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DC mayor worried about US ‘descending into a race war’
Washington, D.C., Mayor Muriel Bowser (D) warned of the threat of a “race war” in the U.S., saying she suspected “outside agitators” in demonstrations that turned violent over the weekend.
“What I’m worried about is this country descending into a race war,” Bowser said at a Monday news conference, according to WAMU. “And I’m worried about the continued incitement of violence from leadership who should be focused on bringing our communities together. … Our police and peaceful protesters will be safer when we come together as a community and tamp down this Black vs. white rhetoric.
“We will not tolerate violence of any kind in Washington, D.C.,” she added. “We don’t tolerate it if it’s on the streets between rival crews and we won’t tolerate it against our police officers, the men and women who are charged with keeping our community safe. And we certainly won’t tolerate it against our residents and visitors.”
D.C. Police Chief Peter Newsham claimed those arrested over the weekend “appear to be folks who are coming into our peaceful city with the intent of destroying property and hurting folks.” However, similar claims by Newsham in June were undercut by arrest and prosecution records indicating participants were largely locals. Eighty-three percent of people arrested during D.C. demonstrations from May through August are from D.C., Virginia or Maryland, according to WAMU.
Bowser conceded that the Metropolitan Police Department has yet to identify any group or funding source behind the violence, but said such a connection would not be “a big leap.” Newsham claimed police intelligence connected a van present over the weekend to demonstrations in Portland, Ore., and Kenosha, Wis.
By contrast, Newsham noted police made no arrests on Friday, when large crowds gathered to commemorate the anniversary of the 1963 March on Washington.
President Trump has frequently attacked Democratic mayors, including Bowser, by name for their response to protests and rioting. However, Bowser said Monday the federal government has failed to do its part.
“When we arrest people for … felony charges, we need the U.S. attorney for the District, who is a federal appointee of the president, to prosecute them,” she said Monday.


Russia has been accused of stoking misinformation after Moscow claimed Ukraine is planning to detonate a "dirty bomb" to escalate the crisis.
The Kremlin said, without providing any evidence, that Russian troops have consequently begun training for readiness in conditions of "radioactive contamination".
After weeks of rising international tension following threats by President Vladimir Putin to defend Russia's "territorial integrity" with nuclear weapons, this is the first concrete statement from Moscow indicating a change in its forces' state of preparedness.
Russia is expected to raise the accusation at the United Nations Security Council meeting on Tuesday, urging UN chief Antonio Guterres to do all he can to "prevent this heinous crime from happening."
Ukrainian President Volodymyr Zelenskyy has responded by accusing Russia of planning such an attack itself to blame on Ukraine.
The US, UK and France also released a joint statement rejecting "Russia's transparently false allegations that Ukraine is preparing to use a dirty bomb on its own territory".
NATO Secretary General Jens Stoltenberg also said the organisation "rejected this allegation. Russia must not use it as a pretext for escalation."
On Sunday, Defense Minister Sergei Shoigu told Western defence ministers that Moscow believed Ukraine was preparing to detonate a "dirty bomb" - a device using conventional explosives packed with radioactive material to spread contamination over a wide area.
Lieutenant General Igor Kirillov, head of Russia's nuclear, biological and chemical protection troops, told a media briefing on Monday that the aim of such an attack would be to blame the resulting radioactive contamination on Russia by accusing it of detonating a low-grade nuclear weapon.
Ukraine wanted to paint Russia as a "nuclear terrorist," he said. "The aim of the provocation would be to accuse Russia of using a weapon of mass destruction in the Ukrainian military theatre and by that means to launch a powerful anti-Russian campaign in the world, aimed at undermining trust in Moscow."
He added: "Work has been organised by the ministry of defence to counter possible provocations from the Ukrainian side: forces and resources have been put in readiness to perform tasks in conditions of radioactive contamination."
The comments come amid of flurry of high-level diplomacy.
At the weekend, Shoigu spoke with US Defense Secretary Lloyd Austin for the second time in three days as well as UK Defence Secretary Ben Wallace.
Wallace vehemently rejected Russian claims that Western powers are colluding with Ukraine on a “provocation” involving a radioactive “dirty bomb”.
The head of the British armed forces also used a call with his Russian counterpart to restate Britain's support for Ukraine.
Admiral Sir Tony Radakin spoke to General Valery Gerasimov at the request of the Russian defence ministry.
An MoD spokesman said Admiral Sir Tony had also rejected Russia’s allegations that “Ukraine is planning actions to escalate the conflict”.
He said: “At the request of the Russian Ministry of Defence, the chief of the defence staff, Admiral Sir Tony Radakin, spoke with his Russian counterpart, general of the army Valery Vasilyevich Gerasimov, this afternoon.
“The Chief of the Defence Staff rejected Russia’s allegations that Ukraine is planning actions to escalate the conflict, and he restated the UK’s enduring support for Ukraine."
The spokesman said that both military leaders had agreed the importance of maintaining open channels of communication between the UK and Russia to manage the risk of miscalculation and to "facilitate de-escalation".
Downing Street said it was “too early” whether the calls, at the initiation of Moscow, were a sign that Russia is trying to engage with the West to ease tensions but “it remains important that we have these open channels of communication”.
“Obviously, we would welcome any conversations, but I think what you’re seeing play out on the ground does not suggest any toning down in approach,” the Prime Minister’s official spokesman said.
“There continues to be indiscriminate attacks on a daily basis.”


DENVER | A scaled-down program will make things simpler for thousands of people to seek the elimination of low-level marijuana convictions that happened in Denver before recreational use became legal in Colorado, officials said Wednesday.
Mayor Michael Hancock said the update “is about equity for our communities of color and individuals who were disproportionately impacted by low-level marijuana convictions that are no longer crimes in Colorado.”
Based on analysis of digitized court records between 2001 and 2013, Denver officials have estimated 10,000 convictions could be eligible.
The new program requires those seeking help clearing their convictions to submit an online form or attend an event. Prosecutors employed by the district attorney or city attorney will then seek court approval to dismiss the convictions and seal court records.
Denver District Attorney Beth McCann called the effort a matter of “justice and fairness.”
Colorado was among the first states to widely allow the sale and adult use of marijuana in 2014, but other municipalities have led the way on automatic expungement of past convictions.
Seattle, San Francisco and several prosecutors in New York City last year instituted programs to toss hundreds of marijuana convictions, claiming now-legal activity should not bar people from getting jobs or finding housing.
States have also been looking for solutions to the problem. Washington state’s governor announced this month that he would pardon thousands of people convicted of marijuana possession, and Michigan’s governor has said she would consider a similar approach.
California has a new law that requires the state Department of Justice to provide lists of marijuana convictions eligible for erasure or reduction to local prosecutors.
Colorado currently allows people to petition courts to remove marijuana offenses, including possession, from their records. Advocates have been critical of that approach because it puts the onus on individuals with convictions and can become expensive and time consuming.
Denver officials said Colorado law doesn’t allow them to take the kind of sweeping action used in other cities. So they said they decided to make the state’s process of petitioning courts easier for people who want to eliminate convictions.
Denver’s new program still requires people to take the first step toward clearing their records, either by filling out a form online or attending an event set up by the city.


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Sun 8th Sep, 2002
Members: Sheena Hendrie, Neville McMillan, Roger Dyke, John Castick, Virginia Castick, Joanne Castick, Dave Wylie, Frank Williams, Margaret Williams, Rob Allen, Rob Clarke, Lester Payne, Jim Symon, Al Metelko, John Evans, James Richardson, Fiona Roy, Martin Heaton, Dave Dillon, Dave Garland, Rick Davies, Mark Ashley, Duncan Lee, Sabina Cosulich, Kevin Anderson, Iain Mcallum, Ken Beetham (rumoured to be in the area and demanding a tick).
Guests: Teresa Paradis, Shane & Jackie, Daniel?, Simon Bastow, Joanne Hampson, Gill Stephens.
This turned out to be a classic day on gritstone. Sunny conditions ensured a good turnout and the lack of a car park ticket machine was an added bonus. No, I didn't take a sledgehammer to it the night before but obviously somebody had. A 25 minute stroll uphill took us to the top of Dovestones edge where we sat in the sun and admired the clear view. The climbs were in the shade but the crag was dry if a little dirty in places and the rocks were soon plastered with KMC teams, many visiting the crag for the first time.
I was very impressed with the variety and quality of the routes. My new guidebook gives stars so making it easier to choose the plums. By mid-afternoon it was time to stroll across the tops to Ravenstones. Here there was less choice of routes and the whole crag seemed more intimidating, partly due to the very steep ground below. Members of the KMC in the 40's were prominent in developing these crags and one of Derek Seddon's photos, taken on a typical gritstone day, is the frontpiece in my 1965 guidebook.
We finished the day by walking down to the overflow tunnel entrance below the crag. On the way down we were amazed by the damage done to the streambeds by floods earlier in the summer. Huge amounts of water must have come down turning the rocks white and shifting massive quantities of silt and monster boulders. Fortunately the streams were quiet on Sunday so the planned return through the mile long tunnel took place. Ten of us went through. A few people resorted to paddling through whilst others tiptoed along the slippery edge. It was quite awkward to keep your feet out of the stream in the middle, but only one of us fell in didn't they, Joanne. Mark kindly walked round with a rope to help us out as the exit iron ladder is missing. When Duncan came through we removed the rope but he had no trouble in climbing the vertical stonework unaided.
Weather, rock, company and shortcut home made for a fantastic day, I hope you all had as good a time as me.
These two classic crags in the Chew valley contain routes of all standards. In my guide there is nothing above HVS. Long ridge at Dovestones is 75ft. and a brilliant v.diff. Ravenstones, half a mile away along the top, also has some long routes. Wedgewood crack at VS is 70ft and reckoned to be a classic although I've no first hand knowledge of it. I'll be leaving Dovestones reservoir car park about 10am (there is a charge on Sundays), and walking to the top of Dovestones edge. I don't reccommend an approach from below. After lunch I'll saunter across to Ravenstones for more sport. Intend to do at least one climb on each crag whatever the weather. Be lassic. Be there

domain: geography


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Fear The Walking Dead renewed for season five
The zombie apocalypse continues on AMC with the cable network renewing Fear The Walking Dead for a fifth season. Largely regarded as a stronger than its parent show The Walking Dead these days the spin-off is currently airing the second half of its season four run.
The franchise is now being overseen by previous The Walking Dead showrunner Scott Gimple, who will be replaced by Anglea Kang for season nine. Fear The Walking Dead is overseen by Andrew Chambliss and Ian Goldberg.
UK fans who have not been able to catch Fear The Waling Dead so far can now watch the show from the beginning with E4 currently airing the first season.

domain: entertainment


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While some pages in Wreck This Journal invite serious destruction or thought provoking creativity, others are just funny. One page in particular gives directions to collect fruit stickers. I don’t know why, but I found this pretty amusing as fruit stickers are usually a nuisance instead of an item worth collecting. Leave it to Keri Smith to make fruit stickers fun!
As somebody who eats fruit for lunch every day, I filled up my page pretty quickly. The organic apples I eat actually have two stickers – the typical round one with a bar code, number code, and name of apple and a long yellow sticker labeling it as organic. Apples are my favorite, (Gala and Fujis in particular) so naturally most of my stickers comes from apples! However, I do have a couple of oranges mixed in there, too. I suppose one of my great faults is not eating enough fruit, but it’s not because my grandma didn’t tell me to.
Grandma’s page is filled with a wide variety of fruit stickers. She’s got everything from bananas, strawberries, apples, and oranges. Grandma always had a piece of fruit with her meals – breakfast in particular. At night she’d snack on bananas. She always offered me some, but I could never get her to understand that I don’t really like bananas!
When I was a kid, she would slice up an apple and put it out as a snack while my sister and I were playing. To this day, I’ll only slice up an apple when I want a treat (usually I just bite into a whole apple). It still feels special to eat an apple in slices because that’s the way she made it.
Grandma broke the rules a little bit and collected stickers for vegetables, too. Her green pepper sticker really gets my memory going. She had a great recipe for stuffed green peppers and they were delicious! I’ve made them a couple of times, but they’ve never turned out quite as good as hers. When she made meatloaf, she always put a couple “rings” of green pepper on the top. Grandpa always scooped them off as soon as the meatloaf hit the table. Like her stuffed peppers, Grandma’s meatloaf was magnificent. I miss it like you wouldn’t believe!
I always promised Grandma I’d eat more fruit, but then I see chocolate. Sorry, Grandma, I’ll keep trying!
– – –

domain: food


text:
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Scrabble word: EMBLAZED
In which Scrabble dictionary does EMBLAZED exist?
Definitions of EMBLAZED in dictionaries:
- v - to set on fire
There are 8 letters in EMBLAZED: A B D E E L M Z
All anagrams that could be made from letters of word EMBLAZED plus a wildcard: EMBLAZED?
Scrabble words that can be created with letters from word EMBLAZED
8 letter words
7 letter words
6 letter words
5 letter words
4 letter words
3 letter words
2 letter words
Images for EMBLAZED
- Cailleach Ancient Celtic Goddess
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- Lionel Legacy Union Pacific Boy Scouts of America ES44AC Diesel Loco ...
- Ciroths wizard mark is a shamock with a Celtic knot on top of a green ...
- following is the wording that is emblazed on the marker
- Symbols 3
- Suspicious house fire in Whakatane Rotorua Daily Post
- Adds Joyce No one could capture Norths personality as ...
- ReWorked Vintage Cowboy Boots Size 75 by TrueBlueDryGoods on Etsy
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domain: hobby


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Value for money
Distance to city centre
Distance to airport
|"Friendly helpful staff."||(in 31 reviews)|
|"Rooms very clean and comfortable."||(in 34 reviews)|
|"extra comfy bed extra clean"||(in 8 reviews)|
|"The rooms smelled very moldy."||(in 8 reviews)|
|"No fridges or microwave in room."||(in 18 reviews)|
|"Very hot in the room."||(in 20 reviews)|
|double room||in 109 reviews|
|refrigerator in the room||in 76 reviews|
|staff was friendly||in 67 reviews|
|great breakfast||in 49 reviews|
|felt like we were home||in 31 reviews|
|boiled eggs||in 29 reviews|
|great location||in 26 reviews|
|shower was hot||in 18 reviews|
|double beds||in 17 reviews|
|room smell||in 17 reviews|
|smoking room||in 16 reviews|
|pool||in 13 reviews|
|fresh paint||in 3 reviews|
|roaches in the restroom||in 1 review|
There was a water leak in my room, coffee machine in the room but no coffee. You would have to go downstairs and get it. Only one elevator worked, so no social distanced at all. Always had to use the stairs.
Absolutely nothing! My room smelled terrible!! The staff could hardly communicate. My parents room smelled like cigarettes. My 5 year old found a dried dog turd,
Everything!!!!!! Gross & Nasty
It was quite, and very acceptable and accommodating.
When taking a shower only one knob worked. But for the price it was great. I slept well and was able to get ðŸ§¼. So Thankful!
Easy check in
Could use some updating... very old ... tub had chunks of porcelain missing. Towels were rough. And I had to go ask for bath towels as none were in the room. Could use a security guard, shady people hanging out by the stairs and cars.
The room had the lingering smell of smoke, cigarette burns on both the toilet seat and the comforter. There was a trash bag with clothes popping out at the bottom of the stairs. Very dirty looking place. Would not stay there again.
Location, cleanliness, noise, staff
There isnâ€™t a microwave in the rooms. Also the lady at the front desk had an attitude with my dad when he tried to heat his food up in the lobby microwave. They were really rude!
That I made it out alive without a police record and the roaches didn't use me as a human sacrifice.
I arrived at 6am on Sunday for a Sunday/monday reservation. Instead of allowing me to pay extra for an early check in I was told i had to either wait until 3pm or pay for another night, which meant a 10am checkout.Roaches in the bed, drug deals outside...
I went into premature labor .. I wasnâ€™t due until 2 months from now my baby came unexpected the first night I booked, I literally only spent a few hrs at the hotel, they refused to refund me
Dirty rooms. Dirty swimming pool. Broken furniture and some lights not working. Bugs!
The lady in the reception need to be more nice when you check in,
La Quinta Inn Houston Cy-Fair is situated northwest of the city and is a favorite with both business and leisure travelers. Located off Highways 290 and 1960, the newly renovated hotel is close to shopping outlets, attractions, sports, and entertainment venues. During your stay, you’ll have access to free parking, FREE WiFi, a stunning courtyard pool, and the FREE hot Bright Side Breakfast®. You don’t have to leave your furry friend behind either. Excellent amenities and superb customer services are just two ways the newly renovated La Quinta Inn Houston Cy-Fair is making a name for itself. The hotel is also notable for its cleanliness and its friendly, personable staff who pride themselves in offering uncompromising service to all guests. Along with the modern, appealing décor, you’ll have an optimal location near the Berry Center and its numerous sports events, Willowbrook Mall, and Towne Lake.The hotel offers travelers everything they need for an enjoyable stay from the moment they arrive. Checking in is easy, and guests have access to several amenities, including a guest computer, capable of printing and copying. The outdoor swimming pool and sundeck invite people to take a dip, while business guests can book the hotel’s exceptional meeting room. The Bright Side Market sells snacks and any forgotten travel items, and one of the main highlights is the FREE hot Bright Side Breakfast®. Start the day with your choice of waffles, hot or cold cereal, fresh fruit, yogurt, hard-boiled eggs, bread and muffins, and all-you-can-drink coffee and juice. With so many morning favorites, it is no wonder that guests at La Quinta Inn Houston Cy-Fair wake up on the bright side®.Rooms at the hotel vary in style, but not in excellence. Each room features comfortable pillowtop mattresses to ensure you get the best possible night’s sleep. In-room entertainment includes cable TV with Plug-and-Play capability and access to premium cable channels. Other benefits include in-room coffee maker, hairdryer, iron, and ironing board. King rooms also feature a microwave and a refrigerator. If you are coming with a group or large family, you are able to request adjoining rooms.La Quinta Inn Houston Cy-Fair provides easy access to Downtown Houston, Traders Village Houston, Houston Premium Outlets, and Sam Houston Race Park. Local companies in the nearby area include oil and gas companies like Baker Hughes, Hewlett-Packard Cypress Campus, Toshiba, and Weatherford. Close to the hotel, you will find plenty of choices when it comes to places to eat. Some of the must-tries include Harris County BBQ, The Backyard Grill, and HWY 6 Tacos. Other popular nearby attractions include the Bear Creek Golf Course and Baseball USA.Commitment to uncompromising service is what sets La Quinta Inn Houston Cy-Fair apart from other hotels. Staying close to so many attractions, businesses, and places to shop are just some of the reasons why guests find it easy to wake up on the bright side®. Book your stay and experience the perks for yourself.
based on 353 reviews
Value for money
Policies vary by room type and provider.
La Quinta Inn by Wyndham Houston Cy-Fair is located at 13290 Fm 1960 Road West, 29.7 km from the centre of Houston. Houston Arboretum & Nature Center is the closest landmark to La Quinta Inn by Wyndham Houston Cy-Fair.
Check-in time is 15:00 and check-out time is 12:00 at La Quinta Inn by Wyndham Houston Cy-Fair.
Yes, La Quinta Inn by Wyndham Houston Cy-Fair offers free Wi-Fi.
Yes, La Quinta Inn by Wyndham Houston Cy-Fair offers free parking.
No, La Quinta Inn by Wyndham Houston Cy-Fair does not offer free airport shuttle service.
La Quinta Inn by Wyndham Houston Cy-Fair is 27.4 km from Houston George Bush Intcntl. La Quinta Inn by Wyndham Houston Cy-Fair is 44.2 km from Houston Hobby.
Yes, La Quinta Inn by Wyndham Houston Cy-Fair is a pet-friendly hotel.
Yes, La Quinta Inn by Wyndham Houston Cy-Fair has a pool on-site.

domain: travel


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This image features the protests in Tahrir Square cairo overlooking a landscape of the North African coast toward the country of Tunisia where the Jasmine Revolution erupted from the country and stratospherically exiled ex-President Zine El Abidine Ben Ali from their nation, effectively inspiring the people of Egypt to revolt.
Omali Yeshitela, The leader and Founder of the Uhuru Movement and The African People’s Socialist Party.
I want my country to be free! I want all of Africa to be free!
Taken with Instagram at kent state Pan African Studies
Che in the Congo fighting with African revolutionaries!
April 29th marked the 20th anniversary of the LA rebellion, a response to decades of police brutality that culminated in the video tapped beating of Rodney King and a not guilty verdict for the offending officers. VH1 did a very good documentary of the rebellion and the role of Hip-Hop called Uprising: Hip Hop and The LA Riots, which can be viewed in it’s entirety online.

domain: news


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Imagine combining two of your most favourite activities. Of course, you’d jump at the opportunity in an instant. And jump I did when the DUC Ride for Conservation came to Kingston, Ontario, on a Saturday in late July. Not only would I get to cycle along some of Ontario’s best roadways, I could also contribute to conserving wildlife, both being among my favourite activities.
As many in this region know, Kingston and Frontenac County have many wonderful cycling roads. Not only do many of the roads have smooth, paved shoulders, they also twist and turn because of the topography. Recall that the Canadian Shield extends into here. Further, the roads for this ride were along routes which mirrored conservation success stories. The many marshes, streams, creeks and lakes inter-meshed with woodlots, homes and farmland. It was a true slice of eastern Ontario living within nature.
I first discovered this opportunity via @DUContario on social media. Signing up was a breeze. It occurred all online in seconds. I could even activate a personalized web page so that supporters could easily contribute to my endeavour. Given the ease of entry and set-up, I anticipated a fun time at the actual event.
Starting the day at Little Cataraqui Creek Conservation Area
“How was the event?” you ask. Simply put, it was great.
I arrived at the start point at the Little Cataraqui Creek Conservation Area a little before the start time. I felt both confident of the ride and a little unsure of the logistics. However, I needn’t have worried. Noreen and Marco, DUC staff, had set up a welcome site featuring a prominent green tent and a treasure trove of snacks and drinks. They answered the few questions I had, and I was ready for the countdown to begin.
Waiting in a conservation area while the sun rises could be harrowing to some. Images of mosquito swarms and clouds of black flies get conjured up. But none were about. I watched the Cataraqui Creek slip by, then I spied an osprey hunt for its breakfast. Walking to the shoreline, I saw a parade of geese sail slowly along while a cormorant tore by across the tree line. I heard about a water snake slithering nearby, I unfortunately missed seeing it. I definitely want to return to this conservation area when I don’t have cycling on my agenda.
Eventually, time ticked down, and I pulled myself away from the creek edge and back to the business at hand. Start time was upon us and I hopped onto my bike and began pedalling. Soon leaving the conservation area behind, I gained historic Highway #10 and headed north toward Perth. The day was brilliant, the few clouds had quickly dispersed and the following breeze all made this first leg of the trip a delight.
Event route passed by scenic countryside and conservation successes
The event’s route traced a simple rectangular loop, heading first north, then west, then south, and, lastly, eastward to return to the start. I kept seeing event signs all along the side of the road that confirmed that I was on the correct path. The vehicle traffic was light and most drivers seemed very considerate and gave a wide berth. And, as mentioned, the route itself was fun. Gentle rolling hills, together with bends and turns in the road, kept me varying my cadence and heightening my concentration.
The scenery spanned from light industrial, then rural dwellings and to natural settings. Particularly rewarding were the views of Loughborough Lake. At that point, I really thought of taking a few minutes for a quick swim. All too soon, however, I had completed most of the loop and I was back on Highway #10 heading south to return the conservation area.
Once again, I was at the bright green DUC tent. On checking my trusty GPS, I saw a total distance of a little over 40 km. And there must have been some nice hills as I also saw momentary speeds of more than 50kph! All fun for a morning’s cycle through some of Eastern Ontario’s scenic countryside.
After changing back into street clothes, I thanked Noreen and Marco for setting up and running a wonderful event. I then rejoined my family and took the rest of the day to take in the sights of Kingston and to enjoy dining at some of their fine restaurants.
It was a fabulous event and I got to both cycle and support conservation. It couldn’t have been better, except perhaps if I had taken that opportunity to swim. Maybe next year!
Get ready for 2023
Jump in the saddle and ride with usDUC Ride for Conservation


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What Makes David Colvin A Top Hair Stylist?
David Colvin is widely known as one of the top hair stylists in the industry, and for good reason. His passion for hair and dedication to his craft sets him apart from the rest. With a keen eye for detail and a deep understanding of the latest trends, he consistently creates stunning hairstyles that leave his clients feeling confident and beautiful.
One of the key factors that sets David apart as a top hair stylist is his ability to truly listen to his clients. He understands that each individual has unique preferences, hair type, and personality, and he takes the time to understand their specific needs and desires. This personalized approach allows him to create customized haircuts and styles that perfectly complement each client’s features and enhance their natural beauty.
Another reason why David Colvin is considered one of the best in the industry is his exceptional skill and expertise. With years of experience in the field, he has mastered a wide range of hair cutting and styling techniques. Whether it’s a classic bob, trendy pixie cut, or intricate updo, David has the knowledge and skill to bring any hairstyle to life.
|Reasons why David Colvin is a top hair stylist:
|1. Creative Vision
|David possesses a natural creative flair and artistic vision, allowing him to conceptualize and execute unique hair styles that are both beautiful and innovative.
|2. Attention to Detail
|David pays meticulous attention to every detail, from the precision of his cuts to the subtle blending of colors, ensuring that each client receives a flawless result.
|3. Professionalism and Communication
|David maintains a high level of professionalism and keeps open lines of communication with his clients, providing a comfortable and positive salon experience.
Furthermore, David Colvin constantly stays up to date with the latest trends and techniques in the hair industry. He regularly attends workshops, seminars, and hair shows, allowing him to continually expand his knowledge and skills. This commitment to ongoing education and growth ensures that his clients receive the most cutting-edge and fashionable hairstyles.
In addition to his talent and expertise, David’s warm and friendly personality has earned him a loyal clientele. He values building strong relationships with his clients and strives to create a welcoming and comfortable atmosphere in his salon. His genuine passion for what he does shines through in every interaction, making each visit to his salon an enjoyable and memorable experience.
When it comes to hair stylists, David Colvin truly stands out from the crowd. His unique combination of creativity, skill, professionalism, and genuine care for his clients make him a top choice for anyone seeking the perfect haircut or hairstyle. If you’re looking for a hair artist who can transform your hair into a work of art, look no further than David Colvin.
How Does David Colvin Create Unique Hair Art?
David Colvin is a renowned hair artist known for his ability to create unique and stunning hair art. With his creative vision and expertise in hair styling, Colvin has gained a reputation as one of the top hair artists in the industry. His innovative approach to hairstyling has led him to create extraordinary looks that leave his clients feeling beautiful and confident.
One of the key elements that sets David Colvin apart from other hair stylists is his attention to detail. He believes that every strand of hair is a work of art waiting to be crafted. Colvin meticulously studies his clients’ hair texture, face shape, and personal style to create a custom hair art masterpiece. Whether it’s a bold color transformation or an intricate updo, Colvin always finds a way to express his clients’ unique personalities through their hair.
Another aspect that makes David Colvin a master hair artist is his constant pursuit of inspiration. He takes inspiration from various sources, including nature, fashion trends, and art. Colvin believes that by continuously seeking new ideas and techniques, he can push the boundaries of what is possible in hair art. His commitment to staying updated with the latest industry trends allows him to offer his clients cutting-edge looks that are ahead of the game.
- Colvin’s passion for his craft is evident in the results he achieves for his clients. From simple yet elegant hairstyles to complex avant-garde creations, Colvin consistently exceeds his clients’ expectations. Through his exceptional skill and dedication, he has been able to transform countless individuals, helping them embrace their inner beauty and express their unique style.
|A stunning rainbow-colored bob that turned heads wherever she went. Jennifer felt like a walking piece of art.
|An intricate braided updo that perfectly matched the theme of his wedding. The hairstyle was the talk of the event.
|A bold and edgy pixie cut that reflected her vibrant personality. Sarah felt empowered and ready to conquer the world.
David Colvin’s ability to create unique hair art is truly remarkable. His attention to detail, constant pursuit of inspiration, and passion for his craft make him stand out in the industry. If you’re looking for a hair artist who can transform your vision into reality, David Colvin is the one to trust. Prepare to be amazed by his extraordinary creations that will leave you feeling like a work of art.
Results Achieved By Clients Of David Colvin
David Colvin is renowned in the hairstyling industry for his exceptional skills and expertise. With years of experience working with various clients, Colvin has consistently delivered outstanding results. Whether it’s a simple haircut or a complex hairstyle, his clients have always been thrilled with the outcome.
One of the main reasons Colvin has been able to achieve such remarkable results is his attention to detail. He takes the time to listen to his clients’ desires and understands their individual preferences. By doing so, he can tailor his techniques and create hairstyles that perfectly suit his clients’ personalities and lifestyles.
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domain: artistic


text:
Interview: Jessica Sequeira
"The paradox as the continuity."
Jessica Sequeira is a writer, literary translator, editor of Firmament magazine (published by Sublunary Editions), and PhD candidate at the Centre of Latin American Studies at the University of Cambridge.
You can find her on her site and on Twitter.
Sequeira’s responses to the Nameless Questionnaire can be found at the bottom of the interview.
The following interview took place on January 19, 2022, with minor corrections made in February. It has been edited with fidelity for the reader.
You write, you translate, you’re an editor and a scholar. How did you get here?
I think most people involved in literary pursuits, who are in this strange world of studying literature, writing literature, editing, translating, etc, have some kind of innate vocation to do it. It’s not something that earns you a huge amount of money, it’s not something that gives you a great amount of fame, it’s not an ideal career choice if you’re a pragmatist. So initially this kind of life probably comes from some inner place, a kind of romanticism or love for philosophy, history, poetry. Or a sort of beautiful and slightly masochistic need for sensemaking.
But very quickly you realize that it’s not just you alone, that there’s a whole community of people out there seeking forms of creating and belonging. You start to realize there’s a huge world of people in which you form a part. And maybe that’s where you start to get involved with the more interactive sides of literature, like editing or translating or studying other people’s work. I do think it all goes together.
I also think that picking up multiple kinds of work at one time is a way to stay sane. For example, I’ve never really experienced that famous problem of the blank page, and don’t really suffer from this tremendous anxiety about having nothing to say. Every time I feel like I’m tired, or just not going to produce anything interesting, there’s always something else to pick up. Writing out of the void seems almost a myth to me, something impossible. For me, writing is nearly always an extension of other processes, mostly reading, but sometimes editing, or teaching a class, or translating somebody.
So I’d say the desire to write isn’t necessarily located on the page but elsewhere. And if you’ve got your hands in different pots, or whatever the expression is, you don’t get the anxiety that comes from thinking “I need to write this genius novel right now”. Sure, of course, anxiety comes from other sources. Situational irony, existential despair, relationships, job searches, you name it. But while words are hard work, they’re also a pleasure, a consolation, a way of associating ideas and emotions. A private language in a community, however contradictory that sounds. There’s nothing better.
We’ll talk about translation later, I hope. I want to ask about A Luminous History of the Palm. It’s a beautiful book with a fascinating conceit. Each story or poem, if that’s the preferred way of thinking about them, illuminates the life of an individual at some place and time, as if from the perspective of this recurring figure, the palm tree. What do these histories of the palm tree tell us beyond serving as a delightful constraint?
To start with that word constraint you’re using: I think every writer in some way works with constraints, loosely defined. You have to put limits on the infinity of possible things you could talk about. And so, in a sense Palms—if I can use that shorthand—is a constraint. But it’s not as if I set out to do that from the start. It’s not like I thought, “I’m now going to write a cultural history of the palm tree.” It’s more that I was writing for myself as an exercise, just taking pleasure in writing anecdotes over the course of several months, or years, based on things I saw and my inventions. I just love to write tiny scenes, to make things up. And a lot of them, for some reason, had palm trees.
When I noticed that, at that point I did run with it and consciously start to write around the palm. And at some point I thought, “This is getting to be insane, there’s a folder on my desktop full of palm tree anecdotes.” [Laughs.] Only at the very end did I purposely connect them, and intercalate those italicized sections that are more reflective about history.
With every piece of writing, I think there are things you can say about it afterwards—things you couldn’t have said before you started, or during the process but only when the thing is done. After every piece of writing enters the world, there’s something that can be said about it only at that moment, and not prior. So now that the book is done, I can say, “Yes, the palm tree is a unique and interesting symbol through which to look at history, because it’s a form of natural history. It’s not human, it’s found mostly in southern parts of the world, it’s linked to work on the land, and non-anthropocentric forms of seeing. At the time I was working on it, I was reading a lot of Gabriela Mistral who’s very interested in trees.” But would I have said any of that before? Probably not.
Everything came, as it were, from a more innocent place. And that transition from the innocence of the initial impulse to write, to the more conscious mode of thinking about writing, is really fascinating. There’s a process that involves the writer herself or himself not quite knowing what they’re doing, and along the way developing an idea so that finally they can say certain things about it. And then, after some time, maybe another person comes along, a critic or an academic or another reader, who reflects on it in different ways. And all that becomes a part of the book.
I trained as an intellectual historian and still consider myself to be one, and maybe everything I do as a literary writer is a form of intellectual history gone rogue. All of this sounds pretty intuitive, I know. That said, I do think that often the unconscious music of a language, or the potential rhythms of a concept, come before its conscious articulation. I’m reminded of some of my students—I also teach some classes on translation—who tend to justify decisions with phrases like “I felt this or I felt that”. I say to them, intuition is a really great place to start, but then try to go and find other ways to back it up.
The strange thing about my practice, and maybe yours too, is that we kind of operate in this interspace between writing fiction as a purely anecdotal form, and reflecting on it in a theoretical way, within the same work. Someone who’s writing pure anecdotes or dialogues might not be interested in philosophizing about what they’re doing, and an academic interested in writing books about other people or about cultural phenomena might not be interested in imagining things. We’re sort of sprinting from one side of the court to the other with our little rackets, trying to play both sides.
You mentioned this possibly being a non-anthropocentric text, or view of history. I’m wondering what you think that reveals about histories as they’re traditionally conceived, what you might have discovered by working through this exercise.
There’s a way that the inner part of the story is related to the outer part—that the anecdote is related to the exposition in a way that’s holistic. I have an idea of the small anecdote, the almost personal story, being linked to this larger concept of History with a capital-H in a continuous way. But the continuity only works in one direction. You can’t really start from the global and get to the local; you have to start from the detail.
That’s why I have a love-hate relationship with the academy, where you have to put forward an abstract proposal, and from there go about doing the granular work. Actually the way that I’m thinking about literature and history here is more in line with Ginzburg’s “microhistories”, where you start from the individual anecdote, and then expand outward. I think the way that the most interesting texts are produced is often a little anarchic: you start from something that seems completely random, the idea being that there’s some element of chance involved. And only from there, by starting to collect things into a kind of causation, can you reach a larger argument.
The process requires patience, sedimentation. It doesn’t necessarily work with a schedule of deadlines. And a kind of love for the irrelevant, or what’s considered to be irrelevant, is important too. With the imagination you can make new connections, where the irrelevant suddenly becomes the thing that matters most. Emotion is a part of history too; and when you think with emotion, you can open up experience. A French heart of palm or a Nigerian palm fruit can suddenly open up concerns linked to personal or social lifeworlds. Anyway, that’s behind some of the methodology that I was trying out here.
There’s a point in the book where you talk about conventional history as violent in some sense, as “poking [its] fingers” into the “sensitive regions” of the past. Your luminous history, by contrast, is more gentle. It asks us: “What if you were to hold stories with patience, giving them an encouraging pat”? If that’s the method, what has the method revealed?
Writing that kicks off from top-down theories leaves out a lot, I think. My cut, arbitrary as it is, maybe suggests just how many forms of experience don’t enter into the way that history is usually done.
I guess the question is, also: what’s the priority? If you want to trace a history of, say, the rule of law, or something, you’re going to look at things top-down, you’re going to study governmental structures. And that will conform to a certain agenda, and talking heads will debate each other, and people will sign important books. But going about things the other way, without a premade agenda, without a dissertation that needs to be written, I think you can bring other experiences into the picture. Dreams, fantasies, things you find in the street, songs, geometrical shapes, sketches, “what if” situations—really, it’s endless. Fact and fiction can also get mixed up in ways that mirror the human consciousness in a closer way.
Maybe that’s why a luminous history is condemned to be amoral—at least temporarily, at the level of the story—and not progressive, even if it fits into an author's larger ethical project. If a conventional history is violent because it leaves out so many stories, then a luminous history might also be violent in that it doesn’t necessarily take the improvement of society to be its primary concern. To me, literature or microhistory work in a sort of opposite way to an actual microscope. If you’re zoomed out, things can look clear and precise. But as soon as you zoom into more specific situations, then things grow nebulous; there can be some haziness and moral ambiguity.
Going back to your question of why the palm tree—at a very practical level, the palm can be found more or less everywhere in the world, whether because it grows there naturally, or because it’s imported in some form. It can serve as a unifying feature that touches on many kinds of lives and realities. So it does become a useful narrative device.
To the point of the palm existing everywhere, the book does a great job of showing that wherever the tree might grow, its images (in the form of advertisements) and its byproducts (in the form of palm oil) end up circulating globally. And I thought that was a nice way of de-localizing the palms. In your book, they’re found even in areas where they can’t grow.
Yes, and in more or less artificial ways. I don’t want to romanticize nature. This isn’t: “Ah, what lovely tropical climes where palm trees grow!” That kind of exoticism isn’t what I want to do at all. With the unexpected cuts, I also tried to bring in an element of humor, which is another form of experience that usual ways of doing history or literature can leave out. Most history books will give you an account of things that’s very solemn in tone. And that’s what’s encouraged to be considered a serious literary or intellectual historian. It’s the way that we’re taught to write, almost despite our own ways of naturally interacting with people or texts. Which isn’t to say that history is funny. But even if you’re talking about tragedies or inequalities or the abysses over which society is built, if you start to look at the correspondences between, say, tiny personal experiences and giant global phenomena, then you find a slippage: something that seems completely insignificant today can suddenly cash out as something that’s pivotal. These leaps, or gaps in importance, often get “translated” so that people talk about the big thing and completely forget about the little thing. Whereas to move between the micro and macro levels can create moments of humor, or discomfort, or a number of other emotions that don’t enter into a more staid analysis of how things are.
One of my inclinations as a writer is precisely that, to move between these levels of anecdote and analysis, and to get close to those moments of emotional experience that exist within, but also work somewhat chaotically against, the grain of a top-down account. I like to set different anecdotes and styles into collision with one other as part of a larger conceptual project, and see what kind of world that makes.
Many of the anecdotes, especially the first several, are centered on notions of honor and warrior culture. Why is that?
[Laughs.] One way in which the structure of my book is quite traditional—so that I didn’t go too crazy in multiple realms—is that it’s chronological. And to some extent, I also play with existing historical stereotypes. It’s true that in many older cultures, ideas of honor are very important. I wanted to take up those ideas, and find some way to unite them with the palm tree.
Recently, I’ve also been thinking about how in many parts of the world, duty is the basis of belonging to community, whereas in Europe, it’s often more about human rights or other “universal” conceptions that aren’t actually universal. This idea of duty, or worth, or honor, as the basis of a culture or civilization or community is something that interests me. And I didn’t realize I’d included that interest in the book. [Laughs.] Maybe that’s where some of the humorous clashes of preconceived notions also come in. Take the typical Western stereotype of the palm, the one associated with beaches, Hollywood, etc. I wanted to place those ideas in juxtaposition with the ones from honor-based cultures, or palm-oil harvesting, or other images that don’t necessarily come to mind when you think of palm trees. It’s a way to surprise the reader.
You write, in one of the intercalated sections [of Palms], “The greatest translator, of course, is History,” capital-H. Is history something that exists independently of us? One conception has it, of course, that history is the product of human attempts to organize time. But here, it almost seems like the luminous history transcends that kind of instrumentalization.
I don’t think that history exists only as a human product. Whether it exists as something with a capital-H is another question. I was being slightly tongue-in-cheek in that part, I think. “History” as a Hegelian idea, a force with its own agenda that’s probably divine—I don’t necessarily believe in that. But what I do think is there is some combination of nature and the cosmos that’s constantly in evolution, not necessarily towards a certain goal in particular, but evolving. And there’s a link in that sense with translation, which is also constantly shifting between references without a fixed essence behind things, or a god standing over the process dictating what is or isn’t correct.
One thing Palms is trying to do is show this evolution of history, this constant movement, just as the process of translation moves between ideas and languages in a way that creates new versions, and is theoretically endless. Maybe History is a series of versions that operates on its own in a Spinozist sense. Humans form one part of that story as intermediary factors, as translators. But there are also palm trees, and insects, and that machine making an awful noise outside my window. All of these are in the world together, interacting with glorious complexity.
Do you have a preoccupation with the pre-modern, or the peripherally modern? Despite its broad chronology, Palms is distant from the kind of technology you write about in Other Paradises. The internet, the smartphone, etc.
First of all, what do you mean by modern? I know that’s a huge question.
[Laughs.] It’s whatever you want it to be. But to put a point on it: The number of anecdotes that both take place after, say, industrial modernity, and that include discussion of technology, are relatively few. We’re more likely to find a farmer who’s involved in the large chain of palm oil production, and who possibly could be existing in our contemporary moment, but is not temporally located as such.
Right. There are a couple of answers I can give to that. One is that, if I ask myself what gives me pleasure when writing, part of it has to do with feeling a little ignorant, outside my comfort zone. What it most interests me to write about is something I have only a vague sense about, that’s still a kind of aura calling me toward it that I want to learn more about. That’s even how I operate when pitching something to write for publication, don’t tell my editors. [Laughs.] It’s a bit of a perverse mentality, again the opposite of the academic one, where you’re supposed to build up your body of expertise, and keep talking about the one thing that you know about, and learn more about that one thing and talk about that one thing. Whereas there’s this other great pleasure, which for me is linked to fiction writing, which is to write about what you don’t yet know but desire to know. It’s precisely that lack of excess information that enables you to create imaginary worlds. And so, yes, I wrote anecdotes about the Abbasid Caliphate, which I know much less about than I do about the guy on the street corner.
The other answer to this question of technology is that the palm tree creates a contrast and a complement to technology. By focusing on a natural history, I’ve already made a decision with regard to attention, a choice not to focus explicitly on technological history. And so, while technology does appear at many points, it’s by no means the focus of this little book. That said, it would be really interesting to write, say, a luminous history of the machete. A violent technology that’s ready-to-hand in a Heideggerian sense. Of course that would be a totally different book.
In Other Paradises, you offer “imaginative responses to science and technology.” And that was published in 2018. Do you perceive a continuity in your thought running from that book to your present work?
The question of continuity is interesting. On the one hand, I’m the same person, with the same manias and obsessions; on the other hand, the new book would seem to have a very different theme. Sure, I could make the argument that I have multiple people inside me in the Pessoan sense, that every book is a departure from the one preceding it. That said, I actually do think these two are connected. For example, I built Other Paradises in almost the inverse way to Palms. Each of the essays has at least tangentially to do with technology as its subject, and at the end of each, I added a fictional anecdote. In Palms, I started with the anecdotes, and then added the critical glosses. So they’re like opposites in that way, mirror images.
Them being built in opposite ways is itself a kind of continuity.
Yes. The paradox as the continuity.
With the caveat that translating is itself a form of writing, I want to ask about the relationship between the mode you inhabit when you translate and the mode you inhabit when you sit down to write. Has your work as a translator informed your writing?
There are certain things that have to do with literature—like copyediting, like editing other people’s texts, like translating, like proofreading—that involve a very, very close attention to the phrase and a rigorous care for the detail. It’s a kind of poetic training to pay attention to where a comma goes, or how something is worded, or what rearrangements can help you to avoid the repetition of words in a paragraph. Any good writer would pay attention to those things. But other activities—translating in particular—have made me especially conscious of those elements.
So that would be one answer. Then there’s this strange thing that happens when you work in other languages. You produce a text that wouldn’t necessarily have been written in English in that particular way. Translating often produces new forms, or structures, or ways of putting paragraphs together. And I do think that’s affected my English to some extent. Working with literary texts in a different language, speaking a different language with the people around me: it affects the way your brain thinks in English. So when the moment comes to write your “own” texts, all of a sudden you might reach for certain structures or expressions. That could, in a way, destroy your English. But it could also be helpful. It could create a productive tension. Anyway, it’s not something you can compartmentalize and say, “Okay, from 9 to 11, I’m going to translate and turn off the writing part of my brain, then from 2 to 4 I’m going to do my own work.” It’s all very linked in an interesting way.
That’s also why maybe it’s hard to translate a book and write one at the same time, because it occupies the same part of the brain. I think it was Javier Marías who said that he alternates between translating and writing. He translated Tristram Shandy into Spanish, which is a huge task, then worked on his own book, then translated something else, then worked on another of his own books. And so on. This cycle of production was, for him, very useful. I can understand that.
In addition to all this, you’re the editor of Firmament Magazine (published by Sublunary Editions), which is now in its second year. What is your editorial vision for the publication? [Disclaimer: My own work has been published in Firmament and edited by Sequeira.]
Let me start with a caveat: although I’m named on the masthead as Editor, this is not me creating a magazine from scratch or anything. Firmament is an offshoot of Sublunary Editions, and this is a project that involves a lot of people beyond myself—mostly Joshua Rothes, who founded the publishing house, but also a whole team including Jacob Siefring, Vik Shirley, and numerous others who collaborate with us. It’s an exciting project precisely because it’s not just one person or a tiny group of people, but this rhizomatic thing. We’re all over the world, adding our grains of sand to it.
Okay, caveat aside. Now a history: Firmament started as a mailer, just a couple pieces of paper that went out to everyone in the post. It developed into a magazine out of that. There was this idea of miscellaneous things related to the publisher that might not have made it into a book, compiled in one place. That was the original concept. And I think that’s still there. But it’s also starting to morph into something else. Now that we’re on Issue 5, the question of what, actually, this magazine is doing is becoming more present. The idea of it being a miscellany—is that enough? We’ve been having that conversation.
There are definitely certain elements that one might call an editorial line. First of all, this magazine in many ways tips its hat to the modernist tradition of 20th-century literature, which you can see visually in the first year’s cover, which playfully engages with Revista Sur from Argentina, a magazine we admire as a collective project even if our ethical position differs from theirs, and isn't associated with those ideas of spiritual aristocracy from the period. That downward arrow is borrowed from the Sur cover. We’ve been in dialogue with some South American literary magazines, and ones from other places too. The idea of a “firmament” is that there are people all over the world doing interesting things who we can bring into correspondence, in this almost utopian vision of a Republic of Letters.
We’re also making a paper magazine in the age of the internet, right? This idea of creating a physical object that has the aspiration of bringing people from many languages and cultures into one place, with this somewhat “experimental” angle: all that is part of the magazine too. And yes, there’s some element of making it up as we go along, which I also find thrilling, because sometimes the most interesting things come about when you don’t enter into them with any preconceived notion of how they should be.
I should clarify that I’m not saying that we want a perfect representation of planetary regions, or anything like that. But I do think there’s this organic way in which each issue does have a lot of diversity, just baked into the process of open submissions. For example, a translation by Matt Travers of Inger Christensen, the amazing Danish poet, came to us that way. To receive work through open submissions is a real luxury, something really wonderful.
And that’s why I think this idea of doing a modernist magazine in the 21st century, in some strange way, actually works really well, precisely because we have the internet to bring people together from anywhere. Someone living in France, India, Brazil—all places from which we’ve received submissions—is able to send us work through the portal. I’m in Santiago de Chile as we speak, but I could be in Cambridge, I could be on the moon. [Laughs.] It doesn’t really matter where I am, does it? It’s a decentralized operation. That’s what makes the Republic of Letters function in the 21st century.
You mentioned being sometimes at Cambridge [UK]—you’re currently a PhD candidate at the Centre of Latin American Studies. What are you working on there?
In my head, everything is connected to everything else. I study Latin American literature, and focus on writers from the first half of the 20th century; I’m writing a kind of intellectual history of how those writers are influenced by thought from South Asia in their literary and philosophical work. So this idea of a global Republic of Letters is behind my own field of study, as is the modernist period, and the relationship between Latin America and South Asia, which isn’t necessarily a connection that would be at the center of attention in the Anglosphere. I’m looking at how certain poets—all of the writers are poets, broadly considered— are drawing on ideas from other parts of the world in their thinking.
Since I’ve attacked the academy so much in this conversation [laughs], I now want to defend it here. There’s something extraordinary about being able to spend a few years studying something like this. And it does immensely enrich my own work in the present to have contact with these ideas of how people in Argentina and Chile and Mexico and Brazil were trying to do new things based on thought from other parts of the world, to create these global networks that go beyond the nation-state. They were making little magazines, and writing poetry books and novels and philosophical essays, that have to do with those ideas and with their historical moment. People say that the academy isn’t useful, or doesn’t lead to a practice; in my case, at least, I think it really does. I think abstract or historical thinking can exist alongside a creative practice in the present, that we can rescue ideas and make them come alive in some way so they don’t just stay dead knowledge but become useful and vital.
I have a couple more questions. Firstly, what are you reading right now?
I have in my head the book that I just finished yesterday: a book of aphorisms by George Christoph Lichtenberg, called Sobre el poder del amor, which was edited by Editorial Pre-Textos in Spain. Lichtenberg has thousands and thousands of aphorisms, but this is a selection based on the idea of love. I know that’s a very sentimental idea, probably in some way uncool in the eyes of, you know, the Bernhard readers—or whoever’s all about hating things. [Laughs.] I adore Bernhard, but you know what I mean. Anyway, I’ll always defend the idea of sentimentality in literature. And Lichtenberg is interesting because he is so sharp and witty and ironic, but at the same time unafraid to openly express his emotions. That’s something I appreciate a lot. Bolaño was a huge reader of his work and said we should always go back to him. André Breton loved him, too.
What else? I finished Ricardo Piglia’s Las tres vanguardias: Saer, Puig, Walsh, which is where he makes the argument about there being three major strands of the avant-garde, basically represented by Saer as art for art, Puig as pop art, and Walsh as political document. And I’m reading just so much poetry. If there’s any secret to good writing, or at least writing that’s strange in an interesting way, maybe that’s it. Read insane amounts of poetry. It’ll probably work as a kind of corrective, and make you either more reverent toward the world, or more irreverent, as needed.
What are you working on now?
I feel like I’m always working on multiple things at one time, and that everything always seems bound up. I’ve just finished something I’d call a novel, that’s a narrative but also a semi-theoretical text, called Jazz of the Affections. And I have another sort of historical-biographical text on the burner, between fiction and essay, which involves medicine and events from a few centuries ago. In recent days I’ve also become rather captivated by the philosophy of law, which might form part of something in the future, we’ll see. If I can make all of that work out, and also finish the thesis and other work and not go insane, then I’ll be happy.
It seems like doing all of those things is actually maintaining your sanity rather than causing insanity.
I feel like that crazy cook who frets that a dish isn’t quite working, that the soup has a little too much this or that. But it’s impossible to go back. You can only add more. You can’t take things out of the soup, so you just have to just adding more salt, more oregano.
The Nameless Questionnaire
Each of The Unnamable’s guests is asked to respond to the following questionnaire. Here are Sequeira’s answers.
1. A novel, a poem, and a short story you’d teach in a college seminar
For me all literature is really poetry that takes more or less narrative forms, in an oblique, imaginative, transformative relationship to what is often called “reality”. I’d focus on the lyrical tradition amply considered, perhaps taking Juan José Saer’s El entenado (The Witness), Pablo Neruda’s Canto general and a “story” from the trova and nueva canción traditions of songwriting I love so much, say “La maza” by Silvio Rodríguez or “Rodríguez y Recabarren” by Violeta Parra.
2. The title of that seminar
“Lyrics and Histories”. Of course I’d have to narrow the focus, and I’m not sure it’s the catchiest title, but it does speak to the connection between narrative and musical forms, between literature and experience. Saer said explicitly that in his novels he sought to blur the distinction with poetry, and that he attempted to create a music of both sound and concept. I’m interested in that point where narrative becomes poetry and music. And I don’t know why, but after literature, I’ve always been most attracted to music. I’m also fascinated by the way that histories can be structured as musical compositions, and vice versa. The text I just translated, Daniel Guebel’s The Absolute, which I’m a bit obsessed with at the moment, asks this question among others. Ricardo Piglia said somewhere that literature is a decontextualizing machine that takes the force of context and lived experience, and encodes it, so it loses the visible mark of its origin. I think this is precisely what happens in music. If you listen to Charly García, Piero, Seru Girán, Alejandro Filio, Joaquín Sabina, Joan Manuel Serrat, Fito Páez, Manuel García, Pablo Milanés, Mercedes Sosa and so on, life, love, politics, history, everything comes together as an aesthetic product. The songs aren’t autobiographical but become something utterly different and strange. Literature and music have much in common in their rhythms, inflections, tones of warmth and coolness, and patterns, as well as in their moments of patience, their silences, and their ways of wrapping in other rhythms, traditions and ideas, a whole topic of its own. The distinction between narrative and music is totally artificial. Think of Hindi movies where songs form a part of the plot, a recourse that can be silly or profound, depending on the lyrics and the movie. For most of the 20th century the greatest poets in Hindi and Urdu were writing for the film industry, and producing extremely beautiful poems and stories. Of course, all this is aspirational. I play a bit of piano and strum the guitar only well enough to be a possible terror in the waning hours of a party.
3. The great work no one has read
Poema de Chile is Gabriela Mistral’s most ambitious and interesting work, but it’s not often read or studied. I don’t even think it’s been fully translated — the writer Ursula LeGuin, who had a close relationship to Mistral’s writing, made a version of most but not all of it, and she didn’t quite understand many references, as she herself says in her translator’s introduction. I think LeGuin’s translation is quite good but the work would benefit from more contemporary attention and readings outside the academy.
In general, I’d say there are a many great sacred world texts — the Rig Veda, the Qur’an, the Popol Vuh, etc — that people have heard of but few have actually read closely and studied, especially if they’re outside the tradition of one’s birth. There is so much to learn. There are entire worlds like the Arabic Andalusian tradition of poetry that are incredibly rich but not frequently discussed in mainstream or “literary” culture, as elusive a concept as that is. Perhaps it’s necessary to stop thinking in terms of individual authors and more in terms of flows of thought.
I do believe a great deal of solitude is necessary to make art and develop independent forms of creation. Yet this always feeds back into a community, and the idea of a “great work” can occlude many more collaborative projects or formats like magazines, written correspondences, interviews and literary criticism. The letters of Hannah Arendt and Martin Heidegger, the interviews by Tomás Labarthe and Cristián Rau of Chilean writers compiled as La viga maestra, or the criticism of Juan José Saer and Juan Goytisolo are all for me “great”, but wouldn’t fall under the rubric of the great work defined purely as a novelistic masterpiece.
4. The terrible work everyone has read
I’m not fond of negative categorizations, and am not sure who the “everyone” here is. That little grumble aside, I could say Evil or the Drama of Freedom by Rüdiger Safranski. It must have got good distribution because at one point it was omnipresent on bookstore shelves, writers were referencing it, et cetera. And of course evil and freedom are both fascinating concepts. But I just couldn’t get into it. In any case, I don’t believe in terrible works, only right times and places for books. In the case of poor Safranski, who I’m throwing under the bus here, I tried to read him on a sunny beach with bachata music in the background, and naturally found myself distracted.
5. Three books you’d send your enemy on a desert island
The spiritual exercises of Ignatius of Loyola, the maxims of Baltasar Gracián, the polemical screeds of the historian Pedro de Angelis. She or he would either go crazy or become a more dextrous enemy.
6. The doorstopper that should really be used as a doorstopper
Fernando Pessoa’s trunk, to keep the door open in a literal and metaphorical sense. His work is a wonderful evocation of infinite possibility. You could study him forever and never get to the bottom of him or fully understand him. I don’t know why I find it so much of a relief to feel not everything can be catalogued or explained, and the unexpected might always occur. A draft could blow through, and papers could fly out of Pessoa’s trunk and escape into the world. His ghost could float in through the door, or maybe just his hat.
7. Who do you read in order to write
To answer “what” instead of “who”, I’d say poetry or poetic prose. Right now I’m reading Leopoldo Castilla, Antonio Cisneros, Jaime Luis Huenún, Rosario Castellanos and Georg Christoph Lichtenberg. The world isn’t short on ways to bombard you with information or produce anxiety, and more introspective kinds of texts keep me sane or at least functional. I adore the poetic novel, but there are so many excellent authors off the circuit of the novel’s market, doing astonishingly sensitive things with the grain of language, exploring subtle moments of experience and perception between the infinite thickness of the event and its consolidation as history. Sensibility doesn’t have to do with nationality or language or historical moment. You can find it in all times and places. Yet it never ceases to be surprising to come across that beauty, like a fig tree on a golf course as Cisneros puts it. A kind of patience and ellipticity are involved, a willingness to let the thought sit for a bit and write around things, rather than force the prose to make an argument or rush it to the bookseller. I’m rambling away from your question now, though. What I really need in order to write is a double espresso or single malt whisky, depending on the time of day.
8. “Poetry makes nothing happen.” Agree?
Writing, I think, is a way of both orienting oneself in the world and making a new object. It is a form of ordering the inexplicable into a construction accessible to the senses, an attempt to find sense within infinity and also an intense form of living. Certainly something is happening in all this.
Recently I read Ricardo Piglia’s El camino de Ida, an excellent novel that made me remember what I love about narrative itself. It’s a wry novel of ideas, with the element of surprise found in both humor and the chemistry of a good conversation, and it asks big questions about how literature can affect reality, whether we’re talking about a university professor with her study of Joseph Conrad or a Unabomber-style terrorist scrawling eco-manifestos. I think this applies in many spheres. Sometimes writing a love letter forces action for good or ill. Sometimes praying creates a new relationship to the sacred. I might be a romantic and mystic, sure, but I also think the very act of ordering thoughts often makes action possible.
9. What can be found on your cutting room floor?
If I understand this right, you’re asking what I prefer to chop out of my own writing. I’d have to say big blocks of pure information. For concrete particulars about the world in its sociological detail, a wealth of resources exists that is more or less profound and more or less reliable, including Wikipedia. Sometimes the cold delivery of information has an effect, as with the descriptions of murdered women in Bolaño’s 2666. But usually the transition from raw information of the world to imagination, by way of emotion and perception, is where the magic happens. “Invention” is such a gorgeous word. And now that I come to think of it, maybe that’s why I love music so much. It can’t be pinned directly to visual stimuli, and so it is forced to create new mental structures, to slow dance with a lyric or speed down the highway on its own as an instrumental, free and wild, tossing the used chewing gum of excess information out a rolled-down window or depositing it carefully into the first available bin.
Ben Libman is a writer in Montréal and the Bay Area. You can find him at his site.

domain: literature


Randy engages inter-generational dialogue as a means to examine multiple perspectives on queer identity and gender.
In bringing together under-represented voices in a collaborative discussion, Randy expands the politics of art, sexuality and aesthetics. Intent on fostering un-trodden affiliations, Randy publishes both emerging and established artists and writers. Through printed content, special events and curated shows, Randy produces an urgently needed genealogy of international queer artists and thinkers alike. RANDY expands the politics of art, sexuality and aesthetics.
Randy is the personal and nepotistic project of A.K. Burns and Sophie Morner. Initiated in late 2009, Clark Solack became co-editor in the fall of 2011.


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The Finest Street Looks Pictures From New York Style Week
New York Fashion Week just lately came to a close last Thursday. It was a whirlwind of a week – getting up, having breakfast, shooting off to a show (or 3), and then trying to be at five different areas at once! Hectic, I tell you!
I wasn’t the only 1 who had to run about like a maniac while wearing heels. A lot of journalists, magazine editors, fashion designers, personal style blog and photographers were all mad enough to do the very same thing. It was a week of the survival of the fittest in fashion world.
Amongst all the collection viewings and runway exhibits, a lot of the action occurs just outside the Lincoln Centre in New York. This is wherever a lot of the primary exhibits are held, and as a result a lot of the fashion industry’s elite can be located. Street fashion photographers flock here bi-yearly during the two fashion weeks, to snap up their important pictures for their various blogs, online fashion stores (more so the stores’ blogs) and online magazine street design editions. You’ll discover that there are a lot of freelance street fashion photographers that snap shots for prestigious magazines like Vogue and Harper’s Bazaar.
The legendary Bill Cunningham, who was the very first ever street fashion photographer to hit the scene, personally snapped me up while I was on my way to the Alexander Wang show (much more on that later).
Mr. Cunningham has worked for various magazines and is the street fashion columnist the New York Times. His work has been admired by the likes of fashion’s most elite, such as Vogue’s Editor in Chief, Anna Wintour. There was also a documentary produced about Bill, which was released in March last year.
It was outstanding seeing Bill, being the legend that he is – and especially when he decided that I was cool enough to be photographed! What an absolute honor! It was undoubtedly and simply one of the highlights of my daily life!


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Hades Hot Box is a spicy food subscription box that sends artisan, small batch and gourmet spicy products. Boxes ship quarterly or you can opt for a one time purchase. One time purchases include tax and shipping and cost $32.29. Quarterly boxes are shipped every three months and cost $31.44 or you can opt to pay for a full year at once for a reduced price. Shipping and tax are included in this option as well. Not a Tree Reviews received this box at no cost for review purposes.
Check out the unboxy box video
Here’s the Box Breakdown
Our first glimpse inside the Hades Hot Box
Everything that we received in our Hades Hot Box. This box is full of fantastic items that range in spiciness but that are equally tasty!
So what is all this stuff?
Our box insert. This lists each of the items that we received and also the curators personal tips on how to use each, which is a really cool concept!
Let’s start off with saying that spicy honey is a perfect addition to wings (which is recommended on the insert) and this honey can serve MANY with this 13.5 ounce bottle!
Made in Brooklyn, New York this honey contains just 2 simple ingredients wildflower honey and chili peppers. It tastes rich and spicy and is a true delight!
If you’re like us, you are not into sweets first thing in the morning… in fact we crave savory the moment we get out of bed. So to get grits that are jalapeno flavored is an awesome addition to this box!
This non GMO breakfast requires no other ingredients other than the addition of water! We cannot wait to try these out – we love grits!
Okay, we have to be honest and say that when we saw this hot sauce included apricot we thought it might be a bust for us. We are happy to report however, that this sauce is both HOT and delicious! Many hot sauces are hot for hot’s sake.. this however blends the sweet flavor of apricot with the heat of the Scorpion Pepper to create something really wonderful. If you can take a lot of heat this is something you are definitely going to want to try!
The 1498 name is the year Columbus landed on Trinidad soil and in addition to the apricot fruit flavors this sauce also infuses the flavors of both blueberry and carrot! This was definitely our box favorite!
Get ready to have your mouth in flames with this bag of Ghost Pepper seasoned microwave popcorn! This is the only product in this assortment (except the grits) that we haven’t had a chance to try yet because we are saving it for a movie night but we can’t wait! If the bag alone is any indication of how spicy this is … we are in for a special treat!
These buffalo flavored pretzels really are just the outer casings of pretzels giving you maximum flavor and crunchiness! We love buffalo flavored anything and thought these had a good bit of heat to them! This bag is a 2 ounce snack size serving that would be great to keep in your purse or car for a quick snack on the go!
So in summary
Quality: Each item included in this subscription is well made and created for both it’s taste as well as heat which we love!
Presentation: Excellent, everything was packaged well and arrived perfectly.
Curation: Superb! This is a well rounded mix of items that ranged in levels of heat – we are still amazed that they managed to fit a breakfast food item in their as well!
Box Economy: For the $32.29 price of this box we received $35 in products – considering they include shipping and taxes in the price of this box this is a great deal!


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Photo via: domainehome.com
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JANUARY 21ST 2013 ONTOFIELD ON CUILLIN FM RADIO
January 29th 2013 A BIG THANK YOU!
February 3rd 2013 ONTOFIELD ON STAFFORD RADIO
May 23rd 2013 sleeping with fractals album release
June 18th sleeping with fractals album preview
Ontofield's debut album "s
leeping with fractals", will be released on Monday 24th June 2013 and you'll be able to order the CD from this website very soon. Digital Downloads will also be available from the usual suspects.We couldn't wait that long, so, we have an album preview for you on the Home
Page and also, as a new feature on the Music
Page. We hope you like it. Ontofield
June 24th sleeping with fractals album available now!
June 26th Ontofield album to feature on Cuillin FM
JANUARY 12th 2013 ONTOFIELD ON PRM RADIO
JANUARY 2013 ONTOFIELD DEBUT ALBUM
Ontofield's debut single - "Moon Handed" is now on the PRM Internet Radio Playlist! Please request your plays at PRM Radio
Ontofield's debut single Moon Handed
is scheduled for airplay on Cuillin FM Radio 102.7 and 106.2 FM. Monday 21st January. Tune in to The Ancient One with Jim Lawson, 10pm to Midnight. A great Progressive Rock show!
Ontofield's debut single - "Moon Handed
" is now on the PROG PALACE Radio Playlist! Please request your Ontofield plays at PROG PALACE Radio
. Thanks go to Greg Stafford. Please listen to his show at 7pm ET and 12am GMT Saturday
A huge thank you to everyone who has bought the Moon Handed single, it is truly appreciated! Thank you also to all our friends on Soundcloud
for all your messages of support, it means a lot. Please remember to Like us on FaceBook
too. Watch out for an album teaser over the next few weeks...
Checkout Shaun Geraghty's fantastic prog show "The Prog Mill", this Sunday 3rd February at 10pm to 12am. Among the lineup is Ontofield and the debut single Moon Handed. Catch it here: Stafford Radio
The debut album - sleeping with fractals by Ontofield is due for release very soon. It is currently with the CD manufacturing plant and will be available to buy on this website in a couple of weeks. Thank you all for your patience and support, we can't wait for everyone to hear it. Digital downloads will follow the CD release. We hope to get a choice between MP3 and higher resolution downloads, although we are still negotiating that with the various distributors. More news on that...to follow. We will also announce all this on our Social Media sites such as Twitter and Facebook, but you'll always hear everything here first.....
June 14th 2013 1st Edition of Newsletter now Live!
The 1st Edition of our Newsletter: t
he assemblage point shift, is now live and available here
! You'll find all the latest News, happenings and info here, as well as details about the new album - s
leeping with fractals, as well as a few words about what's been happening over the last 6 months by J
ohn Graham. Please get involved and let us know what you want to see in future newsletters!
The long awaited debut album, s
leeping with fractals by Ontofield, is available now on CD for £8.50 including FREE UK Postage.
You can get your copy of the album on CD, straight from us here on this website, using the link below or through the Music Page
ntofield's new, debut album will feature on The Ancient One Show, one of the top prog shows in the UK, on Monday 1st July. The Ancient One, Jim Lawson, will be playing a couple of tracks from the new album, s
leeping with fractals. We're very grateful to Jim for his support and the fantastic show. Catch it here
or on 102.7 + 106.2 FM on Mondays 10pm to 12 am.
The debut album by Ontofield is due to be released in early 2013. The album will be released by Adient Records and will feature the single "Moon Handed". A number of the songs will be previewed here on this site during the run up to the release. The album will be available to download from iTunes
and the other usual places. The Album will be download only and will hopefully have the option of different audio quality versions, going up to 32 bit and 48kHz, as well as CD quality and MP3.
The album will feature songs that some people will have heard of previously. These songs - Sleeping With Fractals, My Machine and Underlying Symptoms are already complete, whilst the remaining songs are being moved from demo to release version and mastering over the next few months. Stay tuned to this website and our Facebook
pages for updates.
JANUARY 21ST 2013 MOON HANDED ON PROG PALACE RADIO
JANUARY 2013 NEW SINGLE "MOON HANDED"
The new Single by Ontofield was released on January 1st 2013. Called "Moon Handed" it will be the first release for Ontofield. You can listen to a preview here
on this site and is available for download from iTunes
and all good Music Stores. This single is based on an old song written and recorded nearly 20 years ago on an old cassette four track tape recorder. Since then though, it has been chopped up, rearranged and had bits added and taken away.
DECEMBER 2012 ONTOFIELD WEBSITE LIVE
After faffing around for a suitable amount of time with design elements, the Official Ontofield Website officially exists and is now real. The website is best viewed with the latest versions of the usual browsers such as Firefox, Chrome, Opera and Internet Explorer 9, as it features HTML5 Audio and Video standards. We hope to grow this website with the band and have it compliment the online presence of the Facebook
Ontofield pages and ensure that it represents Ontofield as it really is, which could, and does mean, literally anything. Just like everything else.
Also checkout our Google+
page, as well as the Ontofield Facebook
, YouTube Channel
These times are getting more interesting, as we move forward, so relax and watch out for Updates and News from the rabbithole, more Sounds and other Info from the Ontofield. Don't worry, it's not real.
March 23rd 2013 ONTOFIELD ON RADIO SEAGULL
We've just heard that Moon Handed will be played on Radio Seagull
this Saturday 23/03/13 on the Louise Davies Rock Show
, 07:00 to 09:00 and 19:00 to 21:00. We'll be listening in. Thank you Louise!


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This is hotel is rather shabby but makes up for this by the warm welcome from the staff. We were upgraded with out asking to a canal view room and told breakfast on the first morning was complimentery! this was a very pleasent surprise and they served it until lunch time which ment we really had it for lunch as... More
- Also Known As:
- Amsterdam Hotel
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- TripAdvisor is proud to partner with Booking.com, Hotels.com, EasyToBook, Olotels, Priceline, Expedia, Venere and Tingo so you can book your Amsterdam House Hotel reservations with confidence. We help millions of travellers each month to find the perfect hotel for both holiday and business trips, always with the best discounts and special offers.


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'The Wolverine' Teaser: Hugh Jackman vs. Ninjas (Video)
A 20-second teaser debuts one day ahead of the full-length trailer for James Mangold's sequel.
The week of Wolverine continues!
Just one day after a new poster and a six-second “twzzer” premiered for The Wolverine, a new teaser for the trailer debuted.
The clip, just 33 seconds long, features a greeting from Hugh Jackman himself before 18 seconds of footage plays.
“Right now you’re about to see the very first footage of The Wolverine anywhere in the world,” says Jackman.
Jackman must not count the six-second Vine twzzer (the first of its kind) that was released yesterday, which may or may not have revealed a very big appearance by an X-Men actress in the new film.
The new footage, released by MTV, shows Logan (Jackman) going up against plenty of Ninjas, and having a heart-to-heart with someone about how what’s been done to him “can’t be undone.”
James Mangold’s sequel to 2009's X-Men Origins: Wolverine sees Logan heading to Japan to face off against his ultimate nemesis.
After two days of twzzers and teasers, a full trailer for Fox’s film will be released on Wednesday, March 27.
The Wolverine hits theaters on July 26.
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Pure Hi-8 gold right here in the first of Andy Evans Skate Crates.
Andy has been filming UK skateboarding since the late 80’s and has one of the most varied archives of footage out there.
Part 1 of The Demo’s Episodes features footage from the 1991 Powell demo at Bath’s Victoria Park and a combined Faze 7 Real, 6040, Consolidated and Black Label demo at Shrewsbury from 1992.
A lot of this footage has never been seen before, so prepare yourself for footage of Tony Hawk, Bucky Lasek, Mike Manzoori, John Cardiel, Karma, Mark Gonzales, Salman Agah, Tim Brauch, Alan Peterson, Curtis McCann and more from a time when nobody but skateboarders gave two shits about skateboarding.
Head back tomorrow for Part 2 for vintage Tom Penny, Rick Howard, Danny Way and more.
Peep more episodes of Skate Crates here.