text:
Aimless, trivial, meaningless, oh no – what she had seen at tea made it impossible for her to believe that. The little jokes, the chatter, the inanities of the afternoon had shriveled before her eyes. Underneath the likings and spites, the comings together and partings, great things were happening – terrible things because they were so great. Her sense of safety was shaken, as if beneath twigs and dead leaves she had seen the movement of a snake. It seemed to her that a moment’s respite was allowed, a moment’s make-believe, and then again the profound and reasonless law asserted itself, moulding them all to its own liking, making and destroying.1
Launching her writing career after her father’s death in 1904, Virginia Woolf became a public woman of letters just months after the Women’s Social and Political Union formed and as feminists took to the streets, newspapers, and parliament in the cause of women’s political and social freedom. The literary works of Woolf’s feminist modernist peers May Sinclair and Dorothy Richardson present women’s lack of selfhood as a fact that must be overcome, but the determined individuals they create cannot exist in genuine and prolonged social relation with others. Their selves are closely guarded secrets; their success is by definition marginal. The Voyage Out takes up the question of whether a woman can be a self-determining individual within the conventions and institutions of patriarchal society and, through Rachel Vinrace’s failure, seems to answer with a resounding “no.” But The Voyage Out is a fascinating exploration of this question, in particular through its textual use of boredom. Woolf uses the diffuse mood of boredom as a vehicle by which to express doubt not only about a young woman’s ability to access any meaning or individual purpose, but, more broadly, to question individualism and the systems of knowing by which humans understand purpose and meaning.
The Voyage Out can be a disturbing book, precisely because it undermines narrative traditions in which meaning is embedded and replaces them with yawning gaps, shifts in perspective, odd and jarring images, and a lack of narrative closure, all of which threaten meaning itself. There is a persistent, inhuman element in the novel that makes it more than a feminist protest novel. At the time of its publication critics called it a “bewildering” novel that left the reader unsure “of the meaning of it all.”2 As Woolf’s contemporary Allan Monkhouse has noted, the reader detects in the novel, like a bored woman herself, a “certain insolence of withdrawal from a world condemned as ponderous or meaningless.”3 Portrayed diffusely, Rachel Vinrace is the apparent center of this uncertain world. Like so many women featured in literature in the early twentieth century, Rachel Vinrace is silent, vague, and more of an absence than a presence.4 She has failed the qualifications of post-Cartesian selfhood in which access to the truth is defined within knowledge.5 Rachel knows nothing; she thinks and feels, but she is an outsider to a system that produces knowing individuals. Yet where Rachel Vinrace might be pigeonholed as another bored woman of limited possibilities – and she is that – she also escapes those possibilities through her curious illness and death at the end of the novel. Here The Voyage Out distinguishes itself as a far more interesting, far more experimental novel than at first it might appear. The Voyage Out refuses to privilege the individual as source of meaning and organizing principle either of knowledge or of the novel as form. Rachel is a featured person in the story, but importantly and notably, the novel begins and ends in others’ stories, as if to remind the reader that no one person is so remarkable as to inform what is knowable and significant. In Woolf’s first attempt, the novel becomes a form by which to posit an openness to being outside of, or beyond, the individual – a form she would master in her later works.
In The Voyage Out, there are multiple boredoms. On one level, Woolf protests, alongside May Sinclair and Dorothy Richardson, women’s difficulty in achieving meaning in the male-formed world and presents boredom, often quite humorously, as a side effect of this confrontation. On another level, however, Woolf presents boredom much in the way that Martin Heidegger described profound boredom in his 1929–1930 lectures on the Fundamental Concepts of Metaphysics, as an indeterminate mood that undoes all interest and possibility and in which time becomes an empty, yawning expanse. This form of boredom is an unmooring of all meaning-making possibilities in which time functions much like space does in making relative, and therefore irrelevant, all human action. Woolf’s focus on the disclosure of being, just as Heidegger’s, eschews an instrumental view of life and living; boredom as a being made open to that which is closed to us, “the indifferenceenveloping beings as a whole,”6 is the inverse of the positivist, capitalist form of boredom as lack of aim presented by early-twentieth-century feminists.7The Voyage Out, written and rewritten repeatedly between 1908 and 1915, is concerned not just with the political representation of the bored woman as a failed individual, but in representing boredom as fruitful attunement to a way of being and accessing existence in terms other than positivist individualism. The Voyage Out presents knowing as necessary to the modern subject formation of the individual, and demonstrates how knowing subjects reduce other subjects to objects simply as a by-product of that knowing. But the novel presents individual existences of subjects and objects only to supplant them with boredom. Boredom unravels subjects as separate from objects and leaves one empty simply because it presents one with being that cannot be known, the indifference of time and being itself.
Woolf was no stranger to boredom. Her own earliest diaries, recorded at age fifteen after a breakdown following her mother’s death, observe over and over again the “dull,” “uninteresting,” and “melancholy” existence she led as she endured a partial version of the rest cure so often prescribed to “neurasthenic” women in the late nineteenth and early twentieth centuries.8 Woolf defined boredom and its more prolonged form, depression, as symptomatic of the stifled young women of her time. In her diary of 1905 she remarked of her sister Vanessa’s good friend Margery “Snow” Snowden: “Snow to lunch, rather depressed, in body & mind, like all these vagrant & mildly discontented young women – not enough enthusiasm to carry them through with a swing, & so their existence seems to drag, & lack point rather.”9 In her memoir The Edwardian Lady, Woolf’s childhood friend Susan Grosvenor, later known as Lady Tweedsmuir,10 reinforced the idea that young women of the Edwardian period were living muted lives. She explains, “The girls of my generation were supposed to marry and marry well …. They were supposed to fill up their time with a little painting, a little reading, some music, to stay about in country houses, and generally play a sort of waiting game until the right (or wrong) man came along.”11 These women were painfully aware of their own suppression, as Lady Tweedsmuir relates: “Many of my contemporaries who had been brought up in the strictest sect of young ladyhood rebelled against their enforced idleness and complained to their friends. My cousin, Hilda Lyttleton said bitterly to me one day, ‘I want to do something better than rush up and down Oxford Street hunting for beastly pieces of tulle.’”12
“Enforced idleness” was a generational plague, observed and rebelled against by Woolf and her contemporaries. Conspicuously, “enforced” idleness implies a social system that rewards idleness, whereas boredom is perceived as an internal state, enforced from within. Boredom hovers between individual and collective experience; the discreet entity of one’s self is pierced (bored), and there is no longer an impregnable barrier between what is outside and what is inside. Woolf exploits this unique construction of boredom to develop her narrative style.
Boredom’s slippage between individual and social, or group, experiences is mirrored in modernist understandings of human experience. For if early twentieth century Britain inherited individualist systems of politics, society, economics, and epistemology premised on the idea that rights derive from the individual’s innate being and that, in a classically gendered formulation “man” is “free of community restriction,”13 it also entered an age in which sociology and the psychology of crowds had registered as organizing principles of truth and power.14 Michael Tratner has convincingly shown that dismantling the individual during the modernist era was “not merely an intellectual, aesthetic, or psychological revelation, but a central feature of political debates, a topic of election speeches, a basis of policy, and commonplace of newspaper and magazine articles.”15 Inasmuch as modernist literature may focus on its characters’ solipsistic thoughts, those individuals always form part of larger wholes: Clarrisa Dalloway’s and Leopold Bloom’s June days are shared with wide cross-sections of the societies in which they live. Woolf asks the reader of “A Sketch of the Past” to “[c]onsider what immense forces society brings to play upon each of us, how that society changes from decade to decade; and also from class to class.”16 Modernist texts expose the formation of the social subject, revealing individuals’ thoughts as part of larger social patterns premised on commercial or collective entities such as gender, class, or nationality.
From an individualist point of view, Enlightenment ideals of individualism that value self-generated meaning over meaning derived from larger metaphysical or social frameworks (e.g., man’s reason before God’s law) put a heavy burden on the individual to achieve purpose. Momentary lapses of such achievement are experienced as boredom. From the sociological point of view, boredom is a failure of the social structure to address the needs of subgroups within the collective. Feminists who addressed female waste and boredom could easily point to women’s mass exclusion from the public sphere as a structural cause of their disaffection. But in The Voyage Out, boredom functions not merely as outside or inside, but as the often failed and mysterious point of contact between the two.
Theorized by the burgeoning field of psychoanalysis in the first few decades of the twentieth century, individual boredom was understood as a self-administered deprivation of the thoughts and fantasies that lead to satisfaction, “a state of longing and an inability to designate what is longed for.”17 Psychoanalysis, premised, like the bildungsroman, on the conflict created between personal desire and collective demands, sets the stage for the drama of boredom as both individual and collective in Woolf’s first novel. The condition of longing for one knows not what describes Rachel Vinrace in The Voyage Out. Attempting to define herself in confidence to Clarissa Dalloway, Rachel says, “‘I am lonely … I want – ’ She did not know what she wanted, so that she could not finish the sentence.”18 If boredom is a desire for a desire, then Rachel’s quest for self-realization is the quest to overcome boredom and know her desire. But what prevents Rachel from knowing it? Her own desires are inaccessible to her. Later in the novel, when Rachel angrily complains to Helen, “I tell you, Helen, the world’s bad. It’s an agony, living, wanting –,”19 it is most significant that, in a repeated pattern of dashes that intimate either self-censorship or searching for an answer, her desire forces silence, a pause. She cannot articulate it. Because she has no place as an individual in the social system in which she lives, her desires must remain unspoken. But it is more than that they are unspoken: they are unexplored, unrealized, somewhat poignantly, by Rachel herself.
Rachel’s lack of social agency is part of a pattern in Woolf’s novels. Almost every one of Woolf’s novels features a scene in which a woman is made to socialize with a man, to encourage his talk, while, uninterested in what he says, she sits and tries to think of something else. For example, in The Years, Maggie thinks to herself as she listens to an elderly uncle: “To smile, to bend, to make believe you’re amused when you’re bored, how painful it is.”20 In The Voyage Out, the narrator notes, “Each of the ladies, being after the fashion of their sex, highly trained in promoting men’s talk without listening to it, could think – about the education of children, about the use of fog sirens in an opera – without betraying herself.”21 In Night and Day, Mary Datchett “was accustomed to find young men very ready to talk about themselves, and had come to listen to them as one listens to children, without any thought of herself.”22 Mrs. Ramsay heaves a great sigh in To The Lighthouse before embarking on a trip into town with the “insufferable bore” Mr. Tansley who “went on talking, about settlements, and teaching, and working men … till she gathered that he had got back entire self confidence.”23 Boredom born of capitulation to male privilege is featured as an – almost – unavoidable fact of women’s lives in Woolf’s novels. Lily Briscoe forms a remarkable exception to this rule at the Ramsay’s dinner party in To The Lighthouse. Aware that Charles Tansley is looking for a woman to solicit his opinion, she remembers his remark that women cannot paint or write and wonders why she should bother to help him. She muses:
There is a code of behaviour, she knew, whose seventh article (it may be) says that on occasions of this sort it behooves the woman, whatever her own occupation might be, to go to the help of the young man opposite so that he may expose and relieve the thigh bones, the ribs, of his vanity, of his urgent desire to assert himself; as indeed it is their duty, she reflected, in her old maidenly fairness, to help us, suppose the Tube were to burst into flames. Then, she thought, I should certainly expect Mr. Tansley to get me out. But how would it be, she thought, if neither of us did either of these things? So she sat there smiling.24
These representations, even Lily Briscoe’s aggressive smiling, betray the anger beneath boredom and its representation. Just as it does in Sinclair’s and Richardson’s work, this strain of female boredom in Woolf’s work protests rigid gender roles. Her gentle satire reduces not the women she exposes as mimics performing the roles of ideal women, but the roles they must play, and the men who expect them to be identical to their performances.
But feminist revolt in The Voyage Out is attenuated because individualism is under suspicion in this novel.25 Despite the growing influence of new disciplines such as anthropology, psychology, and sociology, which demonstrated that social forces permeate and construct private thoughts and private relationships, individualism was a significant cultural formation of the Edwardian and modernist periods.26 In her book, Virginia Woolf and the Bloomsbury Avant Garde, Christine Froula argues that Virginia Woolf, along with those associated with the Bloomsbury Group including John Maynard Keynes, Roger Fry, Duncan Grant, and Sigmund Freud, sustained the Kantian Enlightenment tradition by privileging the free, rational individual as the proponent of civilized values.27 The cultivation of oneself as an individual was an important part of what it meant to be modern. Individualism received considerable attention from little magazines, namely Wyndham Lewis’s Blast, A.R. Orage’s The New Age, and Dora Marsden’s The Freewoman, The New Freewoman, and The Egoist. Feminists relied on the discourse of individual rights to redefine women and the feminine in such a way that promised them greater self-determination and, as such, greater determination of public life. Liberal reforming feminists “insisted on a woman’s right over her own person and property, and on women’s equality with men in the social sphere via education, increased employment opportunities, and political enfranchisement.”28 While suffragists and feminists used individualism as justification for women’s participation in public life, various literary figures encouraged individualism as its own end.
Dora Marsden began her editorial career advocating individualism as a means of female empowerment, and eventually as an anarchist ideal. Called the “Max Stirner of feminism”29 by feminist advocate Floyd Dell, Marsden participated in the popularization, and perhaps distortion, of Stirner’s individualist ideas. Max Stirner’s The Ego and His Own (1844) was translated from German into English in 1909, and between 1909 and 1929, forty-nine editions of the work appeared.30 Michael Levenson claims Marsden’s “principal and overriding concern” in the New Freewoman “was to trumpet Stirnerian egoism … ‘will,’ ‘life,’ and ‘self’ were celebrated as healthy, because egoistic, notions.”31 In the earlier incarnation of the journal, The Freewoman: A Weekly Feminist Review (1911–1912), Marsden argued that most women “By habit of thought, by form of activity, and largely by preference … round off the personality of some other individual, rather than create or cultivate their own,” and that if a woman “is an individual, she is free, and will act like those who are free.”32 Importantly in terms of the relationship between individualism and boredom, Marsden later identifies individualism with desire, boredom’s opposite: “The centre of the Universe lies in the desire of the individual, and the Universe for the individual has no meaning apart from their satisfactions, a means to an end.”33 In Marsden’s means-end feminism, the individual must be a desiring, self-directed force of will. To postpone desire, or submerge one’s own desires, is a failure and enforces servitude to others. Marsden argues, “When the main thing for women is not what men want but what they want” women will have succeeded; but women’s desires have been suppressed for so long “inhibition has become its own reward.”34
If to be an individual means knowing and expressing one’s own desire, boredom baffles individualism. Contemporary psychoanalyst Adam Phillips observes this loss of self in his clinical work with children. Phillips explains that children experience boredom as an identity crisis in which a child’s project of self-sufficiency is pitted against acknowledgment of dependence. In boredom, the child does not know who he is and waits, as it were, “for himself.”35 For women of the early twentieth century, knowing one’s own desire, and thus oneself, was a demand that went against one’s training as a woman. The ideal of the self-sacrificing, self-effacing female rewarded women’s early dissociation from desire and punished female expressions of preference. But the increased representation of bored women in early-twentieth-century literature reveals a collective awareness that such desire was missing.
Woolf explores the ways that women can or cannot exist as individuals in her portrayal of Rachel Vinrace in The Voyage Out. Opening the novel with a warning of the difficulties of individualism, the narrator announces, “In the streets of London where beauty goes unregarded, eccentricity must pay the penalty, and it is better not to be very tall, to wear a long blue cloak, or to beat the air with your left hand.”36 At first glance, London is depicted as a social machine where individuality is punished. On further inspection, however, the conflict is located not between individual and group, but between social classes. The upper-middle-class Ambroses are dawdling along the busy streets of London followed by “small, agitated figures” who “had appointments to keep and drew a weekly salary, so that there was some reason for the unfriendly stare which was bestowed upon Mr. Ambrose’s height and upon Mrs. Ambrose’s cloak.”37 Helen Ambrose, we learn shortly after, “knew how to read the people who were passing her; there were the rich who were running to and from each others’ houses at this hour; there were the bigoted workers driving in a straight line to their offices; there were the poor who were unhappy and rightly malignant.”38 London is a place of social types, not individuals. That the characters are embarking on a voyage away from this stultifying system suggests that perhaps a freer way of life will be possible.
Yet life on the ship appears further confirmation that social types prevail. Rachel Vinrace – the heroine whose individuality is in question in this deconstructed bildungsroman – is to be treated as a type, the naive young woman, rather than as an individual. Woolf reminds the reader that Rachel is on “her father’s ship,”39 and her father, in introducing the party to the Dalloways, lists the ship’s inhabitants as “my brother-in-law, Ambrose, the scholar (I daresay you’ve heard his name), his wife, my old friend Pepper, a very quiet fellow … And that’s all.”40 That her own father does not include Rachel in the list suggests not just her insignificance to him, but figures her presence as a kind of absence. If she is present to him, it is as a possession, like the goats he transports to South America. She has been educated into her lack of presence by her father who opines in Louise DeSalvo’s compiled version of earlier drafts of The Voyage Out, Melymbrosia, that “[a]ction alone justifying talk, it followed that women should be silent, for they seldom do anything.”41 This masculine opinion alienates women from action, self-expression, or self-acknowledgment – necessary constituents of individualism and traditionally the foundations for good plot making. But here Woolf may be insisting on a form of narrative truth. She notes the preponderance of experiences like Rachel’s for young women in her diary on July 15, 1903, in a passage titled “Thoughts Upon Social Success”:
I feel rather strange, & inclined to be absent minded. I look round the room, see nobody there I know, & forget what one says next …. I can only comfort myself when I think of our social peculiarities by reflecting that we have this in common with the women of the world – we are equally at home everywhere – (not at all, that is to say) & we are confined to no one set in particular. This explains why it is usual for us to come into a room, & after shaking hands with our hostess, sit silent all the rest of the evening. We always seem to be outsiders where everybody else is intimate.42
Woolf’s notion that women are nowhere at home in the world, along with her use of the word “vagrant” to describe “Snow” and young women of her time in the preceding diary entry, conveys an awareness of women’s lack of ownership and place in society. If they are bored, it is because they are partly aware of their own desire, but also of the necessity to deny it in order to be a “social success.”
In portraying Rachel Vinrace, Woolf generalizes the experience of a young woman in society as one of alienation, both from society and from herself. Removed from representational terms of value, denied self-presence, Rachel is unable to signify, or to want, even herself. The lack of a female economy of desire creates a frustration leading to rage.43 Claire Kahane contends that boredom – or, in Woolf’s terms, “melancholy lethargy” – signifies repressed anger in The Voyage Out: “Melancholy lethargy, a symptom of repressed rage, replaces action in a kind of self-castration that leaves loss and emptiness at [The Voyage Out’s] very center.”44 Desire and anger having been repressed; only a feeling of emptiness remains. This emptiness is intended to mimic the alienated, diffuse state of Rachel’s consciousness. Here is where boredom functions as the subject’s resistance to the knowledge of its ideological constitution. The uncertainty or sense of suppressed meaning portrayed in the novel marks the limits of Rachel’s capacity to comprehend her status.
“Woman of action” Helen Ambrose judges Rachel’s generalness, her “lack of colour and definite outline,” as the reason she will be bored on their voyage.45 Looking at Rachel, Helen commits Rachel to a type: “Women of her own age usually boring her, she supposed that girls would be worse … how clear it was that Rachel would be vacillating, emotional, and when you said something to her it would make no more lasting impression than the stroke of a stick upon the water. There was nothing to take hold of in girls – nothing hard, permanent, satisfactory.”46 Here, as throughout the novel, male-identified Helen invokes boredom as the mark of subjective self-satisfaction, an individual distinction. She is associated with a Romantic tradition of boredom that exposes others’ inauthenticity in order to mark her individuality as superior. Helen also emblematizes the knowing individual’s tendency to reduce subjects to objects. Women and girls will bore her because they do not register as meaningful, nor participate as subjects, in the male systems of thought Helen not only identifies with, but perpetuates in her strange devotion to her petulant husband.
Indeed, Helen’s individual agency is suspect from the moment we see her leaving London. She is unhappy for much of the novel, her frequent boredom attesting to it. Significantly, the novel opens with Helen’s emotional trauma, not Rachel’s, upon leaving her children; much of the novel’s repressed action can be said to flow from Helen’s attempts to master her rage, rage repressed into boredom. She surmises quickly that “she would be considerably bored” on the voyage, and after dinner on the first night of the voyage, her husband Ridley points out, “We bored you so that you left” – a fact she does not deny.47 When Clarissa Dalloway cheerily offers in the manner of her class, “I’ve never met a bore yet!” Helen acerbically counters, “And I should say the world was full of them!”48 While Helen’s boredom functions here as a mode of self-distinction and marks her as an individual unafraid to counter Clarissa’s drawing-room manners,49 it barely contains her anger. Helen is a compromised individual. Bohemian Helen behaves conventionally in terms of catering to her husband’s needs and desires, a fact Terrence Hewet notes when he ruminates, “[S]he who was all truth to others was not true to her husband, was not true to her friends if they came in conflict with her husband.”50 And where Helen is compromised in her marriage, she compensates in her relationship with Rachel. For as Grace Carter Smith argued in The Freewoman in 1912, to be happy, women needed to see themselves as successful and frequently realized this desire by wielding influence, “the indelible impression of [herself] on [her] surroundings, whatever they may be, as a power.”51 In her need to assert herself, Helen adopts Rachel as a substitute child, but she repeatedly appeals to the fact that she wants Rachel to be educated by a man.52 There are few authentic ways in which Helen is self-determining, and yet Helen problematically takes on responsibility for Rachel’s quest to become an individual.
In earlier drafts of The Voyage Out, begun in 1908, Woolf takes seriously the quest of Rachel to become an individual, and purportedly free. When Helen encourages her in Melymbrosia, “Now’s your chance then. Your chance of being a person, I mean,” Rachel replies straightforwardly, “I can be myself in spite of you, in spite of the Dalloways, in spite of William Pepper, and my father, and Darwin?” To this Helen replies, somewhat doubtingly, “You can; but I don’t say you will.”53 The quest is doubtful, but it is still a serious quest.
By the time Woolf made her final changes to the published version of The Voyage Out in 1915, the same passage is defined by skeptical humor about Rachel’s ability to become an individual. When Helen says, “So now you can go ahead and be a person on your own account,” Rachel has a “vision of her own personality, of herself as a real everlasting thing, different from anything else, unmergeable, like the sea or the wind … and she became profoundly excited at the thought of living.” The hyperbolic language of this passage, coupled with the fact that sea and air must constantly merge with other things – a notion Woolf exploits in The Waves – signals a lack of authenticity, a false vision. How can the one exist apart from the whole? Equally telling is Rachel’s stuttering response: “‘I can be m-m-myself,’ she stammered, ‘in spite of you and in spite of the Dalloways, and Mr. Pepper, and Father, and my Aunts, in spite of these?’” To which Helen replies “gravely”: “In spite of everyone.”54 That Rachel is unable to say “myself” in one singular utterance, and must ask the question rather than assert it, signals the unlikelihood that she will achieve her individuality, and makes the quest to do so pathetically comic. That Helen avers “gravely” suggests that this quest for individualism is itself a dead end, an idea that Rachel’s death at the end of the novel confirms.
The impossibility of female individualism is at the heart of the novel’s boredom and anger, both in terms of the novel’s narrative form and its characters. For when Richard Dalloway asks of Rachel, “What are your interests and occupations? I should imagine that you were a person with very strong interests,” Rachel’s stunned response is simply, “You see, I am a woman,” as if to be a woman and to have interests and occupations are mutually exclusive.55 This is partly confirmed in Rachel’s occupations. When Helen wonders “what Rachel did do with herself,” she checks and finds her “sitting in her room doing absolutely nothing.”56 In post-Enlightenment culture that values productivity and discourse as the product of knowing that creates individuals as such, Rachel’s idleness, coupled with her nonlinguistic expression through music, makes her a cipher. But this cipher exists as a type. The day after the hotel dance, Hewet wonders what Rachel could be doing and imagines her “[l]ying on a sofa and looking at a ceiling, perhaps. He could imagine her doing that, and Helen in an armchair, with her hands on the arm of it, so – looking ahead of her, with her great big eyes.”57 Hewet imagines the women – as types – in the popular portrait style of the turn of the century in which neurasthenic women were painted staring vacantly into empty interiors.58 To him they are empty and idle, containers waiting to be filled with meaning.
For Rachel’s vacuity, the novel faults “[t]he way she had been educated, joined to a fine natural indolence,” but reminds us that her education is part of the social system: “for she had been educated as the majority of well-to-do girls in the last part of the nineteenth century were educated.”59 Notably, the narrator dates the quality of women’s education to the time of Queen Elizabeth, a pre-Enlightenment era before individualism became an ideal. Here Woolf reveals the fallacy of the individualist argument: Rachel is unable to be an individual because she has not been trained to be one. But if one can be trained to be one, if systems create individuals, are there in fact individuals? Individuals are simply those that belong to privileged groups, primarily consisting of educated men. Tellingly, the most pointed observations of Rachel’s vagueness and lack of self-definition occur in Melymbrosia. In that version of the story, Hirst wonders aloud of Rachel, “I mean does she reason – does she feel. She seems to me hopelessly vague.”60 Earlier, Hirst had said to Rachel, “I should think it quite possible that you have a mind, but it is doubtful if you can think honestly because of your sex you see.”61Melymbrosia goes a step toward imagining an alternative when it ventures, “Her dreams began to include a new dream, about saying what one thought, and getting it answered”62 But the revisions Woolf made to The Voyage Out betray an insecurity or inability to posit the likelihood of female self-assertion, and therefore individualism. As critics such as Louise DeSalvo, Diana L. Swanson, Mark Wollaeger, and Marianne DeKoven have suggested,63 Woolf’s revisions to earlier drafts of The Voyage Out indicate that Woolf censored her own outspokenness, perhaps fearing, as DeKoven has argued was common of female modernists, “punishment for [her] dangerous desire for revision.”64 Such revisions created a text in which “nothing really ‘happens’ on the level of action but a sporadically disgorged rhetoric of rage suggests havoc being wreaked elsewhere.”65 It is a boring text that enacts its own boredom in the form of its repressions.
In Santa Marina, Rachel, in her quest for individuality, is compared to the women she meets at the hotel. Most obviously, Rachel is contrasted with Susan Warrington, who becomes engaged to Arthur Venning. Quickly it is noted that “Susan … had no self, and counted neither one way nor the other.”66 Mrs. Thornton’s long life and many children “seemed to have rubbed away the marks of individuality.”67 Terence addresses his concerns about women’s lack of individuality when he poses to Rachel: “I’ve often walked along the streets where people live all in a row, and one house is exactly like another house, and wondered what on earth the women were doing inside,’ he mused. ‘Doesn’t it make your blood boil? he asked suddenly turning upon her. ‘I’m sure if I were a woman I’d blow someone’s brains out.’”68
Terence focuses in this passage on the lack of individuality in which women dwell. That Woolf found in the image of women in row houses an apt metaphor for women’s lack of individuality and attendant boredom is clear in her use of the image more than twenty years later in an unusual passage from The Years in which an anonymous lower-class woman is shown peering out of her row house in utter boredom:
The smoke blowing through Peter Street had condensed, between the narrowness of the houses, into a fine grey veil …. Nothing whatever was happening; a few children were playing in the street, two cats turned something over in the gutter with their paws. Yet a woman leaning out of the windows searched this way, that way, up and down the street as if she was raking every cranny for something to feed on. Her eyes, rapacious, greedy, like the eyes of a bird of prey, were also sulky and sleepy, as if they had nothing to feed their hunger upon. Nothing happened – nothing whatever. Still she gazed up and down with her indolent dissatisfied stare.69
Here the poverty of the scene is connected to the poverty of woman’s interior life, and boredom, as it often is, is likened to rapacious hunger. Conspicuously, the environment offers her nothing, and yet she continues to look outward to relieve her suffering. In The Voyage Out, it is made clear that social conventions prevent women from achieving individuality, and Terence observes, “All the most individual and humane of his friends were bachelors and spinsters.”70 Here, as throughout The Voyage Out, individuals are themselves types. Rachel’s inability to find herself in the already provided forms of a woman’s life leads to an existential crisis of boredom in which she seeks “she knew not what”71 in order to provide relief from the vague discomfort of her identity-less, meaningless condition.
Affective Attunement to Boredom as Being
More than just a feminist protest novel, The Voyage Out is characterized by an aloof, inhuman element that persistently diverts attention away from Rachel’s story into mysterious, elliptical descriptions and perspective shifts. There is something ominous, unresponsive, and unknowable underlying the novel. That something may be boredom as dehumanization and the erasure of meaning as such.
Woolf presents Rachel’s central crisis of boredom on a Sunday, “the mute black ghost or penitent spirit of the busy weekday.”72 If time and history are markers of meaning that in their knowability and predictability shape the possibilities of human action, it is significant that in boredom time and history lose this capacity. When time becomes long, it no longer promises order and meaning, it no longer promises that the future will come. On the particular Sunday in question, adhering to the English tradition has managed to “slow down the hours, dull the incidents, lengthen the meals, and make even the servants and page-boys wear a look of boredom and propriety.”73
Rachel attends church where she falls into an angry state of disillusion and renounces both priest and followers. After this she experiences defamiliarization – she sees all with fresh eyes as though the contexts that have given them meaning have been erased. So, for instance, from the hotel in town she looks up at the villa where she has been staying with the Ambroses and observes that the “familiar view” had “a certain unfamiliar distinction.”74 Wandering around the hotel, she is invited to visit, in succession, the rooms of Mrs. Flushing, the nouveau-riche would-be artist of “half-realised idea[s]”;75 Evelyn Murgatroyd, the young woman who longs for male adventures and to actually do something; and Ms. Allen, the spinster scholar whose self-deprivations are symbolized by the unopened bottle of crème de menthe named Oliver she has carried without drinking for twenty-six years. Between visits, Rachel lingers in the hallways with an “unformed restless desire in her mind” and is “absorbed by her restlessness.”76 She looks to each new person whom she visits to relieve the “mystery which burdened her.”77 But no visit is satisfying, and when Miss Allen and the elderly Mrs. Paley fail to understand what the other is saying in a hotel passageway, Rachel slips away, symbolically, to a cul de sac, for “[t]his misunderstanding, which involved a complete block in the passage, seemed to her unbearable.”78 Restless and bored, Rachel is at an impasse in her search for meaning. Crying, she looks out of the window with “eyes that would have seen nothing even had they not been dazed by tears.”79 In the ultimate moment of defamiliarization, boredom produces a vision of how much she dislikes all that has gone before her, not just in the day, but in their entirety – “all things were wrong, all people were stupid.”80 Here boredom functions as a valuation and rejection of the given world, what Heidegger calls in The Fundamental Concepts of Metaphysics an attunement to the emptiness of being that is not nothing, but rather a refusal of life’s mystery to reveal itself, which leaves the one who is bored aware only of lack.81 Panicked by this boredom, which she experiences as emptiness and need, Rachel turns inward toward herself as the source of meaning: “For the time, her own body was the source of all the life in the world, which tried to burst forth here – there – and was repressed now by Mr. Bax, now by Evelyn, now by the imposition of ponderous stupidity – the weight of the entire world.”82 This conclusion leads her into a trancelike boredom, a “melancholy lethargy,” in which she sees “vaguely” people in the garden whom she represents “as aimless masses of matter, floating hither and thither, without aim except to impede her. What were they doing, those other people in the world?”83 The other is a mystery. Collective life impedes her quest to become an individual. The vagueness and aimlessness of people, the pointlessness of existence, oppresses Rachel who searches to find her own meaning. That boredom often masks anger is underscored when narrator states, “The force of her rage was beginning to spend itself.”84 When Rachel believes she sees Terence below, she is “roused … from her melancholy lethargy” and appears to find in him a potential source of meaning and purpose. Here we can see an analogy to Heidegger’s second form of boredom, described in Chapter 1. To avoid the emerging form of being-left-empty induced by her boredom, Rachel will attempt to be taken – lost or captivated – by an object outside of herself.85 Woolf reveals this pattern as common to women. Rachel will exercise her choice as an individual in choosing Terence as the object by which to be taken. This will, of course, spell the end of her individualism.
Given the pitfalls of love for a woman who would be an individual, the scene in the jungle in which Terence and Rachel confess their love to each other is emblematic in that it depicts the death of the “I.” Walking through the trees, the landscape itself bespeaks the alienation of boredom and their displacement from meaning: “[T]he noises of the ordinary world were replaced by those creaking and sighing sounds which suggest to the traveller in a forest that he is walking at the bottom of the sea” and both are “unable to frame any thoughts.”86 The unlikelihood of the analogy of forest to sea bottom is jarring and, in being so, fitting to the process of the unmooring of meaning. For who might possibly know what walking on the bottom of the sea sounds like? Meanwhile wild animals cry randomly in the background. The trees and creepers close in on them, sunlight comes through only in gaps, and profound silence weighs on them. The source of narrative authority shifts between the human and the nonhuman, and being, which is not known, is as prevalent as the lovers. This is not the setting of clichéd romance, nor a promising site of possibility. It is, in the vein of Heidegger’s profound boredom, the diminishment of individual existence against the backdrop of existence itself and the horizon of time on which existence rests.87
Terence begins by asking if she is frightened, and Rachel says, “I like it” and repeats the phrase – an interesting self-echo, and the last assertion of personal preference she will make. Terence, in a move that counters the traditional personal confession of love, says, “We love each other,”88 subsuming Rachel’s feelings and desires into “we.”89 In her echoing of his phrase she foregoes her own voice. Being, that which is nonhuman, asserts its presence aside the lovers: “The silence was then broken by their voices which joined in tones of strange unfamiliar sound which formed no words.”90 Rachel, in response both to the loss of self predicated on her merging with Terence and to “the persistent churning of the water” that competes with her individualist apprehension of existence, can only murmur, “Terrible – terrible.”91 Terence becomes intensely preoccupied with time, looking at his watch and complaining, “We’re so late – so late – so horribly late.”92 His fixation on clock time suggests a conventional rather than personal sense of passing time, a desire to rejoin convention and social institutions after their personal and joint unraveling that pierces their subjectivity and is the experience of boredom.93 When they become lost on their way back to the boat, the novel’s language alludes not to Rachel’s biblical namesake but to Ruth 1:16, stating, “Rachel followed him, stopping where he stopped, turning where he turned, ignorant of the way, ignorant of why he stopped or why he turned.”94 In becoming engaged to Terence she has shattered her chance at individuality, but at the same time alternative ways of being have been opened up to her.
Rachel’s failure to individuate is made abundantly clear when Terence, who had until their engagement appeared to approach all women as individuals, now writes about women as a generic category, a type:
“Women – under the heading Women I’ve written:
‘Not really vainer than men. Lack of self-confidence at the base of most serious faults. Dislike of own sex traditional, or founded on fact? Every woman not so much a rake at heart, as an optimist, because they don’t think.’ What do you say Rachel? ….”
Rachel said nothing.95
Rachel’s silence corroborates the loss of a possible voice, as does the fact that, at Terence’s behest, she begins to write thank-you notes that “bore a considerable likeness to those she had condemned.”96 When Rachel notes that “[i]t was strange, considering how very different these people were, that they used almost the same sentences when they wrote to congratulate her upon her engagement,”97 Woolf underscores how social institutions themselves are at odds with individualism.
Rachel’s illness and death refuse the lack of individualism that marriage offers and at the same time confirm it. Just before she comes down with her headache, Rachel has a moment of revelation, in the hotel, that is the opposite of boredom, a moment in which meaning and purpose are confirmed in a way that negates the possibility of individual identity and affirms life as impersonal pattern, existence as encompassing but not predicated on individuals. This comes about in part through the use of the pronoun “one,” a pronoun Christine Froula locates as being used by Woolf first in A Room of One’s Own, but is quite clearly used earlier in The Voyage Out in critique of individualism and as a way of proposing alternative access to truth and being.98 Rachel sits feeling herself “amazingly secure” and thinks:
That was the strange thing, that one did not know where one was going, or what one wanted, and followed blindly, suffering so much in secret, always unprepared and amazed and knowing nothing; but one thing led to another and by degrees something had formed itself out of nothing, and so one reached at last this calm, this quiet, this certainty, and it was this process that people called living … and in that pattern lay satisfaction and meaning.99
Importantly, Rachel realizes existence itself: “[L]ife was independent of her, and independent of everything else.”100 This insight allows Rachel to conceive that “she was independent of [Terence]; she was independent of everything else,” and “love” had allowed her to feel this “independence.”101
In Woolf’s mature reflection on her teenage years in Moments of Being, she uses the rhetoric of boredom to describe what she calls “non-being”: “Non-being made up a great proportion of our time in London. The walks – twice every day in Kensington Gardens – were so monotonous. Speaking for myself, non-being lay thick over those years.”102 Woolf clearly describes the affect of boredom as the opposite of the peak experiences she calls “moments of being” in which pattern and meaning are revealed. Notably, neither moments of being nor nonbeing are dependent on the individual to achieve them. Rather, just as they do in Sinclair’s and Richardson’s work, moments of “being” or revelation arrive “for no reason that I know about,” claims Woolf, and “they seemed dominant; myself passive.”103 The self in-moment-of-being in Woolf is not the achieved, individual self apart from others of Richardson and Sinclair, but is instead a decidedly impersonal being apprehending impersonal being. So where The Voyage Out appears to promise Rachel’s quest to become an individual, near the end it turns away from a political, feminist sense of individualism and the freedom that Dora Marsden saw as attached to it, and turns instead to an independence that is connected to impersonality, akin to the state Heidegger calls being-in-the world in which consciousness is not cut off from objects and the subject/object divide does not exist. At this moment Rachel finds herself “detached and disinterested” and ready to accept anything in life.104 Rachel has a “moment of being” in which pattern is revealed, and importantly this experience has nothing to do with individual agency, will, or desire. Neither is it Sinclair’s sublimated achievement. It simply happens and is boredom’s opposite. Building on Heidegger’s work, Jean-Luc Nancy’s explanation of subjectless freedom speaks to this transporting experience, which Richardson and Sinclair clearly attempted, and which Woolf seems to have captured:
Freedom is a transcendental experience or the transcendental of experience, the transcendental that is experience. What ‘I experiment with for myself’ is in no way a power I could withhold, or a capacity I could get in touch with in myself. Instead I experiment that I am in the experience of myself – this intensity of (un)founded no-thingness – I experiment that the withdrawal of essence is an affirmation of my existence and that it is only on the ‘foundation’ of this affirmation that I can know myself to be the subject of my representations, and give flesh to my singular being in the world.105
Here the withdrawal of essence is seen not as erasure, but as a privileged form of access to being that elides the subject as a willing “I”. This is important in understanding Woolf’s project in her depiction of Rachel’s revelation. Rachel’s vision of the world as “so large, so hospitable” renders a form of love that is “not the love of man for woman, of Terence for Rachel,” because, pointedly, “they had ceased to be little separate bodies; they had ceased to struggle and desire one another.”106 Rachel’s vision supersedes subject-object relations and with it the politics of individualism; it is awareness of being, that “life was independent of her, and independent of everything else.”107
Rachel’s illness is a continuation of this detachment, but it is not a continuation of disinterest. In her sickbed she becomes “completely cut off, and unable to communicate with the rest of the world, isolated alone with her body.”108 She is detached, but very much bothered by Terence’s attempts to “bring them back to their old relationship.”109 She turns her back to him repeatedly and does “not wish to remember” their past life.110 Terence is thrown into “sordid misery and profound boredom” by her mute refusal of that past life, leading to the existential panic that “[n]othing mattered.”111 Rachel lapses into boredom as the unraveling of familiar meaning: “For long spaces of time she would merely lie conscious of her body floating on top of the bed and her mind driven to some remote corner of her body, or escaped and gone flitting around the room. All sights were something of an effort, but the sight of Terence was the greatest effort because he forced her to join mind to body in the desire to remember something.”112 In this passage time no longer functions to order meaning. Duration is measured spatially, not temporally, and history has been erased. Rachel, whose vision of unity has surpassed the living politics of her time as exemplified by Terence’s insistence on conventions, experiences a literal Cartesian split, mind separated from body. What had seemed significant is no longer so in boredom. Even Terence “did not mind if she died” just as “long as the succession of these hard and dreary days was broken.”113
Upon her death, however, he reinvests her sickness with meaning, reinterpreting her death as symbolic of “their complete union.”114 The reader is left to believe that Rachel’s death functions as a metaphor for the experience of women in marriage – a conclusion supported by many critics of the novel. For instance, in a 1986 article, Christine Froula suggests that “Rachel’s death represents not only the power of female initiation structures to overwhelm female desire when it ventures to imagine a different future, but also the difficulties that Woolf confronted in her first attempt to imagine an alternative to the female initiation plot.”115 Mark Wollaeger observes that Rachel “begins to die as soon as she is drawn into the marriage plot.”116 Similarly, June Cummins argues that Rachel, “[b]y refusing to participate in the institutional structures of patriarchy and imperialism … chooses the only route of resistance available to her: a very passive resistance.”117
While The Voyage Out forwards a materialist, feminist critique of the impediments before women’s experience of individualism and the boredom that accompanies their enforced “vagueness,” it simultaneously suggests, through boredom as an unraveling of self and knowledge, that individualism is a false promise, distracting one from existence as a whole. Thus the novel ends not with Rachel’s death, but with an additional two chapters. Directly after Rachel’s death, the narrative proceeds with a lengthy description of the cycle of night into day. Much like a miniature experiment with what Woolf later attempted in the “Time Passes” episode of To the Lighthouse in which “darkness” and “nothingness” prevail,118 Rachel’s individual death is dwarfed by the larger, impersonal forces of time and nature: “During these hours the silence was not broken, and the only movement was caused by the movement of trees and branches which stirred slightly, and then the shadows that lay across the white spaces of the land moved too.”119
Life continues on and, through free indirect discourse, the narrative darts in and out of character’s minds. And while it might have been a tidy ending to witness Evelyn Murgatroyd’s refusal of a marriage offer after which she asks the seemingly profound question, “What did matter then? What was the meaning of it all?”120 the novel persists. The Voyage Out refuses to be just a marriage-plot novel and it eschews individual agency and knowledge as the bedrock of its form. Persisting another ten pages, the narrative describes a ferocious rainstorm that diminishes the humans and then follows several of the novel’s minor characters as they end their day. Like Rachel’s previous vision, St. John Hirst sits in the drawing room of the hotel and observes that “the voices seemed to draw together from different parts of the room, and to combine themselves into a pattern before his eyes,” while Mrs. Flushing examines the earth from the window and exclaims, “Splendid! Splendid!”121 Ending the novel congenially with sleep a few paragraphs later, Woolf rejects boredom as ultimate meaning, but rather uses it as a vehicle of unraveling both the individual and the social in order to expose unknown and unrealized possibilities. This is not a pointing toward known possibilities, but rather a pointing out of possibility as such, a piercing or boring through the veil of what we think we know to what might not be known but nevertheless exists.


text:
Now Streaming: Netflix Instant Alternatives to Iron Man 3, The Great Gatsby, And The Peeples
The Great Gatsby
Baz Luhrmann, the audacious auteur behind Moulin Rouge and 1996's Romeo + Juliet, offers his outrageous take on F. Scott Fitzgerald's classic novel of romance and wealth. Leonardo DiCaprio stars as mysterious millionaire Jay Gatsby, a man who pursues his first love Daisy (Carey Mulligan), no matter the cost. Tobey Maguire and Joel Edgerton co-star.
Entranced and inspired by the pages of Fitzgerald's most popular work, Luhrmann looked to add some lavish visual language (and a kinetic but anachronistic soundtrack) to make Gatsby's tragic tale come to vivid life. For more literature turned into luscious movie romance, try these three scintillating titles.
The Great Gatsby (1974) In this pastel-colored adaption with a screenplay by Francis Ford Coppola, Robert Redford stars as Gatsby, while Mia Farrow plays the golden girl Daisy. Though it feels a bit wan and dated today, it's worth noting this memorable version won two Academy Awards, one for Best Costume Design, the other for Best Score, both categories Luhrmann's version will surely be eying come Oscar season. Sam Waterson, Bruce Dern, and Karen Black co-star; Jack Clayton directs.
A Royal Affair (2012) This Danish drama also earned Oscar notice, being nominated for Best Foreign Language film. Alicia Vikander stars as Caroline Mathilde, a young queen paired with a mad king. But she finds solace and love with her a German physician, sparking revolution. Based on the novel by Bodil Steensen-Leth, this celebrated romance co-stars Mads Mikkelsen and Mikkel Boe Følsgaard. Nikolaj Arcel directs.
Dangerous Liaisons (2012) In this Chinese interpretation of Choderlos de Laclos's oft-adapted novel, Cecilia Cheung and Jang Dong-gun star as two masterful manipulators who entertain themselves with a sexy wager about the future of virginal young beauty (Crouching Tiger, Hidden Dragon's Zhang Ziyi). But this cruel game of hearts eventually begins to turn on its players. Hur Jin-ho directs.
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domain: entertainment


text:
Still Me – A Golf Tragedy in 18 Parts written by Jeffery John Eyamie
- Canadiana Print: 20200278991
- Canadiana ebook: 20200279017
- ISBN: 9780888017130
- ISBN (EPUB): 9780888017147
- ISBN(Kindle): 9780888017154
- ISBN (PDF): 9780888017161
- Published Date: 2020
- Page: 260 pages
- Publisher: Turnstone Press
- Address: Artspace Building, 206-100 Arthur Street
- City: Winnipeg
- Province/Country: Manitoba, Canada
- Postal Code: R3B 1H3
- Email: firstname.lastname@example.org
- Contacts: www.TurnstonePress.com
One of the fun aspects of The Grateful Golfer is when I am asked to review new golf books. This is my third review and like each of the other books, it was not what I expected. This book is a journey of unexpected life challenges that offers many twists and turns. It is definitely not a “how to golf” book, but provides many parallels to the average Joe trying to navigate life with a multitude of nonstop stressors by using golf.
Still Me – A Golf Tragedy in 18 Parts tells the story of James Khoury’s, a salesman for Boreal Building Products, journey through the multitude of amazing golf courses he played throughout the years. His trip down memory lane was sparked when he found his treasure trove of golf memorabilia trashed beyond repair. I can relate to his despair, as many golfers probably can, if the same disaster happened to my prized golf trinkets. This part of the story is something I can definitely relate too.
So the journey begins; Khoury starts to recount the many golf courses he was fortunate to play because of the relationships forged through his job. He recounts how each course left a unique memory about his golfing experiences. Some of his rounds were more about the people he was partnered with, than actually playing golf; reading about each character was half the fun as I delved deeper into Still Me.
After 50 pages, something different started to happen in Khoury’s golf journey. Khoury started to recount the many challenges in his personal life and how it related to golf. It was if golf became a crutch that allowed Khoury to survive the drama in his life off the course. As we become introduced the various characters, it becomes obvious that there is more going in this book than just a trip down memory lane. The stakes to succeed on the golf course keep growing and growing.
Without giving away the ending, I can see how Khoury’s golf game became a reflection of his life. Success followed success and disaster followed disaster. I think many golfers would be able to relate to this type of dynamic as good golf relies on both physical and mental strengths of each player. If either is compromised so will our golf game. Still Me – A Golf Tragedy in 18 Parts definitely leads the reader through an emotional roller coaster that is easily transferred to everyday life.
Still Me is not a book I would normally pick off the shelf. This type of genre is not something I tend to gravitate towards. While reading this book, however, I found Jeffrey Eyamie’s writing style very enjoyable. I found the flow of the book easy to follow and provided plenty of intrigue to keep me interested. The mark of a good book, in my opinion, builds my interest as I devour the pages. Still Me was that type of book.
If you are looking for an interesting, non-traditional golf book, I recommend you read Still Me – A Golf Tragedy in 18 Parts. It will capture your imagination about golf possibilities as James Khoury navigates the challenges in his life on and off the golf course.
I want to thank Melissa at Turnstone Press for reaching out to me and asking me to review Jeffery John Eyamie’s book. It was an enjoyable read!
I am a grateful golfer! See you on the links!

domain: library


TitleRoadkill on the information highway
CreditsMyhrvold, Nathan P.
PublisherUniversity Video Communications
Copyright HolderComputer History Museum
DescriptionFrom University Video Communications' catalog:
"Myhrvold discusses the technological changes on the horizon resulting from exponential improvements in VLSI technology, increasingly sophisticated software, and high-speed networks. He posits that these changes will be significantly more far-reaching than those of the PC revolution. The changes will be driven by two fundamental technologies, computing and digital networking, and will dramatically alter communications and networking as we know them today."


Hart confident England strikers will fire
Joe Hart is backing England's toothless attack to come good in Euro 2016's round of 16.
Roy Hodgson's men drew a blank in their 0-0 draw with Slovakia in Saint-Etienne on Monday; Daniel Sturridge and Jamie Vardy failing to build on their goals in the 2-1 win over Wales, while Harry Kane, introduced as a substitute in the second half, endured another fruitless outing in France.
Vardy in particular wasted England's best chance of the game in the 17th minute, shooting straight at goalkeeper Matus Kozacik after racing on to a forward pass and getting in behind the opposition defence.
Hodgson faced criticism after the game for making six changes from the Wales win, as a point saw Chris Coleman's men top Group B.
Questioned after the game on the quality of the forwards' finishing in training, goalkeeper Hart said: "It's been very good. We back our players, we've got some fantastic strikers."
The Manchester City shot-stopper added: "We've come up against some really resilient defending and some good goalkeeping.
"But I think everyone's well aware that there's going to be a game when we do start getting what we deserve and that's going to be a good day for us ... we're very, very confident of what we've got in the group.
"We're united, we're going to stick together and we're going to look to get as far as we can."
England will now face one of Hungary, Iceland, Portugal or Austria in Nice on Monday but right-back Nathaniel Clyne, who came in for the rested Kyle Walker at Stade Geoffroy-Guichard, is not worried about the next opponents.
"It doesn't really matter who we get because to win the tournament - which is what we're trying to do - we have to play against the big teams and to beat the big teams," he said.
"I'm sure we will be ready, hopefully go from there and get to the next round."


text:
I made reservations for my wife and I for 8PM after I was informed that there were no seats available for my preferred time of 7PM. Upon our arrival around 7:35 there was ample seating available. Please do a tighter job in setting reservations.
The on-line reservation format was easy to use.
Always a good meal. Thank you
Portions were a bit small but otherwise it was a great meal.
Attentive and knowledgeable wait staff. Delicious food and cozy atmosphere.
Went there for Valentine's day. Took the entire family the service was friendly and efficient. The food was excellent as it always is.
The server was wonderful, and the food was fantastic! We'll be back soon!
Just not pleased with our experience !!!!!!!!!!!!!!!!!
Very nice restaurant. Food was delicious. Portion sizes were very generous.
Our server, Angela was fantastic. Hostess was a little abrupt with us.
Restaurant was extremely crowded, very hot due to number of people and both fireplaces going.
Always a great meal and service. Chris is the best server, friendly and professional. 500 Union Street Salad was so delicious, a must try. Salmon entree was amazing and expertly cooked, as was the delicious Ahi Tuna. Would skip the lobster risotto, not great, but other than that everything was over the top. Will keep coming back because it’s always worth it.
They forgot about us upstairs
Our family has been to Longfellows at least a dozen times over the last 20 years. We love the ambiance and the staff is very attentive. The food never disappoints. The cost is average for the area. We will not hesitate to return there when the opportunity presents itself in the future.

domain: food


text:
In need of a well-known dental expert in Highland Beach Palm Beach county in Florida? If you want to avoid paying a lot, try home teeth whitening methods we offer here.
You would be hard pressed to come across a grownup who hasn't had no less than a passing concern about wisdom teeth removal. Like your appendix, these late bloomers are of unclear significance for the modern human. Unfortunately, such as an appendix when it's attacked by disease, they can cause some fairly serious problems once they grow in poorly. While many people may go their entire lives with no the slightest problem, other people are not nearly so lucky. Before you get too worried one of many ways or other, however, below are a few items you should know about.
The most cost effective and overall effective way of whitening your teeth could be the using an in your own home whitening tray. This is because of its power to continue treatment over the extended period of time and allowing the patient to avoid elements such as anaesthesia. The dentist provides you with a special whitening gel. The advantage of applying this over what you can overcome the counter is that a dentist can present you with comprehensive advice about application. They will also custom come up with a tray for the, made to fit the form of your teeth. This tray will guarantee the strong gel will not likely affect your gums whatsoever.
4. Did you know that cheese may help? It seems unlikely that cheese may help, but there is evidence that small amounts of cheese minimizes dental cairies and promote good enamel health. Aside from cheese, milk and yogurt may also be reported to maintain your teeth healthy, since they contain calcium and phosphorus, minerals that make up the enamel. So, what to do with the cheese and milk? Obviously, take in the cheese and drink the milk!
Dental implants may be used in union to restorative dental procedures. For instance, implants can give retention and stability to dentures plus lessen irritation towards the gums. Implants can also hold dental crowns accustomed to restore missing teeth. They can also anchor dental bridges that replace missing teeth by permanently joining them for the adjacent teeth.

domain: medical


text:
But some have questioned whether he can legally vote as a Florida man because his Mar-a-Lago estate in Palm Beach is taxed as a private club and not as a residential property. Jim Watson, a Boynton Beach resident, filed an elections fraud complaint in June challenging Trump’s ability to vote in Florida, The Washington Post reported.
In the two primary elections earlier this year, Trump voted by mail.
State guidance on the issue notes that legal residency is not defined in Florida law, but the courts and the state’s division of elections have "construed legal residency to be where a person mentally intends to make his or her permanent residence. "
Evidence of that intent can come from obtaining a Florida driver’s license, paying tax receipts, paying utility bills for the residency, claiming a homestead property tax exemption, receiving mail at the address, declaring a county as domicile and “doing other activities indicative or normally associated with home life,” according to the guidelines from the Florida Department of State.
“A business address is not typically a satisfactory legal residential address but if the person resides there despite the zoning ordinance, the address could become the person’s legal residential address,” the guidelines read.
In September 2019, Trump filed a “declaration of domicile” with the Palm Beach County clerk and comptroller declaring himself to be a “bona fide resident” of Florida at Mar-a-Lago — 1100 S. Ocean Blvd. in Palm Beach. He listed the White House and his golf club in Bedminster, N.J., as other “places of abode.”
In the early 1990s, Trump converted Mar-a-Lago from a private residence into a social club, signing a detailed “use agreement” for the property and conveying ownership to a corporate entity he controlled named Mar-a-Lago Club Inc.
The 1993 agreement stipulates that club members could use guest suites for no longer than seven days at a time for three non-consecutive weeks per year. Trump’s lawyer said during a council meeting at the time that Trump would not live there, “except that he will be a member of the Club and would be entitled to use its guest rooms," according to a transcript obtained by The Washington Post.
A spokesman for the Florida Department of State did not respond to an inquiry Friday about the status of the election fraud complaint filed against Trump.

domain: politics


text:
Nurse Jobs in Hoffman Estates, Illinois - Page 2
Express Scripts Elmhurst, IL
Advance your career with the company that makes it easier for people to choose better health. Express Scripts is a leading healthcare company serving tens of millions of consumers. We are looking for individuals who are passionate, creative and committed to creating systems and service solutions that promote better health outcomes. Join the company that Fortune magazine ranked as one of the "Most...
CNA – LPN – RN- Live in Care Giver & Live In CNA Open Interview Sessions! BrightStar Care Home Health Care & Staffing of Naperville & Oak Brook IL ! Oak Brook Open Interview Sessions: 9:00am -4:00pm Thursday 12/4/14, Tuesday 12/9/14 & Wednesday 12/17/14 Location: Regency Towers Center 1415 West 22nd Street, Tower Floor, Oak Brook, IL 60523 ( East Tower) Naperville Open Interview Sessions: 1:0...
Marianjoy Franciscan Healthcare Wheaton, IL, 60189
As highly valued members of Marianjoy's care team, our nurses take a holistic approach to rehabilitation, focusing on the total needs of each patient - body, mind and spirit. Marianjoy's acute rehabilitation setting provides our nursing teams with an opportunity to stay clinically advanced and simultaneously experience the rewards of rehabilitation. Marianjoy seeks experience in acute care, medica...
Wheaton Franciscan Healthcare Wheaton, IL
External Description: As highly valued members of Marianjoy's care team, our nurses take a holistic approach to rehabilitation, focusing on the total needs of each patient - body, mind and spirit. Marianjoy’s acute rehabilitation setting provides our nursing teams with an opportunity to stay clinically advanced and simultaneously experience the rewards of rehabilitation. Marianjoy seeks experien...
Job Description Registered Nurse / RN Join a leader in the home health care industry. Each independently owned BrightStar location makes more possible for the community and clients it serves. If providing compassionate, high quality care is your passion, BrightStar has an opportunity for you. Registered Nurse / RN Job Duties include: Perform care as defined by client's individual Plan of Care ...
Cadence Health Wheaton, IL
Job Description A clinically competent, registered, professional nurse who prescribes, delegates and coordinates nursing care to the acutely ill patient through the nursing process of assessment, planning, intervention, implementation and evaluation. Effectively interacts with patient, significant others, and other health team members, while maintaining ANA standards of professional nursing pract...
Job Description Licensed Practical Nurse / LPN JOB SUMMARY The Licensed Practical/Vocational Nurse is responsible for providing direct skilled client care under the supervision of a registered nurse. Responsibilities include following the plan of care, providing treatments, and working collaboratively with the members of the team to help meet positive client care outcomes. ESSENTIAL DUTIES AND...
Description: There's an energy and excitement here, a shared mission to improve the lives of others as well as our own. Nursing here isn't for everybody. Instead of seeing a handful of patients each day, your work may affect millions for years to come. Ready for a new path? Start doing your life's best work.(sm) Our Hospice Clinical Services Manager is responsible for supervising and overseeing ...
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text:
Saturday, September 20, 2008
Saturday Is For Art
This is a rooster I have been working on recently. I know, I copied someone else's rooster, but I don't have any roosters running around my place to paint. I am painting it for a friend's kitchen. I am now known as her cock artist. Whatever. As long as I get paid for this rooster, I'll be happy. This rooster is on canvas, gallery wrap 12"x12", with acrylic paint.
I am working on another larger piece to be titled "Time For A Level Playing Field." This piece is 24"x24" on 3/4" plywood. I will take photos and post as the work is in progress. I have painted a number of level playing field pieces starting in 1990. I sketched the idea for this piece on a Southwest Airlines napkin during my recent trip to California for my daughter's wedding. I love Southwest Airlines.

domain: artistic


text:
Prettly little Pulin-mix lady
Around 2 years old
Happy and cheerful girl
Good with people and other dogs
This pretty little lady is Darlene. She was rescued from the pound in a terrible state with a horrible eye injury/infection.Thankfully she was spotted quickly and moved to safety.
She’s since had her eye removed and has fully recovered.
Darlene is about 2 years old and a happy little dog. We think she’s a pullin mix which is a common Serbian breed. She is good with the other dogs and loves human attention.
Darlene is vaccinated and neutered and ready to find her forever home.
All our dogs are tested for the following prior to travel: Heartworm, Anaplasmosis, Erlichiosis, Lyme Disease, Brucellosis (since 11th June 2021).

domain: pet


|Publication number||US5373958 A|
|Application number||US 08/036,152|
|Publication date||Dec 20, 1994|
|Filing date||Mar 24, 1993|
|Priority date||Mar 24, 1993|
|Publication number||036152, 08036152, US 5373958 A, US 5373958A, US-A-5373958, US5373958 A, US5373958A|
|Inventors||David J. Bokmiller|
|Original Assignee||Lobo Containers, Inc.|
|Export Citation||BiBTeX, EndNote, RefMan|
|Patent Citations (13), Referenced by (17), Classifications (60), Legal Events (5)|
|External Links: USPTO, USPTO Assignment, Espacenet|
The present invention relates generally to containers and more particularly to plastic containers with threaded closures for containing hazardous materials and the like.
Polyethylene containers are utilized for containing hazardous materials either in free form or as an over packing for metal salvage drums containing hazardous materials. An example of such a container is illustrated in U.S. Pat. No. 4,708,258 issued on Nov. 24, 1987 for SALVAGE DRUM.
This drum-type container is corrosion resistant. Such containers must also have mechanical strength combined with light weight, and they must provide safe containment of hazardous materials without leaking, despite rough handling during transportation.
Such containers must be approved in the United States by the U.S. Department of Transportation (DOT). The rigorous DOT testing requires dropping of a container, generally filled with water, from a specified height onto a concrete slab, and the angle at which the container is dropped onto the concrete is varied for the testing procedure. Such containers are also usually provided in a stackable form so that the containers can be stacked either on top of each other when full or stacked by nesting them into each other when empty. In addition, the lids are usually attached by a threaded connection to provide maximum leak-proof capabilities.
The salvage container described in U.S. Pat. No. 4,708,258 is very effective. However, it is a principal object of the present invention to provide such a container with additional novel improvements which will make such a container even mechanically stronger, more affordable, more suitable for containing hazardous materials in a leak-tight manner and more suitable for manipulating, handling, transporting and storing the containers.
The prior art salvage container described, is specifically designed for spin or rotational molding, instead of blow molding, from a linear low or medium density polyethylene, which inherently makes the container more expensive to manufacture and not as strong as if the container and lid were blow molded of high density/high molecular weight thermoplastic.
In addition, such prior art containers intended for containment of conventional 55 or 95 gallon drums are not provided with a means for securely engaging and confining the salvage drum within the container between the bottom of the container and the underside of the lid when the lid is fully received on the container. In addition, such prior art containers do not provide a secure and easy means for manipulating the containers with a conventional forklift.
It is an object of the present invention to eliminate these disadvantages and thereby provide a blow molded container with a hollow closure therefore which has all of the aforedescribed advantages of more mechanical strength, affordability, suitability for leak-tight containment, and convenience of manipulation for handling and transportation purposes.
The blow molded container and hollow closure combination of the present invention includes a plastic container and lid wherein the container has a side wall and circular bottom wall. The side wall of the container also has an upper side wall portion, a lower side wall portion, and an enlarged diameter side wall portion intermediate the upper and lower side wall portions.
The exterior surface of the upper side wall portion is provided with male threads.
The lid is double-walled and has a double-walled top body and a double-walled annular skirt depending downwardly from the top body. The interior circumferential surface of the skirt is provided with female threads for mating with the male threads on the container.
The container is presized to precisely contain a salvage drum therein, such as a conventional steel 55 or 95 gallon drum, and the container with its lid is designed for engaging and confining such a salvage drum in the container between the bottom and the lid when the lid is threadably received on the container.
This drum retention device is provided in the form of a downwardly extending protrusion on the underside of the lid which engages the upper end of the salvage drum received within the container, when the lid is fully screwed down on the container. This protrusion is preferably provided in the shape of an annular ring.
This annular protrusion is slightly larger in diameter than the top of the drum contained within the container and it further includes an inwardly sloped or tapered annular wall for engaging the upper perimeter of the drum so that the drum is tightly contained between the lid and the inside bottom of the container.
An override lid locking mechanism is also provided between the bottom of the lid skirt and the container top for locking the lid onto the container when the lid is fully threaded thereon. This override locking mechanism consists of protruding lock ramps that are received in corresponding lock notches or recesses. For example, small lock ramps may protrude upwardly from the top side of the container and a number of corresponding notches or recesses are provided in the bottom of the threaded skirt so that when the lid is threaded onto to the container these ramp surfaces will snap into respective notches in the bottom of the lid skirt.
In addition, center portions of the bottom of the container are molded such that they are upwardly recessed with respect to perimeter portions of the bottom of the container, so that when the container is empty only these perimeter portions of the container bottom will rest on the ground or underlying surface. This stabilizes the containers so that they will readily rest in an upright position when they are in an empty condition.
Also, a parallel pair of horizontal recesses are provided on opposite sides of the container in the exterior surface of the enlarged diameter center side wall portion. These recesses are provided for receiving forks of a forklift for lifting and moving the container by forklift in an empty of full condition.
The bottom of the container is also provided with a pair of forklift recesses for receiving forks of a forklift, thereby providing even additional means for readily manipulating the container by conventional forklift.
The lid is also provided with appropriate recesses in the top thereof to seal the bottom of another such container for stacking capabilities. In addition, the top side of the lid is provided with perimetrical upstanding castellations with gaps therebetween for lever access to assist in tightening or loosening of the lid on the container. For example, a two by four may be placed across the lid in the castellation gaps and used as a leverage to turn the lid.
The lower side wall portion of the containers is also tapered outwardly from the bottom wall to the shoulder formed at the bottom of the central enlarged diameter side wall portion of the container to permit the containers to be easily nested, one within the other, when empty for storage of the containers.
The container and hollow closure are blow molded of high density/high molecular weight thermoplastic thereby providing an exceptional strong container and closure combination. The preferred thermoplastic is polyethylene. Rotational casting is therefore completely eliminated and the product of the present invention has a higher strength than those of the prior art for the same wall thickness. In addition, the thermoset cross-linked or non cross-linked materials utilized in the containers of the prior art in rotational casting are such that if a mistake is made the container must be scrapped. This is not true when blow molding the containers of the present invention with high density/high molecular weight polyethylene.
Other objects and advantages appear in the following description and claims.
The accompanying drawings show, for the purpose of exemplification without limiting the invention or claims thereto, certain practical embodiments illustrating the principals of this invention wherein:
FIG. 1 is a top or plan view of the closure or lid for the plastic container of the present invention;
FIG. 2 is a view in side elevation of the plastic container and closure combination of the present invention with portions removed for interior viewing;
FIG. 3 is a perspective exploded view in side elevation of the plastic closure and lid combination shown in FIG. 2 with the lid removed;
FIG. 4 is an enlarged view in vertical cross-section illustrating a portion of the sealed connection between the lid and container combination of FIG. 2; and
FIG. 5 is a view in side elevation showning two of the empty containers of FIGS. 2 or 3 nested in stacked relationship.
Referring to FIGS. 1, 2 and 3, the blow molded container and hollow closure combination 10 is illustrated. The container portion 11 has a side wall 12 and a circular bottom wall 13. Side wall 12 has an exterior surface 14 and an interior surface 15. Container 11 also has an upper side wall portion 16, a lower side wall portion 17 and an enlarge diameter side wall portion 18, which is intermediate the upper side wall portion 16 and the lower side wall portion 17.
The exterior surface of the upper side wall portion 16 is provided with male threads 20. The container 11 also has an annular shoulder 21 form between the lower side wall portion 17 and the enlarged side wall portion 18.
Lid 22 for container 11 is double-walled as illustrated. Lid 22 has a double-walled top 23 and a double-walled annular skirt 24 depending downwardly from the double-walled top body 23.
Skirt 24 of lid 22 has an interior circumferential surface 25 which is provided with female threads 26 for mating with the male threads 20 of container 11. Details of this arrangement are best illustrated in FIG. 4.
Container 11 is presized to contain a salvage drum therein of conventional size. In this particular instance, container 11 is of such a size that it will container a 95 gallon steel salvage drum 27 therein.
The underside 28 of lid 22 is provided with a downwardly extending annular ring shaped protrusion 29 which engages the upper perimeters 30 of salvage drum 27, such that drum 27 is strictly confined between the inwardly sloped or tapered annular wall 30 of protrusion 29 and the bottom wall 13 of container 11. This prevents drum 27 from moving relative to container 11 when lid 22 is tightly secured thereon.
An override lock mechanism is provided between the bottom of lid skirt 24 and the top of container 11 such that when lid 22 is threadably secured down onto container 11 it cannot accidently back off of its threads. This override lock mechanism is provided by means of protruding lock ramp 31 provided on ledge 32 of container 11 in combination with corresonding lock notch 33 provided in the lower annular rim of lid 22. Then lid 22 is tightly screwed down onto container 11, ramp 31 will eventually slip up into notch 33 of lid 22 and lock the lid 22 onto container 11 thereby preventing accidental back-off or threadable removal of lid 22. Multiple lock ramp and corresponding lock notch combinations may be provided.
The center portions 35 of container bottom 13 are upwardly recessed from the perimetrical portions 37. this makes the container much more stable for sitting in an upright position when empty and maintaining an upright position as the container rests primarily on 3 or more perimeter areas 37, without contact of the underlying surface by the center areas 35. Traditionally, plastic molded containers of this type with some type of extending feet do not readily stand on their own due to the bulging nature of the bottom of the plastic molded product.
Container 11 is also provided with two pairs of horizontal recesses 40 on opposite sides of container 11 in the exterior surfaces of enlarged side wall portion 18. These recesses are provided for receiving the forks of a conventional forklift for lifting and moving the container in an empty or full condition by conventional forklift.
In addition, the bottom 13 of container 11 is also provided with a spaced pair of parallel forklift access recesses 41 which permit reception of parallel forks of a conventional forklift for lifting and moving the container 11 from the bottom.
It should be additionally recognized that the top side 23 olf lid 22 is recessed to receive and seat the bottom 13 of one of the containers 11 thereon for stacking of the containers when they are full.
With particular reference to FIG. 5, the lower side wall portions 12 of containers 11 tapered outwardly from bottom wall 13 up to annular shoulder 21 to provide nesting capability for containers 11 when they are stacked together in an empty condition.
The containers 11 and lids 22 are blow molded of high density/high molecular weight thermoplastic. In particular they are preferably molded of polyethylene thermoplastic.
With particular reference to FIGS. 1, 2 and 3, lid 22 is also provided on its top side 23 with perimetrical upstanding castellations 45 having gaps 46 therebetween for lever access, such as with a two-by-four and the like, to assit in screw tightening or loosening of lid 22 onto container 11.
Lid 22 is also provided with conventional depressions or dimpling 47 to assit in strengthening top wall 23.
With particular reference to FIG. 4, details of the threaded connection between lid 22 and container 11 are illustrated. In particular annular ring seal 48 is shown and provides a leak-proof seal between lid 22 and container 11.
|Cited Patent||Filing date||Publication date||Applicant||Title|
|US2633264 *||Apr 5, 1951||Mar 31, 1953||Dinsmore||Spaced wall insulated container|
|US3438538 *||Jun 5, 1967||Apr 15, 1969||Phillips Petroleum Co||Blow molded closure|
|US3474843 *||Aug 28, 1967||Oct 28, 1969||Maris David B||Blow-molded containers|
|US3477631 *||Aug 16, 1968||Nov 11, 1969||Sonoco Products Co||Combination pallet and container|
|US3521777 *||Oct 9, 1967||Jul 28, 1970||Inventors Engineering||Shipping drum pallet with annular fork receiving means|
|US4014452 *||Apr 3, 1975||Mar 29, 1977||United States Steel Corporation||Plastic lids and pails|
|US4453647 *||Jan 26, 1983||Jun 12, 1984||Neat Benjamin C||Plastic container having threaded closure|
|US4558796 *||Sep 26, 1983||Dec 17, 1985||Jaicks John R||Animal proof storage container apparatus|
|US4666054 *||Sep 13, 1985||May 19, 1987||John R. Jaicks||Animal proof storage container apparatus|
|US4708258 *||Mar 4, 1987||Nov 24, 1987||Bondico, Inc.||Salvage drum|
|US4930632 *||Dec 5, 1988||Jun 5, 1990||Eckert Robert L||Hazardous liquid containment tray|
|US5096083 *||May 8, 1990||Mar 17, 1992||Essef Corporation||Polyethylene shipping drum|
|US5180076 *||Mar 1, 1991||Jan 19, 1993||Progressive Technologies, Inc.||Waste container|
|Citing Patent||Filing date||Publication date||Applicant||Title|
|US5590802 *||Aug 28, 1995||Jan 7, 1997||Eagle Manufacturing Company||Salvage drum with protected clamping|
|US5762227 *||Jun 24, 1996||Jun 9, 1998||Eagle Manufacturing Co.||Spreadable circular clamp ring and salvage drum including same|
|US5839598 *||Jun 24, 1996||Nov 24, 1998||Eagle Manufacturing Company||Combination lid and spill tray|
|US6056143 *||Dec 18, 1997||May 2, 2000||Stolzman; Michael D.||Threaded drum cover|
|US6308830||Jul 16, 1998||Oct 30, 2001||Greif Bros. Corporation||Device for protecting large-volume receptacle and method for the production thereof|
|US6308858||Dec 7, 1999||Oct 30, 2001||Rehrig Pacific Company||Storage container|
|US7543705 *||Sep 16, 2004||Jun 9, 2009||Graham Packaging Company, L.P.||Container with anti-nesting ledge|
|US9205953 *||Dec 13, 2012||Dec 8, 2015||Jeffrey Andrews||Container and lid for sawhorse application|
|US20060065568 *||Sep 16, 2004||Mar 30, 2006||Graham Packaging Company, L.P.||Container with anti-nesting ledge|
|US20120324832 *||Dec 27, 2012||Enpac, L.L.C.||Method of overpacking a package using an overpack salvage drum|
|US20130105338 *||Dec 13, 2012||May 2, 2013||Jeffrey Andrews||Container and lid for sawhorse application|
|EP1422973A1 *||Nov 20, 2002||May 26, 2004||ALUMINIUM RHEINFELDEN GmbH||Shaped body from Söderberg material|
|EP1422974A1 *||May 1, 2003||May 26, 2004||ALUMINIUM RHEINFELDEN GmbH||Shaped body made of Söderbergmaterial|
|WO1996021606A1 *||Jan 12, 1996||Jul 18, 1996||Cornelis Jacobus Jansen||Device for storing liquid, in particular aggressive liquid|
|WO1998030466A1 *||Jan 9, 1998||Jul 16, 1998||Guenter Richter||Device for protecting a large-volume receptacle and method for the production thereof|
|WO2000073154A2 *||May 23, 2000||Dec 7, 2000||Altenkirchener Kunststoff||Multi-shell device for storing and transporting chemicals|
|WO2011129866A1 *||Apr 4, 2011||Oct 20, 2011||Charles Chang||Double walled container and closure therefor|
|U.S. Classification||220/284, 215/331, 220/304, 206/519, 220/608, 220/675|
|International Classification||B65D85/84, B65D19/04, B65D43/02, B65D1/16, B65D19/00, B65D21/02, B65D17/52, B65D41/04, B65D25/22|
|Cooperative Classification||B65D2519/00527, B65D2519/00333, B65D2519/00288, B65D25/22, B65D43/0231, B65D2519/00422, B65D2543/00416, B65D19/04, B65D2543/00092, B65D2519/00069, B65D2519/00034, B65D2543/00555, B65D2519/00174, B65D85/84, B65D2519/00064, B65D21/0233, B65D2519/00208, B65D41/0471, B65D1/16, B65D2519/00273, B65D2519/008, B65D2519/00373, B65D2543/00898, B65D2543/00537, B65D2519/00572, B65D2519/00796, B65D2519/00293, B65D2519/00323, B65D2519/00268, B65D2543/00509, B65D2519/00298, B65D2543/00296, B65D2519/00711, B65D2543/00564, B65D2519/00099, B65D2519/00557, B65D2519/00318, B65D2543/00833|
|European Classification||B65D21/02F, B65D25/22, B65D85/84, B65D43/02S7E, B65D1/16, B65D41/04E, B65D19/04|
|Mar 24, 1993||AS||Assignment|
Owner name: LOBO CONTAINERS, INC. AN AR CORPORATION, ARKANSA
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST.;ASSIGNOR:BOKMILLER, DAIVD J.;REEL/FRAME:006520/0895
Effective date: 19930319
|Dec 29, 1997||FPAY||Fee payment|
Year of fee payment: 4
|Jul 9, 2002||REMI||Maintenance fee reminder mailed|
|Dec 20, 2002||LAPS||Lapse for failure to pay maintenance fees|
|Feb 18, 2003||FP||Expired due to failure to pay maintenance fee|
Effective date: 20021220