest in Argentine themes reflects in part the inspiration of his family tree. Borges had an English paternal grandmother who, around 1870, married the criollo Francisco Borges, a man with a military command and a historic role in the civil wars in what is now Argentina and Uruguay. Spurred by pride in his family's heritage, Borges often used those civil wars as settings in fiction and quasi-fiction (for example, "The Life of Tadeo Isidoro Cruz," "The Dead Man," "Avelino Arredondo") as well as poetry ("General Quiroga Rides to His Death in a Carriage"). Borges' maternal great-grandfather, Manuel Isidoro Suárez ), was another military hero, whom Borges immortalized in the poem "A Page to Commemorate Colonel Suárez, Victor at Junín." The city of Coronel Suárez in the south of Buenos Aires Province is named after him.
Borges contributed to a few avant garde publications in the early 1920s, including one called Martín Fierro, named after the major work of 19th century Argentine literature, Martín Fierro, a gauchesque poem by José Hernández, published in two parts, in 1872 and 1880. Initially, along with other young writers of his generation, Borges rallied around the fictional Martín Fierro as the symbol of a characteristic Argentine sensibility, not tied to European values. As Borges matured, he came to a more nuanced attitude toward the poem. Hernández's central character, Martín Fierro, is a gaucho, a free, poor, pampas-dweller, who is illegally drafted to serve at a border fort to defend against the Indians; he ultimately deserts and becomes a gaucho matrero, the Argentine equivalent of a North American western outlaw. Borges' 1953 book of essays on the poem, El "Martín Fierro", separates his great admiration for the aesthetic virtues of the work from his rather mixed opinion of the moral virtues of its protagonist. He uses the occasion to tweak the noses of arch-nationalist interpreters of the poem, but disdains those (such as Eleuterio Tiscornia) whom he sees as failing to understand its specifically Argentine character.
In "The Argentine Writer and Tradition", Borges celebrates how Hernández expresses that character in the crucial scene in which Martín Fierro and El Moreno compete by improvising songs about universal themes such as time, night, and the sea. The scene clearly reflects the real-world gaucho tradition of payadas, improvised musical dialogues on philosophical themes — as distinct from the type of slang that Hernández uses in the main body of Martín Fierro. Borges points out that therefore, Hernández evidently knew the difference between actual gaucho tradition of composing poetry on universal themes, versus the "gauchesque" fashion among Buenos Aires literati. Borges goes on to deny the possibility that Argentine literature could distinguish itself by making reference to "local color", nor does it need to remain true to the heritage of the literature of Spain, nor to define itself as a rejection of the literature of its colonial founders, nor follow in the footsteps of European literature. He asserts that Argentine writers need to be free to define Argentine literature anew, writing about Argentina and the world from the point of view of someone who has inherited the whole of world literature.
Borges uses Martín Fierro and El Moreno's competition as a theme once again in "El Fin" ("The End"), a story that first appeared in his short story collection Artificios (1944). "El Fin" is a sort of mini-sequel or conclusion to Martín Fierro. In his prologue to Artificios, Borges says of "El Fin," "Everything in the story is implicit in a famous book [Martín Fierro] and I have been the first to decipher it, or at least, to declare it."
To exaggerate Borges' universalism might be as much a mistake as the nationalists' questioning the validity of his Argentine identity. His writing was evidently more influenced by some literatures than others, reflecting in part the particular contents of his library his father had amassed, and the particular population composition of Argentina during his lifetime. A review of his work reveals far more influences from European and New World sources than Asian-Pacific or African ones.
Few references to Africans or African-Americans appear in his work; rare mentions include an idiosyncratic inventory of the latter-day effects of the slave trade in "The Dread Redeemer Lazarus Morrell" and a number of sympathetic references to a person of African descent killed by the fictional outlaw Martin Fierro. Indigenous Amerind sources are poorly represented, owing to the near-destruction of that population and culture in the Southern Cone region of South America; rare mentions include a captive Aztec priest, Tzinacán, in "The God's Script" and Amerinds who capture Argentines in "Story of the Warrior and the Captive" and "The Captive". "Lo Gauchesco" (Gaucho culture, translates as "that which is Gauchesque"), has, however, a big presence throughout his work. Gauchos are the cowboys of Argentina, the men who herded the cattle and were generally of mixed blood (Spanish and indigenous) and have always been associated with the wild, indigenous and unruly elements of Argentine culture.
In contrast to his scholarship in Christian, Jewish, Muslim, and Buddhist sources, Borges' view of Hinduism and Hindus seems to have been formed by peering through the sympathetic lens of the works of Rudyard Kipling, as in Borges' "The Approach to Al Mutasim".
There has been discussion of Borges' attitudes to sex and women. Herbert J. Brant's essay "The Queer Use of Communal Women in Borges' 'El muerto' and 'La intrusa'", has argued that Borges employed women as intermediaries of male affection, allowing men to engage each other romantically without resorting to direct, homosexual contact. For instance, the plot of La Intrusa was based on a true story of two friends, but Borges made their fictional counterparts brothers, excluding the possibility of a homosexual relationship. Borges dismissed these suggestions.
There are, however, instances in Borges writings of heterosexual love and attraction. The story "Ulrikke" from The Book of Sand tells a romantic tale of heterosexual desire, love, trust and sex. The protagonist of "El muerto" clearly relishes and lusts after the "Splendid, contemptuous, red-haired woman" of Azevedo Bandeira. Later he "sleeps with the woman with shining hair". "El muerto" ("The Dead Man") contains two separate examples of definitive gaucho heterosexual lust. James Woodall and Edwin Williamson have each written a biography of Borges, each of which is titled Borges, a Life. Their investigations of his actual relationships and his personal correspondence elaborate on the debate surrounding Borges' sexuality.
A growing number of literary commentators argue that in his short stories Borges curiously prefigured the World Wide Web. In an article for the New York Times on January 6, 2008, Noam Cohen discusses these trends. According to Cohen, many of Borges tales, such as "The Library of Babel," describe a "symmetrically structured library" that "represents the universe as conceived by rational man with illegible books that refers to man's ignorance." In the story "Tlon," the universe is based on an "imaginary encyclopedia, a labyrinth devised and deciphered by man." Borges invites his readers to become active participants in his stories, somewhat like the online encyclopedia, Wikipedia. Also, according to commentators, his characters describe their lives "like a blog," where "nothing is forgotten." Finally, Borges describes in "The Library of Babel," a universal library that contains all of the secrets of the universe. Literary critics see this universal library as the internet itself where searchers can find the answers to all of their questions.http://en.wikipedia.org/wiki/Jorge_Luis_Borges


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Our photo cakes are decorated on a 1inch cake layer. Below is a sample photo showing how the decorated layer looks on different cake sizes. Please note that our decorators will use their best judgment to create a look that matches the image. If you would like specific design elements, please let us know in the Design Notes section when placing the order.
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Seven years after being named Esquire magazine's sexiest woman alive, Scarlett Johansson has earned the title for a second time.
Johansson, who also won in 2006, is the first woman to get the honor twice. Last year's winner was Mila Kunis.
Johansson jokingly tells the magazine she's "gotta hustle" and "pretty soon the roles you're offered all become mothers. Then they just sort of stop."
The 28-year-old actress is also off the market. She recently went public with her engagement to former French journalist Romain Dauriac. It will be her second marriage. She split from Ryan Reynolds in 2010.
She says jealousy "comes with the territory" with a Frenchman but she prefers being with someone "who's a little jealous."
The November issue of Esquire will be on newsstands Oct. 15.


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White Bucket Mug "Me me me" 350ml
Product Info
This mug is a vintage style, designer coffee mug and part of the Keith Brymer Jones Word Range. The words "me me me" are hand-embossed into the porcelain body of this super white coffee mug giving it a quirky, retro style.
The master ceramicist, Keith Brymer Jones, calls his designer coffee mugs his Bucket Mugs because of their unusual shape. The words on the Bucket Mug range are embossed in Keith's distinctive retro typewriter font. Like all the designer tableware in the Keith Brymer Jones Word Range, this coffee mug has been thoughtfully crafted to be stylish, practical, dishwasher & microwave safe.
This "me me me" mug is part of the Keith Brymer Jones Word Range. This designer coffee mug has the words "me me me" embossed by hand into the porcelain body, giving the elegant design a quirky hint of vintage style.
Keith Brymer Jones calls the unusual shape of these designer coffee mugs his Bucket Mugs, because they were inspired by an old water bucket in his Whitstable pottery studio. Like all the designer tableware in the Keith's Word Range, the words on the Bucket Mugs are hand-embossed using his distinctive retro typewriter font. The hand-finishing creates subtle variations in every item, making each one unique and giving any combination of ceramics from Keith's Word Range a delightful insight into the master ceramicist's craftsmanship.
Thoughtfully crafted & stylish, these quirky mugs are also practical, microwave safe & dishwasher safe.
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Interpreting a Soil Test Report
suitability to grow a chosen crop. Phosphorous and potassium soil test levels help us know if fertilizer is ... are rare in Ohio. Magnesium (Mg) 50–1,000 100–2,000 Levels less than 20 ppm are a concern. Dolomitic ... recommendation tables, a conversion of P and K soil test values is needed if they are not reported as ppm using ...
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site and rate criteria from Assessing Nutrient Loss Risk in Ohio (NRCS) between 50 to 200 PPM. Time ... step 7. STP value of 50 PPM Mehlich III or less: CROP YIELD —Reduce risk of crop yield losses with ... available. The maintenance STP range is "critical level" to 40 PPM in corn soybean rotation and 50 ...
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Bray P. When only soil test values in the agronomic range were considered (less than 50 ppm Bray P), ... relationships between Mehlich-3, Bray P, and Ammonium Acetate soil test extractants in the Tri-State Region. ... 3–1170 ppm, and Mehlich-3 K values ranged from 25–899 ppm. We examined relationships with all soil test ...
Ohio Data that Shaped the Tri-State Fertilizer Recommendations
that very low soil test levels require high fertilizer rates, but as soil test levels increase, our ... able to answer the question, "At what soil test level should I apply fertilizer to see a yield ... response?" To answer this question, we need to establish a critical soil test level. For each trial, we ...
Grapevine Nutrient Management: Petiole Sampling and Analysis
availability. However, there is a poor relationship between soil and plant nutrient levels. While a soil may be ... adequate levels of another nutrient while the soil test indicates a deficiency. This poor relationship may ... Manganese (Mn) 25–1,000 ppm 3 31–150 ppm Iron (Fe) 30–100 ppm 31–50 ppm Copper (Cu) 5–15 ppm 5–15 ppm Boron ...
Developing Phosphorus and Potassium Recommendations for Field Crops
+ (0.05 x CEC))] + (YP x CR) + 20 CL is the critical level (100 ppm at a CEC of 10), STL is the soil test ... test results are based on soil calibration studies that correlate soil test levels to crop yield ... crop (buildup stage). Once soil test values reach the critical soil test level, a maintenance approach ...
Calculating Cation Exchange Capacity, Base Saturation, and Calcium Saturation
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nutrition, forage test to check for adequate levels. When the soil pH is below 5.0, aluminum availability ... critical soil test level of 15-25 parts per million (ppm) phosphorus for Bray P1 test results or 28-40 ppm ... leaching. The critical soil test levels for potassium are 125-200 ppm. Plants have the ability to take up ...
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Sunday, 21 February 2010
Starbucks Sakura
30 comments:
- Kathi said...
Wow, that cake looks yummy! =D Oh btw, I tried Macha Latte (got some instant powder on ebay) and I think it tastes really good! =P Even though I still think it looks toxic =P
- 21 February 2010 at 19:19
- Haru said...
hey Kathi,
The Starbucks in Singapore does a matcha latte that's pretty good too! Do you have it over there?
Guess what, I just booked my honeymoon trip to Hawaii and Tokyo for the last two weeks of March :-) Let me know if you want anything!
- 21 February 2010 at 19:21
- Kathi said...
ooooooooooohh..honeymoon! So I can expect some pretty wedding pics soon! Yay! =D Hubby and I are celebrating our 10th anniversary next year (April 2011) so we´ll be going somewhere in Asia, possibly Seoul, Hong Kong or Singapore/Malaysia... we´ll see =D
Hmmm..should I really bother you with a CP list on your honeymoon? =P Thanks so much for offering!!
- 21 February 2010 at 19:34
- shopaholic said...
So kawaii :)
Enjoy your honeymoon in advance :)
- 21 February 2010 at 19:45
- Haru said...
hi Kathi,
Anything for you, you know that! And you know I'll be shopping up a storm in Tokyo :-) Wow, 10 years, that's a huge achievement! You should ask your hubby to bring you someplace where you can get all your Asian beauty fixes. Both Seoul and Hong Kong have great shopping and food.
hi Mom to Angels,
Thank you!
- 21 February 2010 at 19:57
- Kathi said...
Awwwww, thanks so much! Ah, you know? I think the first time we got in contact was nearly 5 years ago! Time is flying by, don´t you think! =O I remember my first CP consisted of some MM e/s and l/g =D And from then on I didn´t stop bothering you haha! =D *hugs*
- 21 February 2010 at 20:25
- . : * justine * : . said...
Oh, I wish I could get the reusable travel cups here!! Those look so gorgeous! Congrats on the wedding+honeymoon - have an awesome trip!
- 21 February 2010 at 20:59
- Haru said...
hey justine,
Thank you! Which tumbler are you interested in? I *may* be able to get it for you :-) Just email me @ izuc77(at)hotmail!
- 21 February 2010 at 21:05
- The Misery Chick said...
Oh how cute are those!!! Before this, the prettiest coffee tumbler I've seen at Starbucks is the gold Kyoto one. :D
Congrats on your honeymoon. Hawaii AND Tokyo. Fantastic! There's a Sephora in Hawaii, I heard. Fun time for you. :)
- 21 February 2010 at 22:11
- Anonymous said...
Congratulations on your marriage, Iris! Enjoy your upcoming honeymoon!!
- 21 February 2010 at 22:12
- Lisa said...
Cute cups!
- 21 February 2010 at 22:14
- Magdalena said...
Ahhh, adorable! <3 I have the "to go" hot cup from 2009 and I love it :D This year they are soo cute too :3 major want :DDD
- 21 February 2010 at 22:15
- Anonymous said...
Awww so pretty! I love their tumblers. You're so lucky to get to go! Enjoy yr honeymoon. :)
- 21 February 2010 at 22:38
- makeupmag said...
SO PRETTY! No wonder all the cherry blossom beauties are out in full force. Will you be able to catch them in person? :)
- 21 February 2010 at 23:02
- Candygal's Precious Box!! said...
Wow... grates Haru!!
I had just emailed my customer who are planning to visit me early March to get me the tumbler as well!! haha... hope he can manage to get it for me!!
- 21 February 2010 at 23:25
- Tracy said...
Have a lovely honeymoon trip! I will really love to get my hands on those tumblers!
- 21 February 2010 at 23:59
- . said...
oooo so my reaction to hearing "sakura cream frappuccino" was "OMGA;SIDGLKJAW;EIJwaaaaaaaaaaaaaaaaaant"... xD i <3 fraps!
and congratulations! n_n i'm actually going to tokyo at the end of march too. :o
- 22 February 2010 at 03:16
- Dominique -aka- 美華ちゃん said...
I LOVE getting the Sakura Chiffon Cake every year ♥ I tried the Sakura steamer last night, and it was great!
- 22 February 2010 at 07:26
- charissa said...
LOVE LOVE the tumbler!!!!
too bad singapore doesnt have it..(T.T) otherwise, i wld have brought it straightaway♥
- 22 February 2010 at 11:00
- Michelle said...
Wow! This collection is soooooo sweet! Just read in your comments that you are headed to Hawaii and Tokyo for your honeymoon! How fantastic! Where abouts are you going in Hawaii? Oahu?
- 22 February 2010 at 11:21
- witchz said...
the pink tumblers are sooo sweet looking... How I wish i can go to Japan like right now. :p
- 22 February 2010 at 13:03
- Haru said...
hi Michelle,
I'm only going to Honolulu :-)
Hi Dominique,
You're so lucky to have easy access to this! Hope it's still available when I visit Tokyo in end March.
Hi pfefi,
Thanks! Hope you have a great trip too!
Hi Tracy,
Thank you! :-)
Hi Candygal,
Thank you :-) Hope your friend manages to snag one of those pretty tumblers for you!
- 22 February 2010 at 20:08
- Chloe said...
I just went to Starbucks in Sg today and they do have some of the sakura-themed tumblers!
They have the white/pink/blue swirly ones (S$14.90) and the clear tumbler (S$16.90).
Was super tempted to buy!
- 22 February 2010 at 20:12
- Anonymous said...
hi, i'm a random reader of ur blog. and what can i say?! u provided very good reviews about makeup and i enjoyed reading them. finally, not a girl who has perfect flawless skin who is writing a review on makeup (becos i've oily and acne prone skin too). so kudos to u!
- 22 February 2010 at 20:40
- Anonymous said...
Hi Chole,
May i know which outlet u saw the tumbler? I wanted to get it...
- 23 February 2010 at 08:30
- Chloe said...
I was at the Compass Point branch, but I think that all the Starbucks branches should carry them (:
- 23 February 2010 at 23:53
- Anonymous said...
Do they still have these tumblers and such for sale? I would love to have some, but I live in the U.S. Anyone who knows of a shopping service?
- 26 March 2010 at 00:09
- Jimi said...
Does anyone have any info on the 2011 Starbucks Sakura series products? I am curious to see what this year's line looks like. Thanks
- 31 December 2010 at 00:46
- laeticia521 said...
the sakura collection is out at singapore starbucks! bought my tumbler today although i think the water bottle is soo pretty, but i don't have much use for water bottles :P
- 8 March 2011 at 23:28
- Haru said...
Thanks for the info, will definitely check it out!
- 8 March 2011 at 23:32


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Camping can be both exciting and dreadful. Exciting because it opens the door to new and wonderful experiences. But dreadful because there would surely come a time when you need to use a restroom, and with most camping sites in public places the restrooms are often horribly constructed and hardly ever clean. Or worse yet, some places don't even have restrooms around at all! Obviously, the best way you can avoid such a dreadful experience is to rent a portable camping toilet. Surely most people would prefer camping with clean and well ventilated sanitary equipment and our company's main goal is to provide you with all the stuff you may need for this.
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Q: What is the difference between a commercial and a free mmorpg ?
A: a free mmorpg means that you do not have to pay for play. A commercial mmorpg like world of warcraft will cost you a monthy fee between 10$-25$.
Most MMORPG offers microtransactions
At first microtransactions were just used as an alternative business model for smaller games. Instead of paying an advance sum for the game, plus signing up for a monthly subscription, the game company offers you the game to download for free, and you can play for free as well. But then you'll encounter some obstacles to progress, and are offered a way out by buying virtual stuff from the item shop. If you consider time spent without virtual rewards in a game to be a loss, then it makes sense to buy a scroll that doubles your rate of advancement. It makes even more sense to buy the reward you could get by playing directly, even if that reward is just a mount or a pet. Then somebody noticed that the two business models of monthly subscriptions and microtransactions aren't mutually exclusive. Now games like Champions Online, and since recently even World of Warcraft, have both. This leads to the bizarre situation that at the same time you pay the game company money to be allowed to play their game, *plus* you pay them money so you don't have to play all that much, but get the reward without the "grind" of playing. It's like first paying to enter a movie theatre, and then paying a second time to see the movie in fast forward instead of at normal speed, so you get to the end faster.
You can find Game Forums private server and Game Forums MMORPG server - we have some of that Game Forums private servers in our top mmorpg list you just see as top 100.
Massively multiplayer online role-playing game (MMORPG) is a genre of computer role-playing games in which a very large number of players interact with one another within a virtual game world.
MMORPG includes pretty special problems. An example
Well, I started playing, and did both a dwarf commoner warrior, and an elf mage, playing them until their stories converge. First impression is that the mage is overpowered, having ranged magic dps, crowd control, and healing. As it is a lot easier to pick up various melee types for your party, playing a mage as your main guarantees you always have a healer around, plus excellent dps, which is a great tactical advantage. I'm enjoying Dragon Age: Origins very much up to now, due to combat being a lot more tactical than most MMORPGs. Even at normal difficulty setting you can't just storm into every fight on automatic settings and expect to come out alive.
As in all RPGs, players assume the role of a fictional character (often in a fantasy world), and take control over many of that characters actions.
A free mmorpg works like a free game. You can play for free but often you can buy items in a so called item shop.
MMORPGs are distinguished from single-player or small multi-player RPGs by the number of players, and by the game persistent world, usually hosted by the game publisher, which continues to exist and evolve while the player is away from the game (afk).


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By Ed Symkus
More Content Now
Before directing his new film, "I Origins," Mike Cahill had only made one other feature, the offbeat science fiction drama "Another Earth." Before starring in "I Origins," Michael Pitt had acted for, among others, Bernardo Bertolucci in "The Dreamers," M. Night Shyamalan in "The Village," and Gus Van Sant in "Last Days," and played Jimmy Darmody on "Boardwalk Empire." No matter. When Cahill and Pitt first met, to talk about films in general, not any specific project, they hit it off, becoming fast friends, knowing they would someday work together. The result, "I Origins," is a film about a scientist (Pitt) caught up in some startling new discoveries who goes through some big-time emotional and spiritual changes due to his work as well as two women in his life. Cahill and Pitt were in Boston earlier this week to discuss the film and how they got involved in cinema.
Mike, you studied economics in college. How did that lead to writing and directing?
Cahill: The brief version is I fell in love with filmmaking as a young boy. When I was 6 I got a Fisher-Price PixelVision Camera, and it was my favorite thing in the world. I filmed my little brother pretending to drive my mom's car, and then I filmed a matchbox car, then I cut them together so it would look like he was really driving. I'm sure it was pretty obvious, but when you're a kid, it's magical. I went to movies when I was a kid, but I stopped being interested in making them. But when I was in Georgetown, studying economics, there was one week where I saw "sex, lies, and videotape," "Basquiat," and Kieslowski's "Red." That's when I discovered what cinema was, as an art form, as a thing that's capable of articulating those ineffable things. And from that moment I knew that's exactly what I wanted to do.
Michael, the Internet says you knew you wanted to be an actor when you were 10. Is that true?
Pitt: No, but I was always interested in the arts. I was always painting and performing. I was a little bit of an outcast as a child. I remember my mother had this compulsive thing of if something was on sale she had to buy it. So Blockbuster was selling all of these previously viewed videos for a dollar. She would buy them, and I would binge-watch a crateful of movies. Anything, everything, good movies, bad movies, as a really young kid. I guess I was looked upon as being a kind of dreamer, kind of like in my own world. But when I started watching, it actually helped me, in life. I did a school play – I think it was "Oklahoma!" – and that's when I got the bug.
Mike, are the three main characters in the film – Ian, Sofi, and Karen – very different from how you initially pictured them on the page?
Cahill: That's hard to answer. I remember them only abstractly. And now when I think of Ian and Sofi and Karen, I only think of them as they are now. They certainly evolved, which is part of the process of working with actors. These actors are talented artists who built these characters from the ground up. I gave them the blueprint, and they'd fill that out and give them three-dimensionality and nuance. My brother is a molecular biologist, so we were very kindly offered entrance to spend time in the laboratory with all these great scientists. What was interesting was watching Michael and Brit (Marling, who plays his assistant Karen) watch the scientists. The scientists would show them how to do all the things, like extracting DNA. And you could see Michael taking the ephemeral mannerisms and incorporating them into the character he was building.
Michael, there were no actor credits at the beginning of the film, and I didn't recognize you. I actually didn't know you were in it till the end credits.
Pitt: Oh, that's great! Thank you so much! That's something I go after; I think that's what it is to be an actor. I'm always trying to do something different.
Mike, there's a major plot point that I won't give away here, that happens about halfway through the film, and changes the whole mood of it. What kind of direction did you offer Michael to show the change in his character?
Cahill: The change happens mathematically, precisely, at the midpoint of the film. To the minute, to the second. The way Michael plays Ian after that is with such restraint and such power. And that's all him. That's him building his character, and me witnessing it and making sure it's in there.
Michael, do you recall how you approached that change?
Pitt: Some time goes by, and I wanted to age the character, which is something I did physically. I tried to play him as more mature. I was also playing him as though he had decided to completely suppress this memory of his past. I think he was the type of guy who could turn it off, didn't want to talk about it with anyone, just tried to tuck it away.
You've also had some success singing and playing guitar in the band Pagoda. Is that still an active project?
Pitt: I'll play with those guys for the rest of my life. But I'm on the road all the time, so I'm gonna do some solo stuff, hopefully very soon.
Ed Symkus covers movies for More Content Now.


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Is it a conspiracy? Dan Brown has said little about the plot of The Lost Symbol, his first novel since The Da Vinci Code, which Doubleday will publish on Sept. 15. And while his publisher has been releasing cryptic teasers on Facebook and Twitter, these may read to the uninitiated like excerpts from a North Korean auto repair manual.
Here are some answers you don't have to decode:
1. What is The Lost Symbol about?
The Lost Symbol brings back the fictional Harvard professor Robert Langdon, the protagonist of The Da Vinci Code, a thriller based on the premise that Jesus and Mary Magdalene had a child whose descendants became kings and queens of France. Langdon again tangles with codes and secret societies – this time, in a plot that unfolds over a 12-hour period. He first appeared in Brown's Angels & Demons.
The cover of the British edition of The Lost Symbol shows, as the Belfast Telegraph described it, "a key surrounded by flames and bearing a Freemasonry symbol above Capitol Hill, suggesting the action will unfold in America's seat of power." The slightly different American cover – which also shows the Capitol Building – supports this idea.
2. What is the "lost symbol" in the title of Brown's book?
The BBC News reported that the novel is "believed to focus on freemasonry, with the lost symbol of the title a reference to a ciphered pictogram in an ancient book called The Key of Solomon."
3. What about Leonardo da Vinci? Will he have a role in The Lost Symbol?
Da Vinci or his legacy will have a substantial role unless Brown's publisher has misled libraries. The electronic catalog at a consortium of New Jersey libraries says The Lost Symbol involves the following: "Leonardo, da Vinci, 1452–1519 – Manuscripts – Fiction – Cryptographers – Fiction. Mystery fiction."
4. What else is known about Brown's new book?
Other facts appear in the "codes, cryptic trivia, puzzles, secret history, maps" and more that Doubleday has been releasing on Brown's Facebook page and the Twitter feed for The Lost Symbol. The publisher said on Twitter that "Robert Langdon's next adversary will be revealed when http://www.facebook.com/DanBrown reaches 100,000 fans." Brown had 67,686 fans on the afternoon of August 16.
5. What do you learn about The Lost Symbol on Facebook and Twitter?
Facebook member Mark Gray suggested that The Lost Symbol may involve explosive sexual tension and, to support this idea, posted a diagram of two Washington landmarks. "When the energetically (male) Washington Monument is positioned in front of the energetically (female) Capitol Dome an explosion of force is created," he writes. He added, "An OBELISK is a male PHALLIC. A DOME is a female WOMB."
A Facebook member named Buddy didn't think much of the idea. Buddy told Mark: "You keep focusing on the phallus and vulva, but what do you think it means? Surely, this is not an answer. Why would you think those focused on spiritual symbolism and related philosophy would obsess about male and female organs? The effort is to affect the minds of many not magically conjure up some energy effect. What would be the purpose?"
On Twitter, The Lost Symbol has fewer followers (3,210) than Shaquille O'Neal (1,964,646) and Bon Jovi (22,685) but more than Molly Ringwald (93).
6. When can you buy The Lost Symbol?
Doubleday will publish print and electronic editions of the book on Sept. 15, 2009, in the U.S. and Great Britain. You can preorder from Amazon, Barnes and Noble or an independent bookseller that you find through the Indie Store Finder on IndieBound.
7. Are you going to review The Lost Symbol on One-Minute Book Reviews?
I couldn't finish The Da Vinci Code, so I'm not going to buy The Lost Symbol. And I don't accept review copies from publishers. But I give out the Delete Key Awards for the year's worst writing in books every year on March 15 and wouldn't want to overlook a stellar candidate. So I've put my name on the waiting list for The Lost Symbol at my library. We'll see if I get it before Malia Obama goes to college.
Janice Harayda is a novelist and former book editor of the Plain Dealer in Cleveland.
© 2009 Janice Harayda. All rights reserved.
www.janiceharayda.com and www.twitter.com/janiceharayda


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Book News: Kim Jong Un Reportedly Gave 'Mein Kampf' As Gifts
Yao Dawei/Associated Press
The daily lowdown on books, publishing, and the occasional author behaving badly.
- Kim Jong Un gave top officials in North Korea copies of Adolf Hitler's autobiography, Mein Kampf, as gifts on his birthday last January, according to a report in New Focus International, a newspaper written largely by North Korean defectors. It seems the book was intended to promote a study of Hitler's economic reforms, and was not necessarily meant as an endorsement of Nazism. New Focus International, which was founded by a former North Korean poet laureate, cites "a DPRK official in China," who told the paper that Kim admired the way Hitler reformed Germany's economy and military after the ravages of the first World War. If the reports are true, North Korea isn't the only place Mein Kampf has found an unlikely readership — Businessweek said last year that the book had become a bestseller in India.
- VICE has apologized for its "Last Words" fashion spread depicting the suicides of female authors such as Sylvia Plath and Virginia Woolf. The magazine removed the post from its website (the photo shoot is still in the print version), and issued a statement from the editors: "The fashion spreads in VICE magazine are always unconventional and approached with an art editorial point-of-view rather than a typical fashion photo-editorial one. Our main goal is to create artful images, with the fashion message following, rather than leading. 'Last Words' was created in this tradition and focused on the demise of a set of writers whose lives we very much wish weren't cut tragically short, especially at their own hands. We will no longer display 'Last Words' on our website and apologize to anyone who was hurt or offended." NPR's Linda Holmes has an excellent take on the whole thing over at the Monkey See blog.
- For The New Yorker, Thomas Beller imagines which historical writers would have been good on Twitter: "Gertrude Stein, with her gnomish, arty, aphoristic tendencies, would seem to be ideal. 'There is no there there' may be one of the great proto-tweets."
- Author, "New Journalism" icon and wearer of white suits Tom Wolfe is said to be working on a book called The Kingdom of Speech. According to Publisher's Marketplace, the book is "a nonfiction account of scholarship proposing that humans are divided from animals by their power of speech." Wolfe has hinted at the idea before, notably in a 2006 lecture called "The Human Beast." He said, "Speech gave the beast its first ability to ask questions, and undoubtedly one of the first expressed his sudden but insatiable anxiety as to how he got here and what this agonizing struggle called life is all about. To this day, the beast needs, can't live without, some explanation as the basis of whatever status he may think he possesses. For that reason, extraordinary individuals have been able to change history with their words alone, without the assistance of followers, money, or politicians."
- For The New Republic, Molly Fischer considers the folly of marathon reading: "Especially at 3:50 a.m., a marathon reading can look a lot like a pious exercise [in] high-culture martyrdom — behold, Great Books instead of text messages! But ... the spirit of the marathon reading is more elusive."


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Triggs F5 2007
Product Code: MN1972
A classic looking and sounding F5 style mandolin made by former Gibson Master builder Jim Triggs. The mandolin is in great condition with a few light dings on the back and top, only noticeable in some lights.
Includes TKL hard case with crushed velvet interior.
- Top: Red Spruce
- Back and sides: Curly Maple
- Brace pattern: tone bars
- Nut Width: 1 1/8"
- Fingerboard Radius: flat
- Weight: 2.2lbs
Returns Policy
All products have a 48 hour approval period. You must notify us immediately after the 48 hour has expired and the item must be returned to Carter Vintage Guitars within 7 days after notifying the store. Carter Vintage Guitars is not responsible for any return shipping costs. Items returned outside of the approval period window will be subject to a restocking fee (up to 15%). Items must be returned in the same condition as they left the store. New items must be returned with any and all factory packaging that was included with the product.
Refunds will be applied via the same method of payment used at the time of purchase. Returns can take 5 to 10 business to show back up onto your bank statement.
Please contact us with any and all questions before making a purchase. We do not want you to have to return anything and are happy to provide as many details as possible for any and all products we carry in our store.
Carter Vintage Guitars can ship almost anywhere! Currently online orders can only be placed within the Continental United States. Please reach out to us for any questions in regard to international shipments.
Most orders in the Continental United States ship via USPS or UPS. Instruments ship via UPS or FedEx. Our expert shippings have years of experience packing and shipping guitars all over the world you can rest assured that your package will arrive quickly with the contents in perfect condition. Customers must pay the full shipping amount, we always try to give customers the best shipping rate possible but packages ship via dimensional weight. Buyer is responsible for taxes and duties on international shipments.
All instruments ship fully insured for the full purchase amount.


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Clemson women fall short against No. 4 Duke, 60-46
CLEMSON — Tricia Liston wasn't feeling too well at Clemson, until the Duke junior got on the floor.
Liston was under the weather and did not start for the first time this season. Foul troubles for her teammates, though, quickly got her into the game and Liston shook off her cold to score 22 points and lead the fourth-ranked Blue Devils to their 17th straight win over the Lady Tigers, 60-46, on Thursday night.
Liston led a second-half rally as Duke (17-1, 7-0 Atlantic Coast Conference) bounced back from a 79-49 loss at No. 3 Connecticut on Monday night.
Liston said the illness wasn't serious and she wasn't going to let it slow her down at Littlejohn Coliseum.
"I think I was just focused on coming in and being aggressive," Liston said. "Trying to impact and bring more energy from the bench."
Liston did that, especially in the second half when she scored 14 of her points and led a 26-9 run midway through the final period that gave Duke control for good.
Duke coach Joanne McCallie acknowledged this group took a little bit longer than others she's coached to get past what happened at Connecticut earlier in the week. The Blue Devils had been the last remaining undefeated team — men's or women's — in Division I and had hoped to make a statement against the powerhouse Huskies.
Instead, Duke fell apart in the second half, outscored 47-19 and eager to get back to playing the kind of basketball it had much of this season. There were plenty of glaring problems in this one for the Blue Devils.
They shot a season-low 33.9 percent (21 of 62) and surpassed the 20-turnover mark (they had 22) for just the second time this season. Their 60 points were their third-fewest of the season and well below their scoring average of better than 77 points coming in.
Liston said the players watched the film and zoned in on their mistakes against Connecticut. "We've got to make sure we don't make them in the future," she said. "As for right now, we've put that game behind us and we're focused on the ACC."
McCallie said the trip to the Northeast was a good experience. "It's a long way away, it's a very physical game, then to have to turn around quickly and come on down to Clemson, that's part of it," the coach said. "I think this will help us mature and grow even more."
The Lady Tigers (5-13, 1-6) led 26-23 after Quinyotta Pettaway's foul shots with 13:34 to play as Duke missed its first 11 shots of the period. That's when Liston began the Blue Devils' charge with a 3-pointer and hit two jumpers to put Duke ahead for good.
Elizabeth Williams added 12 points and 13 rebounds for the Blue Devils.
Nikki Dixon had 17 points to lead the Tigers.
"I would say for 30 minutes we gave good effort," Clemson coach Itoro Coleman said. "But Duke did what they're supposed to do. They turned up their defense, they turned up their offense and we just didn't have enough to finish the game."
Liston finished a point from her career scoring best. She made four of Duke's five 3-pointers and rescued the Blue Devils on a poor shooting night. Duke's defense, though, helped turn the tide and forced 31 turnovers off 21 steals. Chelsea Gray had a career-high nine steals for the Blue Devils.
Duke was counting on a strong bounce back at Clemson, a team it had beaten 82-45 two weeks ago at Cameron Indoor Stadium. Instead, the bad shooting and mistakes that cost the Blue Devils in their last game surfaced again at Littlejohn Coliseum.
Duke committed 17 turnovers in the opening half — it had just 15 all game against Connecticut — and shot a dismal 31 percent (9 of 29) from the field. The Blue Devils were ahead 21-14 after Williams' inside shot with 5:56 to go before the break, then did not make another field goal the rest of the period.
The Blue Devils' starters combined for just five field goals. Alexis Jones and Chelsea Gray combined for nine of the team's turnovers. Williams, fifth in ACC scoring, was held to five points in the opening half.
Duke's defense kept Clemson from taking advantage, although the Lady Tigers scratched out an 8-1 run at the end to tie things at 22-all when Aisha Turner banked home a jumper at the buzzer.


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How Our Favorite Filipino Street Games Shaped Our Adulthood
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You Can Now Get Free Mobile Legends Game Credits on Viber
Upgrade Your #NewNormal Essential With Stylish Face Masks
These YouTube Creators Teach Us What We Need to Know About Social Inclusivity
Dear Women: Manila is a Tough City
What we Learned From Our Childhood Street Games
UE Jam Sessions pay tribute to the frontliners with original song, "Lalaban Tayo"
Learn Theater and the Art of Costume Design With Repertory Philippine's Online Workshops
Maris Racal shows her introspective side on new single "Not For Me"
Explore the Flavors of Scotland with the Johnnie Walker Black Label Series
Get a chance to win a P100,000 shopping spree with a new Smart Signature Plan
Miss Possibilities: A Beauty Pageant Where Everyone is a Winner
Filipinos Relive How They 'Converted' to K-Pop Fandom
This List of Animahenasyon 2018 Winners Will Make You Want to Be an Animator, Too
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It's hard to name a major tech company that hasn't been tied to rumors of some industry-shaking TV project. Among the murmurs that surfaced in 2013, Intel announced plans to launch its own competitive IPTV service by the end of the year; however, this project—dubbed OnCue—now appears to be on its last legs.
AllThingsD reports that Intel is in talks with Verizon to sell off its Intel Media division—complete with its IPTV program. Verizon's five million FiOS TV customers would reap the benefits of such a deal, while Intel would quietly retreat from a market that seems disinterested in revolution.
News of Intel's IPTV first leaked around CES 2013 in January. Intel started courting media content and distribution partners while giving a sneak peek of the project to select publications. The OnCue service would involve an over-the-top IPTV network made to compete with the likes of Comcast and Time Warner Cable. An Intel-branded set-top box would take the place of the ubiquitous cable box, and the service would provide broadcast, pay-TV, and Web content. With the theoretical service, subscribers would have access to their content over the set-top boxes, through Web browsers, and on mobile devices.
Intel's project was exciting, but it's largely unsupported by media powers. Any new cable service requires the cooperation of big content and broadcast partners, and the only innovation Intel offered them was the ability to track viewer feedback through a camera embedded in the set-top box. But by June of this year, signs of trouble surfaced. New Intel CEO Brian Krzanich expressed doubts about the idea that a big media play made sense for the company. Rumored partnerships with hardware and service providers still followed, but they resulted in nothing.
While Intel's TV exploration may be wrapping up, rumors continue to swirl around future TV products from Amazon, Apple, and Google. Currently, none of those companies appear eager to discuss their plans publicly. And if Intel's experience provides any insight, the future of TV likely remains locked in the hands of the cable operators and broadcasters.


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A new controversy hits Rick Perry's presidential campaign. It involves a deeply offensive racist slur and a ranch associated with the Perry family. Anderson Cooper is Keeping Them Honest.
Post by: Anderson Cooper
Filed under: Keeping Them Honest • Raw Politics
Anderson Cooper goes beyond the headlines to tell stories from many points of view, so you can make up your own mind about the news. Tune in weeknights at 8 and 10 ET on CNN.
Questions or comments? Send an email
Want to know more? Go behind the scenes with AC361°


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What is Early Access Program
We at JetBrains believe that making tools for developers should greatly involve listening to developers. Our Early Access Program lets development community closely participate in discussions devoted to IntelliJ IDEA and influence development planning, from early stages onwards.
Early Access Program allows you to try pre-release versions of our software to evaluate features that will be added to the next release.
What is IntelliJ IDEA "Leda"?
IntelliJ IDEA "Leda" is the next major version for IntelliJ IDEA, currently in development and planned to be released before the end of 2012.
Download IntelliJ IDEA "Leda" EAP
IntelliJ IDEA "Leda" EAP, released on September 21st, 2012
Windows installer (includes bundled JRE 1.6.0_31)
Windows ZIP archive (no bundled JRE)
Unix archive
Mac installer
This EAP build does not require a license runs for 30 days since the release date.
Download IntelliJ IDEA "Leda" Community Edition EAP
Windows installer (includes bundled JRE 1.6.0_31)
Unix archive
Mac installer
Source tarball
Plugin Development Kit: Since the open-source Community Edition was released, we no longer provide the plugin development kit as a separate download. Please see http://www.jetbrains.org/display/IJOS/Writing+Plug-ins for instructions on setting up a plugin development environment.
Release Notes
IntelliJ IDEA 122.395 Release Notes
IntelliJ IDEA 122.327 Release Notes
IntelliJ IDEA 122.264 Release Notes
IntelliJ IDEA 122.202 Release Notes
IntelliJ IDEA 122.100 Release Notes
IntelliJ IDEA 122.29 Release Notes
IntelliJ IDEA 120.305 Release Notes
IntelliJ IDEA 120.152 Release Notes
IntelliJ IDEA 120.11 Release Notes
Major changes in IntelliJ Idea 12
Core features:
- JDK 8 "Project Lambda" support (closures and extension methods) (work in progress)
- Bytecode viewer plugin
- Rearranger plugin is now bundled (work in progress)
- Recent Files (Ctrl-E) popup redesigned
- Breakpoints dialog redesigned
- Middle matching in completion
- Completion includes static methods and fields
- Faster project content indexing
- Native help viewer under Mac OS X
- Rewritten annotation processing configuration
- Compilation subsystem rewrite: "External make" feature
- The new make is by default off, can be enabled on a per-project basis from "Settings | Compiler | Use out-of-process build for project compilation" checkbox.
- Currently supported: incremental compilation of Java, Groovy, resource copying, UI Designer forms, Artifacts, Android, annotation processing, not-null instrumentation
- Currently NOT SUPPORTED: projects that store data in Eclipse format, Grails-specific instrumentation
- Highlights:
- all compilation tasks are performed in a separate process, fully independent from IDE's VM, no interference with AWT thread, no IDE resources consumption during build
- lower memory requirements for the IDE.
- in the make process javac compiler is called in "in-process" mode via java API, hence faster java sources compilation
- java make: completely rewritten java classes dependency management for faster and more accurate search of dependent classes
- 'automake' mode: automatic make triggered by events from IDE's virtual file system. If such make resulted in errors, those are highlighted in Project View and editor tabs
- faster project rebuild
- New run configuration features
- Possibility to run another configuration or external tool as "before run" action
- Possibility to forbid running multiple copies of a run configuration
- New intentions and quickfixes
- Split string on line breaks
- Convert color between hex and decimal
- Add type parameter
- Call 'toString()'
- Replace with cast variable
- Assign all unassigned parameters to fields
- Unwrap/Remove in boolean expressions
- Replace assignment with setter call
- Make class implement interface
- Add ternary operation to avoid NPE
- Convert array access to collection access
- Move initializer to setUp()
- Remove extra argument in method call
- Convert if statement to ternary operator
- Split 'try' statement with multiple resources
- Merge nested try statements
- Merge sequential method calls into call chain
- Make package-local, Make protected, Make private
- Push condition inside call
- New inspections
- Non-final field in enum
- 0 is used as first parameter for setXXX" for JDBC PreparedStatement
- String concatenation missing whitespace
- Highlighting of recursive calls with gutter icons
Version control:
- Subversion: tree conflicts visualization and resolve (for some variants)
- Perforce: more reliable offline mode and authentication problem handling, ignored files support
- External merge tool support
Android Support
Statically type-checked Groovy 2.0
Frameworks and Technologies
- Spring Core
- Spring model: improved performance, multi-module (dependent) spring projects, mixed configurations (XML-, annotation- based)
- application contexts navigation http://www.screenr.com/zoK8
- Spring Security support improvements
- Security-namespace:
- improve autocompletion/navigation support
- support new/updated elements from 3.1 XSD
- improved highlighting for configuration errors/problems
- support OAuth1/2 (M6): XML highlighting, Spring Beans resolving
- JSP Taglib: update completion
- support for referencing properties of (custom) configured UserDetails, Config XML / Taglib
- inject SQL into <jdbc-user-service> "*query" attributes (configurable via IntelliLang --> dialects)
- inject PointcutExpression into <protect-pointcut> "expression"
- Security-namespace:
- Spring Batch (new)
- Library/Framework wizard
- navigation, completion and smart highlighting for <batch> namespace (2.1)
- predefined SpringEL variables
- Spring Integration
- 2.0.x-XSD: improved and updated autocompletion/highlighting, new inspection for highlighting deprecated elements
- 2.1/2.2 XSD: updated, add support for AMQP, Gemfire, JPA and Redis
- smart language injection (Spring EL, Groovy, XPath)
- updated library wizard versions
- <int-sec> namespace: integration with Spring Security
- Spring Web Flow
- support 2.3-config XSD
- JSF: support for spring-faces.xsd configuration elements
- dedicated icon & structure view for *-flow.xml files
- improve completion variants presentation
- support SpringEL or OGNL (Struts 2 plugin needed) instead of "plain" EL
- support <binding> bean property resolving
- support *-state "parent" resolving (flow#parentState)
- integrate with Spring Security authorities
- "Goto Related File" & gutter icons for related *-flow.xml files (parent & inheriting flows, <subflow-state> "subflow") and <bean-import> "resource"
- "Go To Parent" gutter icons for state-elements
- "Go To Symbol" for key navigation elements (view-state, end-state, ...)
- Compiler->Validation: validate flow.xml files during Make
- view-resolving (Tiles & anything via Spring MVC)
- completely rewritten Graph/Designer view
- show Graph for selected or all flow.xml-files in module
- improve graph presentation & layout, highlighted start-state ("link" style, blue bold)
- show/hide dependencies (parent flow(s) and "parent"-relations between states)
- show/hide sub-flows/event ("on-...") nodes
- show/hide details for nodes (sub-elements, properties)
- highlight all outgoing paths from selected node;
- create/delete states and edges (transition, parent)
- Extended CDI dependencies diagram: editing, navigation, DnD, etc. (done) - http://www.screenr.com/WKr8 and http://www.screenr.com/9Ar8
- support beans.xml + configuration inspections (done)
- simplify adding CDI in project + actual libraries (done)
- jBPM 5.0 (BPMN 2.0) - initial support (viewer, navigation, completion, simple error highlighting) - http://www.screenr.com/daG8
- Play! 1.2.4
- navigation to related: Controller Methods <==> Views (http://www.screenr.com/YRA8)
- FastTags support: http://www.screenr.com/uzA8
- list tag implicit variables : http://www.screenr.com/5eK8
- field tag support: http://www.screenr.com/5Nm8
- Interceptor method annotations (@Before, @After, @Finally) : http://www.screenr.com/nXm8
- Hibernate 4.x
- Application Servers
- Application server run configuration launch is made asynchronous -- IDEA UI will not hang while a run configuration is prepared to launch (all servers)
- Correct deployment status handling of Tomcat integration -- JMX is utilized for the status detection now
- Hot swap workflow is improved -- how swap will not fail after redeployment (all servers)
- TomEE server intergation
- ActionScript / Flex support
- AIR Mobile development: iOS Simulator support
- UML diagrams improvements
- Cucumber Support
- Cucumber language support is now independent from Ruby and is included in the IntelliJ IDEA Ultimate distribution


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The Foundations program is appropriate for all followers of Jesus, and will teach you the Bible's content and beliefs. We encourage you begin with "Life is a Journey" and continue through all the core classes. The Leadership classes will prepare you for leading small groups or worship.
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A life-changing discussion of what forgiveness is, and is not, and how to proceed.


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IGNOU BPYE-141 Solved Assignment 2021-22
If you are looking for BPYE-141 IGNOU Solved Assignment entitled 'Metaphysics' you have come to the right place. Click on the image or the button below to get your verified and approved solved assignment PDF instantly on your email!
BPYE-141: Metaphysics
July 2021 and January 2022 Sessions
BPYE-141 solved assignment is applicable for Bachelor of Arts (General) (BAG), etc. programmes of IGNOU. The assignment you must submit depends on which exam you are planning to write. If you want to write term end exams in June 2022, you must write the July 2021 session assignment. If you want to write the exams in December 2022, you must write the January 2022 Session assignment. Assignments must be submitted before 31st March, 2022 (June exam) and 15th September 2022 (December exam) respectively. These dates may or may not be extended by the university hence it is best to submit it on time.
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