Description of Problem 100000000392
My machine is using up too much ink. Why?
Description of Solution 200000000445
strongly recommends that customers do not use generic ink or refill their
Brother ink cartridges. Using non-Brother supplies may affect the hardware
performance, print quality and machine reliability since the ink formulation in
genuine Brother ink cartridges prevent smearing and clogging of the print
head. The Brother limited warranty does not apply to any problem that was
caused by the use of unauthorized third party ink and/or cartridges.
Service Life of the ink cartridges are the following:
Black Cartridge - Approximately 500 pages at 5% coverage
Cartridges - Approximately 400 pages at 5% coverage
above figures are based upon or depend upon the following:
printing at a resolution of 600 x 600 dpi in normal mode after installing a
new ink cartridge
number of pages printed
automatic, print head assembly cleaning (Your machine will clean the print
head assembly periodically. This process will use a small amount of
remaining in the cartridge identified as 'empty' (It is necessary to leave a
small amount of ink in the ink cartridge to prevent air from drying out and
damaging the print head assembly)
amount of ink your machine uses can vary depending on different factors.
The first factor is what you print. Brother ink cartridges are rated at 5% page
coverage, which is the standard by which most companies measure their ink
cartridge life. Of course, if you print at more than 5% page coverage,
then the life of the ink cartridge will be reduced. For example: A person who
prints photographs and complex graphics will use ink much faster than a person
who normally prints documents with text only.
factor is the number of times the machine needs to clean the print head
nozzles. Every time the machine does a cleaning, a small amount of ink is
used. Whether you are using the colors a great deal or very little, the
unit must clean all the nozzles on the print head regularly to achieve optimum
print quality. This is why even low usage of the color cartridges causes a loss
of ink. Lack of use leads to ink drying in the jets and ultimately, poor
print quality. In order to keep the print quality at its best, the machine
will continue to clean the nozzles as needed. This process is common to
all inkjet machines.
another factor pertains to color units connected to a computer as a PC printer.
Since these machines offer full color print, the default setting of the print
driver is color. As a result, the colors are mixed in the appropriate amounts to
produce the selected color. Even a document containing nothing but black text
will combine all 3 colors to produce black. Changing your printing preferences
from Color to Mono or Gray Scale when printing documents with only black text or
images will allow the machine to use only the black cartridge when printing the
color black, and will help avoid unnecessary color ink consumption.
positive aspect of the Brother ink jet machines is that Brother took into
account that ink does get used and has designed machines with an ink jet
technology that will save consumers money. Many other manufacturers
incorporate the print head and ink cartridges into a one-piece assembly. Even if
only one color is empty, the customer is required replace not only the print
head itself, but ALL colors contained in the cartridge as well. This usually
leads to a more expensive ink cartridge. Brother, however, manufactures
the print head and cartridges as separate consumables. With Brother's
Print head and Ink Cartridge technology, you replace only the empty ink
cartridge, thus reducing your cost per page.


text:
Let’s talk, briefly, about fights. Humans love a fight – fighting is among the first things we do: the fight for breath, for attention, the fight to be heard so that we can be fed. And it doesn’t stop in childhood – we continue fighting for things we don’t have or for things we no longer have and want back until we can’t anymore. We fight on public transport and we fight in sporting matches, sometimes in our offices, in our homes. We fight disease; those suffering from cancer speak about the sickness as if it’s a contest. We fight to live and we fight not to die.
Despite this, we are supposed to think of fighting as barbaric, an act that epitomises the absence of civilisation; surely, we mutter to ourselves, there are other ways to work this out. Fighting is seen as primitive because it is. What happens, then, when civilisation and everything that comes with it – development, progress – is itself the problem?
The Coral Battleground by Australian poet Judith Wright is about a fight for preservation. It tells the story of the campaign by small but determined conservation groups to save the Great Barrier Reef in the 1960s and ’70s. That you know what the Great Barrier Reef is and have a fixed picture of it in your mind when you see its name, that you have maybe visited it or have vague plans to visit it or have received a postcard with a picture of its sapphire waters on the front is evidence that they won this particular fight. Wright famously said of the Reef that it is ‘the closest most people will come to Eden’. Her paean to it is an insightful, sometimes compelling, at other times tedious discussion of bureaucracy which ranges from the Queensland Government’s refusal to act on the outbreak of a then-small plague of Crown of Thorns starfish, to oil-drilling and limestone mining, to the fight to have the Reef – as a whole – protected. Because of the efforts of the conservationists, the entirety of the Reef, stretching from Cape York to Fraser Island, became a marine park where oil exploration continues to be illegal.
That the small conservation groups faced considerable challenges is an understatement; at the time, the Reef was not even considered a single entity, nor was it clear under whose authority the Reef was. The campaigning of the conservation groups helped to solve these problems, which in-turn helped to clarify the issues that they were facing, but there was also a continuing, and shocking, lack of biological knowledge about the Reef, not to mention a pathetic tug of war between the Queensland and Federal Governments over it. The cause of the conservationists is helped along at various points by sympathetic Prime Ministers, benevolent legal firms, and the fortune of the misfortune of damaging natural disasters and oil rigs and tankers blooming around the world like springtime cherry blossoms to catastrophic effect. Also helpful in putting the issue at the front of the public’s minds was an attentive media, especially The Australian which was pro-conversation during the period. Funny, hey?
There can be poetry in the idea of time taking things for itself, leaving us to wonder what could have been – in literature, the permanent loss of Homer’s Margites, for example. Too, there is something poetic about things being saved from the proverbial, and literal, fire – think of Max Brod’s refusal to put a lighter to Kafka’s work. Wright, one of Australia’s pre-eminent poets, sees no poetry here. The Great Barrier Reef isn’t something that time can swallow, it’s something that, save for apocalyptic calamity, humans can choose to either preserve or to kill. The style Wright employs is reportorial – very little of her own insights or experiences beyond the Reef are part of the story, and much of the time she is speaking in the first person plural – this is the conservationists’ story: ‘Rather than dramatising our encounters, I have chosen to give the facts and little more.’ Aiding in its readability is the fact that the founding members of the Wildlife Preservation Society of Queensland were not trained biologists or lawyers and so they were all forced to break complex legal and biological information down into terms they could understand themselves.
Wright’s story of the Reef doesn’t so much as end as it does simply stop. There was no clear victory, and Wright and the other conservationists were under no illusions that the Reef would be safe forever after. ‘To me,’ Wright wrote in her Foreword to the 1996 edition, ‘it’s a kind of miracle that things have gone so well for the Great Barrier Reef.’
Let’s talk about fights again. Fights are at their dumbest when it’s a repeat of a previous fight, something that’s already been had out. The only party that likes the idea of a rematch is the loser. The Coral Battleground was first published in 1977; that it has been reissued this year by Spinifex Press is not a coincidence – things have stopped going well for the Great Barrier Reef. With plans to dump millions of tons of dredged sand inside the Great Barrier Reef Marine Park, the Federal and Queensland Governments don’t see a 2000km-long reef anymore, they see something resembling a rubbish tip. Wright was writing at a time when there was little knowledge of reefs not only locally but also globally. It could be argued that it doesn’t take reams of ecological studies to know that the Great Barrier Reef is special, but it shows a particular kind of foresight on the part of the various conservation committees to believe that it was indeed worth protecting. Now, we know so much more – and, yet, in an astounding and special display of fuckwittery, the ecological knowledge we do have doesn’t seem to matter. In a recent article on the Reef for New Scientist, chief research scientist at the Centre for Tropical Water & Aquatic Ecosystem Research at James Cook University Jon Brodie wrote: ‘Of the three big threats to the Great Barrier Reef – climate change, coastal development and agricultural pollution – only the latter is being managed on the basis of good science, and then only to some extent.’
‘Australia has something that exists nowhere else on the face of the earth,’ wrote Wright. ‘The idea that anyone would take the remotest chance of damaging the Reef is beyond belief.’ The Coral Battleground is a statement of property, a loving statement, but with the clear message that the Reef belongs to the people. People working together saved it, and people working together can save it again. But – and you know what’s coming next – in the same way that we have the power to save it, we have the power to both kill it or idly allow it to be killed. Wright, in closing, points out that the fate of the Reef is symbolic of the fate of the planet – when it’s doing okay, the rest of the place is doing okay. The Reef is about to be tested again.
The Coral Battleground
Spinifex Press, 2014
The story opens with a river in flood. The rain has kept Juno and Hannah inside, and at the first opportunity they hurry out, down to the river. Their simple lives are disrupted when they spot the body of a man in the water. Juno goes to find help while Hannah pulls the man out, strips him of his clothes and brings him back to life. Rather than rewarding the girl, the head of the Christian community they are a part of puts Hannah on trial, as well as Mr Cattermole, the man she has saved. While she is in isolation, rumours of plans to send Juno to an orphanage find their way to her and she decides they must leave.
Juno & Hannah, by New Zealand writer Beryl Fletcher, is the story of two young women as they flee through the New Zealand bush in an attempt to escape the community. Complicating this is the fact they are alone, having lived most of their brief lives in servitude and are unskilled beyond the house – in plainer words, they are female: ‘I am useless,’ Hannah thinks, ‘I am a blank slate that has yet to be exposed to the world.’ To further compound the issue, Juno has a mental disorder. She requires near-constant attention, and after their escape it becomes clear she is pregnant.
The mysteries are layered on from the outset. Why is Hannah put on trial for saving a life? Mr Cattermole leaves the courtroom with a wink and a smile – why does he act with such familiarity? What was he doing here? Why does Abraham, the leader of the community, keep the girls at arm’s length? Why are they in an obscure cult at all? The resolutions to these are not immediately forthcoming; indeed, many of them only get partly resolved – and the introduction of Hannah and Juno’s estranged father, and then their mother, ensure that the mysteries only multiply.
As well as opening the story, a river appears again at a later point in the narrative. The girls, using the river as a guide, walk to near exhaustion. Mr Cattermole finds them and is amused that the girls chose to follow the river – it loops in on itself. They were walking in circles. He returns the favour to Hannah by leading the girls to shelter.
The river is a handy motif. The story too flows and meanders like a running river, snaking in on itself before straightening, only to begin to curl again. The pace has the effect of smoothing the narrative out, keeping it consistent as mysteries rise or as they are resolved. It works to ensure that what is a complex story never loses focus.
But it also has the effect of sweeping key events along with it. The steady tone and progression makes it hard to find a part of the story that differentiates itself from another part. Hannah saving the life of Mr Cattermole or an attempt to abort Juno’s pregnancy is therefore given the same weight – in tone, in importance – as Hannah’s explanation to Juno about how to bake the perfect loaf of soda bread or horse rides through the bush. The result is a curious absence of gravitas, which is made even more obvious by the fact that, having grown up in the Christian community, the girls have lived otherwise mundane lives.
Juno & Hannah is maybe more correctly described as the story of two girls who try to reclaim their fates from men. The leader of the Christian community, the man who impregnated Juno, the group of eugenicists – all men – who want to forcefully abort Juno’s baby, as well as other men they meet along the way all attempt to exert control over Juno and Hannah. The girls are passed around like a problem.
The only man in the story that is of high moral standing is Mr Cattermole. It is him who teaches Hannah skills she had not previously been allowed to learn in the community – ‘This was man’s work.’ He does it unthinkingly and with respect, empowering Hannah, allowing her to prove herself capable.
Bravery in writing is coming to an unpopular conclusion, or offering up a conclusion that may not be a conclusion at all; both acknowledge that solutions to the problems of the world don’t always come easy. By no means must a novel neatly agree with wider society’s stances and opinions. Indeed, it is what literature does best. It is why novels are burned or banned, why, at some points in history (the present moment not excluded), writers are imprisoned. Fletcher is a brave writer. On the subject of Juno’s pregnancy, the eugenicists who intend to force an abortion prove themselves to be as bad as the Christians, if not worse. But then the only answer for Juno, who is incapable of fully grasping the fact and consequences of her pregnancy, seems to be that she must have the baby despite the terms of its conception and despite her physical shortcomings. Fletcher posits that neither science nor religion have the answer, that it is for nature to decide. Their relationship with men is another subject of complexity. The men in Juno & Hannah are almost universally bad and almost universally view women as objectives to be ordered and shuffled about. Here, as mentioned, Mr Cattermole is the exception. But while he saves their lives, they also spend a large portion of the story being chauffeured through the bush and out of trouble by him. They are dependent on his knowledge of the bush, his courage and his morality. They depend, in other words, on his masculinity. Without it, they would have died along the river.
But maybe, less than his manliness, it is Mr Cattermole’s goodness that compels him to help. The men in the story are bad, and while the women aren’t good, they are kept from goodness or, as in the case of Juno and Hannah’s mother, turned mad and into outcasts by the oppression of men. The goodness in Mr Cattermole is the reciprocation of the goodness of Hannah.
So, which wins in the end, goodness or nature? Juno and Hannah must find their way out of an insular community, through the bush and into lives of their own making. They seek their freedom. But, from Fletcher’s point of view, when it has been kept from someone so absolutely, freedom can be dangerous. If it is either goodness or nature that wins, it is not any sort of neat victory.
Juno & Hannah
Spinifex Press, 2013
173 pages, $24.95
First time I left her home, it was an autumn afternoon or looked like autumn or is autumn in my memory. The next time, it was morning and bright or maybe I thought it was bright because I’d barely slept and so the light seemed sharp, polished, like after rain.
We got talking over drinks at a series of gatherings organised by mutual friends which I only kept going to, really, in the hope of seeing her. First time we met was at a bar on the 36th floor of the Shangri-La Hotel, overlooking the lights of the city and a dark harbour. It was quiet and, at first, we spoke in whispers, leaning in close; I smelt her perfume, tried to place its sweetness. She told me she didn’t come to places like this, that she seemed to be going to parties she didn’t usually go to, that the night before she’d been at one where people were having carefree sex out in front of everyone. ‘Who are these people that can just fuck in the open like that? Do they go home afterwards and brush their teeth and hop into bed? Do they have regular jobs? I’m disgusted, but I’m envious.’ I smiled at this and she liked that I smiled, I could tell. I don’t think we touched on this first occasion, beyond, maybe, a quick handshake, and, anyway, someone else came and joined us and conversations meander and criss-cross and soon we were no longer talking. But I found myself thinking of her later, when I was in the passenger side of a taxi going home, and the way her eyes moved from my eyes to my mouth and back. Before the end of one of these get-togethers, she asked if I wanted to leave with her.
There was a room in her home that could be called a study. It had bookcases filled with books, and on one wall was a framed photograph of a building reflecting the clouds in a distorted sky and on the adjacent wall was a print of dancers by Degas that I remember thinking looked faded, maybe from being in the sun. While she was in the bathroom I took my glass of wine into this room to see what the book spines read as I held the glass by the stem; on one of the shelves was a small ship in a small bottle. She found me in here and I was about to ask about ships in bottles and where the building in the photograph was, but she pulled me into the hallway by the wrist. Next time I was in her home, she said, one of the few things she actually said to me then, that the room and the things in it did not belong to her.
The first time I was at her home, I saw her nude. She undressed in front of me as if I wasn’t there, fixing her glasses after she’d bumped them with her forearm as she let her hair out and leaving them on till the last moment. The second time, she was careful to hide her body.
From the first time we met, he spoke in a kind of harsh whisper.
She said things to me I didn’t quite understand. That was the next time I went to her home; the first few times I spoke to her I understood well, as well as I thought I’d ever understood anybody. That’s what I remember thinking, anyway. It was during the next time that she spoke of things I didn’t quite understand. She spoke about a boy-man, asked, I thought rhetorically, ‘How sure of himself can a boy-man be?’ The boy-man, she said. The boy-man, the boy-man.
She asked me to leave and I would have. Of course, I would have. She didn’t ask me outright, didn’t say those exact words, but that was what was implied, and I would have. But there was what we’d had before. Had we not have had that, I would have left immediately.
So I didn’t leave, I hid. I sat in a leather couch worn soft, I think, through age and use, let myself sink into it, trying to stay out of the way. She began to play music, CDs, none of which I knew or even thought I knew, guitar and drum-heavy music, ambient and nearly voiceless, the rhythmical sound of industry. She spent most of the time going through the albums, turning to me only occasionally, maybe to see if I was still there, seeming to, at one stage, put the CDs in some sort of order.
It grew late and her housemates came home, a couple I thankfully didn’t know. She turned down the music when the front door closed. The guy wore a cap and I barely saw him but the woman was blonde and round-faced, beautiful. She stopped in the doorway and said hi to the both of us and I knew immediately that, yes, the Degas print was hers and the photograph of the building was his. Or they were both hers, or both his.
The next time I saw her room, two or maybe three weeks after the first time, was when she stopped playing music and gestured to me to follow her. She put away the CDs and we moved out of the living room to her bedroom, where I pushed some clothes off the chair in the corner and sat again. The moon was in the part of the sky framed by her window.
This next time I, in her room, asked her, ‘Should I go?’ She came over to me so I stood, but she hit me, slapped me on the arms as I covered myself. I reached out to her, touching her on the shoulder, but she pushed my arm away, thumped a fist on my chest, pushed into me, then turned for her bed.
At one point, briefly, deep in the night and after a long while of sitting in the room together as if the other wasn’t there, I fell asleep. When I woke to shift my weight in the hard seat, I saw her on the bed, still awake. She glanced at me, saw me see her.
The first time I went to her house, I stayed until mid-afternoon. We woke late and she made me a breakfast of olives and tomatoes and cucumber which I watched her carefully slice over the kitchen sink, and bread that she pulled apart with her hands. She made me black tea and we spoke as if we might be friends.
Next time I woke from another short sleep, the bed was empty. I sat up and listened for movement in the house’s halls, listened for the creak of a floorboard or the sound of running water. I stood and peered out the window, into the dawn, as if she would be there.
One thing is clear: we live in strange times. The influence of the market has seeped into every facet – every wrinkle – of our existence, leaving the individual spliced and atomised and spliced again. But, if who we are indeed so fragmented, how do we love and be loved back? Forget about connecting with someone else, how do you connect with yourself? The reach of market forces of course extends to the manufacture of art and, indeed, the production of literature; how, then, do you go about writing a novel on these ideas?
Anthony Macris attempts to answer these questions with his second novel, Great Western Highway: A Love Story. The sequel to Macris’s 1997 novel Capital, Volume One, Part One, Great Western Highway looks at a day in the lives of two people who are curious to understand how, and if, there can be love when the external, market-driven world intrudes on and tangles with the internal world, and the individual is left riven.
The novel opens with Nick, the story’s protagonist, standing in line to get cash out of an ATM on Parramatta Road, one of the busiest and most built-up stretches of the Great Western Highway. Nick – thirty-something, unambitious and uncommitted – is in fact on the way to see Penny, his ex-girlfriend who he can’t get over even though they broke up because he couldn’t get over Christina, his girlfriend before Penny. While he waits, the bank’s ads about homes and loans and images of perfect people with perfect lives beam down on him, forcing him to reflect on the gulf between this life – successful and even, brimming with optimism and hope – and his own.
Though it is only down the road, it’s some time before Nick actually reaches Penny’s house for what is shaping up to be a lugubrious night in front of the television. We follow as he walks along the Great Western Highway, and advertising and the rush of traffic and music and noise washes over him. All of these things, everything from Thai restaurants to squashed Coke cans, hold personal meaning for him: ‘Nick looked up at the giant mobile that leaned over the highway and tried to fight off the sudden memory of the phone call it was determined to trigger off, a Brisbane-based Christina had said “no” to a London-based Nick.’
The setting is not made up of landmarks in the traditional sense but is instead populated with businesses and brand names which create a sense of place in their own way: a landscape of signs, pregnant with memories and meaning. This barrage of messages about what to buy, how to live and how to find happiness creates a feeling of claustrophobia, something that we are more or less superficially desensitised to in reality but which the novel succeeds in evoking.
While Nick is very much the conduit through which we engage with this world, before he reaches his destination the narrative’s point of view switches to shadowing Penny at JobClub, an agency for the unemployed where she works offering employment advice. The themes that rise out of the first chapter are here elaborated on and formalised – happiness versus unhappiness, success versus failure, the tide of employment due to market forces, the structure of power. Penny must navigate her way through these obstacles to the end of the workday and a meeting with Nick, where she must then try to find a way to reconcile her private wants and needs, whatever they are, with those of her former boyfriend’s.
At the novel’s literal and metaphorical core is a Modernist stream-of-consciousness monologue from former UK Prime Minister Margaret Thatcher. The chapter, titled ‘Lateline’, is an examination of the Thatcherite free market from the point of view of the woman herself, with Thatcher’s thoughts filling the space between her answers to Lateline presenter Kerry O’Brien’s questions. ‘No you may not finish,’ she thinks as O’Brien pleads to be heard. Even if he manages to finish his question, he is drowned out, all but voiceless in the deluge. Maggie Thatcher as free market mouthpiece – it’s an extraordinary piece of literature.
After the Thatcher monologue, the narrative pivots again, going back to Nick’s time in post-Christina London. The narrative style undergoes a further transition, with this part of the story being told in second person, as if from the point of view of a patient old friend. Alone in a city of millions, Nick turns to the television for comfort. His breakup happens to coincide with the Gulf War, and as he wallows, the war plays out in 24 hour-news cycles on the TV screen. Rather than intruding, the televised war distracts, plotting the trajectory of Nick’s feelings for him, acting as a substitute for the lost lover: ‘You lie in bed or sit at the kitchen bench and watch the spectacle… Your whole nervous system is tuned to imminent chemical attack, imminent ground invasion, imminent scorched earth.’ This is the novel’s highest point.
The story concludes at one of the few places it can: outside Rick Damelian’s, the iconic car dealership that once spanned entire blocks of Parramatta Road. But the key word here is once – like many of the real-world businesses and brands that populate the novel, Rick Damelian’s is no more. Today the lots are empty, one day soon they will be ugly, over-priced high rises, the market economy’s cycle of success and failure continuing to spin.
Herein lies the problem that is central to Great Western Highway. While setting this kind of story in a concrete time and place is conceptually sound, it also puts it at risk of becoming anachronistic the moment it’s published. The risk becomes that much larger when the time it interrogates and philosophically engages with has already passed, if only just. Put another way, images of George Bush Sr.’s Gulf War and the Lateline Thatcher interview might be fresh in Nick’s mind, but not as fresh in the reader’s, having been overshadowed by more recent and, arguably, equally relevant events.
There is evidence that a sequel to Capital, Volume One, Part One has existed for over a decade, with extracts of it having appeared in all of Australia’s major literary journals. Macris himself makes this fact clear in the ‘Author’s note’. With its knotted publishing history only having been untangled following the 2011 release of When Horse Became Saw, Macris’s moving story of his family’s struggle with his son’s autism, perhaps it’s grimly fitting that market forces kept Great Western Highway off bookshelves until now. However, the problem of a disconnect created by a delayed publication has a simple solution: respond again. A Volume One surely demands a Volume Two.
Great Western Highway is ambitious, experimental literature. While Macris’s use of the commercial twilight zone that is the highway, carving through the novel in the way that it carves through the lives of so many, is just a little bit brilliant, this occasionally disjointed novel won’t be for everyone. It’s for this reason that UWA Publishing should be commended for taking a chance with this unconventional story of modern love.
Great Western Highway: A Love Story (Capital, Volume One, Part Two)
The University of Western Australia Publishing, 2012
Read an extract from Great Western Highway here.
LinkLock, a technology company based in Canberra, has developed a method of encrypting and securing data feeds in a way that makes them theoretically impossible to hack. This piece of tech is attractive to the United States Department of Defense, as the data sent to and from their drones operating in the Middle East is being intercepted by the groups they’re targeting. LinkLock engineer Daniel Carter is sent to oversee a test of the software, and must take part in drone flights over Yemen, Oman and Afghanistan, ostensibly joining the US’s remote war.
This is the premise of award-winning, Canberra-based author Andrew Croome’s second novel, Midnight Empire, an espionage thriller exploring the intricacies of twenty-first century warfare.
Running parallel to the story of Daniel’s role in a faraway war is a sub-story about poker, the rules, its players and the tactics of the game. It’s here, with poker, that Midnight Empire begins. Dmitri plays the game on his PC in a grey and distant Russia. At first, he uses the winnings to feed his family, but he quickly becomes a professional player, developing mathematical theories as he travels the world, winning huge pots of money and meeting our protagonist, Daniel, along the way.
The prologue’s solid colours and texturelessness is something of a bluff. That it’s misleading only becomes clear when the narrative proper begins and there’s a surprising and pleasant shift in story style and protagonist and place and subject. Detail, absent in Dmitri’s story, now rises – ‘The fridge was barren. A unit on the wall displayed both the indoor and outdoor temperatures, 59 and 98°F. There were six pillows on the bed.’ – bringing the story into sharper focus, exposing the reader to the bright daylight of Las Vegas.
Drawing the two narratives together is the simple fact that the drone operations are being controlled from the desert outside Las Vegas, the gambling capital of the world. Despite the long hours at the air-force base, the game is inescapable. By placing them side by side, the two are inevitably compared; Midnight Empire makes the point that they’re both games that aren’t in fact games.
Croome’s idea of remote warfare as a game akin to poker – making moves based on behaviour and ‘intelligence’ and speculation – could quickly have gone awry. But he makes it work, partly because he doesn’t reduce either one, instead bringing poker up to the level of the life and death nature of remote warfare.
Crucial to the story is the concept that no war is remote, that there’s no such thing. It’s a point that Ania, a poker player and one of the story’s few female characters, makes to Daniel. ‘If what you are fighting is a war, then you must surely be in danger of dying,’ she says. ‘Otherwise what you are fighting is not a war. It is something else.’
It’s also through his treatment of remote warfare, channelled through the character of Daniel, that Croome has success. Daniel is uncomfortable with what he’s participating in, for reasons even he is unclear about. This is a world of unflinching men who have simple answers to hard questions, but it’s one which Daniel has willingly inserted himself into, his feelings of displacement inevitably bringing the situation to crisis.
Daniel’s confusion about his role is a nice, humanising touch. However, it is the only way the reader really has an opportunity to connect with him. Midnight Empire takes the idea of the detached, all-knowing writer and the hovering, all-seeing drone and combines them. Daniel is viewed from above, sometimes from near and sometimes from far, as if from the impartial eye of a drone, while he too views from above. From this height, connections on the human level cannot be made.
Of course, this could be incidental. But one of the points that Croome makes with Midnight Empire is that drone warfare, whether immediate or remote, is indiscriminate. At times, Daniel becomes smaller in the narrative, shrunk by the enormity of what he has become enveloped in. There are ‘hours in which Daniel became pretty much invisible, just the encryption operator, a benign presence, a regular face.’ This shrinking, or zooming out, is compounded by the effects of his displacement, of being from somewhere that isn’t here, and while here, experiencing somewhere else. This skilful erasure of Daniel reinforces the idea that you do not escape this, that after entering the war machine, you do not leave it.
The story is told, fittingly, with a straight face and a cold stare. But Croome’s cold stare is interrupted by the occasional glance away, an unevenness created by juxtaposing a speedy narrative with stony, near-DeLilloan descriptions of the Las Vegas light and desert landscapes. These patches are reminders that Document Z, Croome’s 2008 Vogel Award-winning debut novel, a fictional account of the Petrov Affair with a stronger literary bent, was no accident and Croome’s writing can be of the literary kind, even the focus, if he wants it to be. But does he want it to be? They recur inconsistently, all but petering out by the story’s conclusion.
Much of Midnight Empire’s action takes place on PC monitors. When Croome writes, ‘They came down out of the mountains, flew above the flat green lands that approached the city, came out of the bearing of the sun,’ what he means is Daniel, the drone pilots and other officers watch computer screens in a hut in the desert. That Midnight Empire is compelling and tense despite this is testament to Croome’s skill as a teller of stories. Any stylistic sideways looks, then, are those of the new practitioner; Andrew Croome knows what he’s doing, and confidence and evenness will come.
On the cover of Midnight Empire are the words ‘fiction’, ‘crime’, and ‘spy thriller’. This is where we are now, where publishing is. And it’s a bit of a shame, because Croome’s novel is all of these things and none of them. Midnight Empire is a smart, taut exploration of the methods of a particular, uncompromisingly modern kind of warfare. It’s addictive and suspenseful and manages to be both these things while being set in a time where remote warfare still seems so distant, happening somewhere over there and not to us, out of the now, overseen by men who call other men ‘sir’. But, of course, this is happening. It has been happening and will continue to happen, and it will reach a stage where we won’t have to go to it, it will come to us.
Allen & Unwin, 2012
Review by Tristan Foster
It’s summertime in an Australian east-coast country town, school is done for the year and, to three bored friends, a night of riverside drinking sounds like a good idea. The unfortunate trio are Jenny, Tom and Danny, country teens who seem to have the feeling that fortune doesn’t have much planned for them anyway. Soon, they’re making bad decisions faster than they can finish their stubbies, the outcomes of which will resonate for entire lifetimes.
This is the premise of Anthony J. Langford’s debut, Bottomless River, a novella that attempts a study of how quickly ego and teenage lust can change – or set – the course of young lives.
There is, at its base, a good story here. Something in the hearts of these kids, the boys in particular, was broken a long time before a single night on the grog. But the essence of why they act the way they do – country living, abusive parents, general disaffectedness – the reader never gets a hint of. Of course, reasons do not by necessity have to be forthcoming; how often in life are we left searching for reasons to justify our actions? Nor is a Miltonesque epic needed. But if the fall of man is inevitable and paradise is always going to be lost, a reader needs something more substantial from a narrative than a string of simple, ill-conceived actions.
This is one of the key problems with Bottomless River: the potential – and there is plenty here, the opening line holds such promise – for dramatic tension and, by extension, narrative richness, remains largely unharvested. Sadly, in its place is an expository account of the next couple of decades of Danny’s life and his attempts to come to terms with his actions on that night. In a story of only 59 pages, it’s a lot to cover – too much, in fact.
The story’s evocations of summer for some directionless, country teens was something that returned to me later, when I’d put the book away and should have been thinking of other things. It’s probably no coincidence that it is this section that’s written with the most clarity, the most feeling. When this clarity ebbs away, scenes can verge on the surreal, even the comical. For instance, a drinker at the local pub is described as ‘a big Italian guy’ who is ‘dirty and jagged’, in sum, ‘a filthy dirt bag’, the narrator giving the man the nickname of Gepetto.
These are things that could be assumed to be part of the Danny’s personality; being the main character and narrator, it is of course his views and biases that inflect this sort of narrative. It’s an interesting and challenging stylistic decision to make, have a narrator who isn’t particularly intelligent or robust tell the story of how his life and the lives of his friends got ruined. And there is realism lurking behind the voice – Danny’s life choices, crucial to his character, have also reduced the possibilities of the tale.
It’s a lack of sensitivity to the narrative world around him that makes this voice seem slightly askew. When the characters are young, the voice is a closer fit, as if the narrator is re-entering the immature mind of his teens. But as the narrative races to the present, there is little progression. While it is consistent, I wonder if this understatedness is an aspect of the narrator’s character, or a flaw in the author.
The real problem, however, is our narrator tells the story. He tells it without showing any real desire to set a scene or stopping to step outside himself, and suddenly he’s doubled in age, unhappily married and being accused of slipping a hand down his sister-in-law’s pants. Rather than actually giving us a story, these passages of expository, breakneck prose occasionally read as commentary on a story happening somewhere in the distance. This has an effect not dissimilar to speeding through a city with your eyes closed while somebody lists off what’s passing outside your window; it forces an expanse between reader and text, creating a reading experience that’s pleasureless and impersonal.
Maybe as a result of this narrative style, turns of phrase don’t come easily yet clichés will occasionally pockmark a page. And maybe not; the lack of even simple editorial guidance can be exasperating. There are also several crucial typos and incorrect uses of words, which makes me wonder if a professional editor has indeed read the manuscript.
The cover design of Bottomless River suffers from a similar failing. Front and back, it consists of a dark blue oval on a light blue background with a photograph superimposed over the top and Papyrus font for the copy. This is not the work of a professional graphic designer. But it’s a crucial element in attracting curious bookshop patrons, online and off, and it needs to be addressed if it’s to do this.
In the final chapter, the narrative gets some much needed verve. The story has come to the present, from where ‘this memoir or confession or whatever it is’ is written. Given the relative liveliness of the present tense and the change it brings to the dynamic of the story, it’s a shame the reader doesn’t get more time here.
It’s hard not to feel that the above criticisms are simply a long and slippery way of saying that Ginninderra Press have not done what they’re obliged to do as publishers of Bottomless River. At the very least, a publisher must provide its writers with a basic service. By agreeing to put this book out into the world while not putting their resources into it, Ginninderra Press have failed this new author – and treated his readers with something that bears a scary resemblance to indifference. They will need to invest more in their future publications if they’re to be perceived as a professional alternative publishing house by the book-buying public.
Anthony J. Langford
Ginninderra Press, 2012
In a recent interview with Amitava Kumar, Michael Ondaatje spoke about the need for multiple voices and various narratives in stories of political or social consequence. ‘You want the politics of any complicated situation to be complicated in a book of fiction or nonfiction,’ Ondaatje said. In an oeuvre that has become increasingly complex, it is a belief that Merlinda Bobis has come to share; her latest novel Fish-Hair Woman is a narrative of knots. Set in Manilla and the village of Iraya, on the surface it is a fictionalised account of events during the civil uprisings of the seventies and eighties that led to dozens of Filipinos who opposed the ruling regime ending up at the bottom of the river. And it is this, but Fish-Hair Woman is many things.
Attracted by revolution, Australian journalist Tony McIntyre visited the Philippines in the 1980s. He fell in love with the country and its people, but, like so many others, disappeared. Now, over a decade later, he makes contact with Luke McIntyre, the son he abandoned. Luke reluctantly flies to Manilla where he is whisked away by his father’s wealthy patron, the missing man himself nowhere to be seen.
It’s this narrative that serves as Fish-Hair Woman’s spine. But at its heart – and in this novel as in all of Bobis’s work, it’s the heart that matters – it is a story about story: the untruths that are sculpted into truths, the myths that lives are built upon and the truths that corrode into myth. Myth and superstition run through the story like rust. But the meta-lesson of omens and old wives tales is that the world is a complex place; mythologising is an attempt at ordering a universe that stubbornly refuses to offer up a reason.
It is out of this same tradition that the novel, the grandmother of storytelling, rises. A novel is an attempt to order and explore, its existence relying on the fact that there is no single, straightforward story. The world is still a complex place. It’s why we need the novel – to remind us that nothing is simple, and to help us find comfort in this notion.
As if to underscore this idea, punctuating Bobis’s novel are clippings about the Iraya case from the Philippine Daily News. They offer some clarity, and give the story some real-world context. But the clippings are small, some cut from the margins, the kind of news-in-brief article that can be scanned in the short moments between bites of toast or jolts of the bus on the morning commute.
Presenting these concise paragraphs alongside Fish-Hair Woman’s elaborate narrative has the effect of making mainstream media’s attempts to grapple with any complex story appear futile. Perhaps pushing the case of multiple murders and government corruption to a page’s edge is an admission of this: a newspaper’s obligation is to skim a story’s top, as it only can. ‘Our sadness very big,’ Pay Inyo, Iraya’s medicine man, says to Luke. Leave it to the novel, a form without pretensions of truth, to attempt to unravel ‘big sadness’, to reach to a story’s heart, because, of all the storytelling mediums, the novel does it best.
‘Why is the past more present than the present, the old stories more acute, more in the flesh?’ Throughout the novel, the past persistently nudges through. “This is the hum of memory,” writes Estrella, the “fish-hair woman”, to the missing Tony. The merging of memory with the present gives the prose the quality of a dream that’s risen in the blue hours of dawn. The reader is asked to hop from the lyrical, Tagalog-peppered storytelling of Estrella to the stiffer prose tracing the stories of the Australians; occasionally the shift is in the space of a few short chapters. The styles are not so disparate from section to section as to appear written by different authors but this tangle of past, present, voice and place makes for challenging literature.
A text of this nature is going to pose challenges for the author, too, and Fish-Hair Woman is not a novel without flaw. At times, sub-stories are dropped and picked up and eventually concluded with little consequence. There are also occasions that the novel trades being poetic for being nebulous, thus losing the momentum it works hard to sustain. It’s at these times that the meandering narrative could have used some knocking into line.
But then there are tales like that of how Bolody, Estrella’s brother, became Belody da Teribol that Bobis gets it just right. Semi-present for most of the story, Bolody appears in full to have his heartbreaking story told. It is in these examinations of life in tiny Iraya that Bobis is at her best, the glow of fireflies all but visible just off the page.
As I was reading my thoughts kept turning to Wide Sargasso Sea. It shares with Jean Rhys’s masterpiece more than just a threat to topple into tragedy, but Fish-Hair Woman takes a wider view. It is a love story, a murder mystery, a story about family and a story about the impact of the kind of self-perpetuating government corruption that so often befalls a country in political turmoil. It’s ambitious and sprawling, and things could quickly go wrong. Fortunately, they don’t. Bobis is a talented, passionate writer who is unafraid of exploring the storytelling potential of the novel.
Spinifex Press, 2012
306 pages, $29.95
Review by Tristan Foster
Australia is a big country but a small place, so when Nam Le’s 2008 short story collection The Boat won nearly every major literary prize in the land people were going to notice.
While prize-winning is taken seriously enough, it could have been a one-off – the short story isn’t new, neither is binding a bunch of them together. Different this time is that the success of Le’s collection has come in the middle of a digital revolution, where information is sprayed at us as if from a fire hose. It’s an age in which the rules have changed, and so story and the ways of storytelling are again up for discussion. Whether it’s because of local or global trends, a symptom of the modern times or a combination of both, the short story again has the attention of publishers, and the Australian reading public.
One of the proponents of short fiction in Australia is Affirm Press, who has made a commitment to publishing small, stylish books of short fiction. The seventh book in their successful Long Story Shorts series is Irma Gold’s debut collection Two Steps Forward.
Gold’s collection opens with the ironically titled ‘The Art of Courting’, a story about new love in middle age. The main character’s clumsy but charming wooing of a neighbour is juxtaposed with her teenage son’s blossoming relationship. As his relationship ends, she “can’t help wishing that love could be easier.”
The story is striking for several reasons. Firstly, it aspires to Realist heights the rest of the collection doesn’t always reach:
You notice how thin your lips have become, how the flash of greasy fuchsia looks almost crude. You pull at the loose skin on your neck, and the spongy puffs around your eyes filled with lines, the skeleton veins of a dead leaf.
Maybe Gold simply felt a ‘warts and all’ approach was more appropriate for a story that is essentially about aging, but it gives the story authenticity and succeeds as a result of it.
The story also stands out because, as you’ll have noticed in the quote above, it’s written entirely in the second person. It’s an ambitious way to begin any collection, let alone a debut, but it quickly becomes clear that Gold is at ease writing in this point of view.
The second person is used again in ‘Your Project’. If there was any doubt the first time, Gold again proves to be adept in this mode. This time, however, I would suggest the choice of point of view is much more strategic. ‘Your Project’ tells the story of a pregnancy. The main character is at odds with her husband Nate over the issue, until she falls pregnant and he is forced to accept it. The use of second person gives the story pace and forces the action on the reader; we experience the main character’s experiences of going through pregnancy as Nate’s interest – and, as a result, her isolation – waxes and wanes. Finally, in this state, they must deal with tragedy. The story is both sensitive and unsettling; ‘Your Project’ and ‘The Art of Courting’ are Gold at her best.
Dualities are common in Two Steps Forward. Many of the themes are treated twice – something which isn’t always necessary. Not even ‘Refuge’, a discerning and compassionate story about a social worker struggling to deal with what she is confronted with in a refugee processing centre, is thematically unique.
Arrivals and departures – literal and metaphorical – are also a regular occurrence, either opening or closing a narrative, or fuelling a narrative’s life force. In the final story, ‘The Anatomy of Happiness’, the main character Julia and her daughters arrive in Australia to live with Julia’s sister. After a difficult start, Julia’s life in the new country simply begins to work – finally, a character can take a redemptive two steps forward.
In ‘Sounds of Friendship’, the collection’s longest piece, Gold examines love and youth in a caravan park. She tells the story of a summer shared by Abby, one of the park’s residents, and Sid, a local boy who is made to clean at the park for his misbehaviour.
In the collection, Gold takes the line that new relationships are bliss and old ones can barely be escaped. Running parallel to Abby and Sid’s relationship is that of Abby’s mother, Fran and her boyfriend Mick. She takes the kids to live with Mick in his caravan – that sleeping arrangements haven’t even been thought of is telling. Perhaps this could be the typical focal point of a story such as this. Instead, the narrative is given depth by following Abby and Sid as they grow closer and Fran’s abusive relationship unfurls in the background:
They are oblivious to her, caught up as they are in each other, and Abby catches the cold-barrelled words Mick fires at her mother.
‘You’re under my roof, slut. Remember that.’
Abby tries to loop her way around to the toilet block in a wide arc, but Fran catches the slink of her.
‘Hi love,’ she calls out, pasting on a mask.
‘Hi,’ Abby mumbles, and keeps walking.
Gold’s narratives are the kind that usually take place somewhere offstage, arcing around the grander ones being played out in the foreground. She examines moments in the life of a single parent trying to reconnect with a daughter, an elderly woman in a nursing home and a drug addict who is confronted with his adult son. Her stories shirk the complexities of a digital era, instead giving the simpler things a leading role. Gold seems to be saying that it is these things – the connections we forge, starting anew, simple freedom – that are of real and lasting importance.
Back to Australia being a big country but a small place. The stories in Two Steps Forward seem to prove this, as they tell tales of familiar characters grappling with familiar situations. These stories could have all taken place down the road from you; they’re a peak into a neighbour’s living room (or into yours). And that’s fine – it’s what binds the stories together, and makes for an even collection. But Gold’s precise prose, assured use of voice and deft treatment of private tragedy left me wanting to see her explore not only the familiar but more of the unfamiliar within the familiar, to take the reader somewhere new.
Two Steps Forward
Affirm Press, 2011
With the release of his latest book, you could be forgiven for thinking that more than a decade in academia teaching aspiring writers the fundamentals of literary theory, and writing a form-challenging novel or two of his own, might have taken its toll on Anthony Macris. In contrast to his debut novel, Capital, Volume One, a rhizomatic narrative that examines the impact of market forces on everyday life, Tony’s latest book is When Horse Became Saw, a memoir billed as a ‘family’s search for answers’. That his time teaching at the University of Wollongong and at the University of Technology, Sydney, where he is now a senior lecturer, has eroded the interests he’s spent his adult life cultivating could be a logical conclusion. It even justifies his own belief that teaching makes writing a living – and lived – thing.
But between books, something else happened. Tony became a father to a son, a son who at eighteen months regressed into severe autism. It didn’t kill the writing bug or force a severing of his post-structuralist roots. His writing, like his life, simply underwent an unequivocal change. Interviewer: Tristan Foster.
Your first major work, Capital, Volume One, a novel which borders on the experimental, was published internationally in the mid-nineties. Your next major work, When Horse Became Saw, a memoir, was just released. Between books you had a son, Alex, and at the age of two he “descended” into severe autism. What happened to your desire to write fiction during this time?
For about a year after my son’s regression into autism, I found it hard to cope with anything literary at all. I had a real struggle with teaching literature and creative writing. I had to, of course – we needed money more than ever before. You know those religious narratives about saints who are tempted or have great doubts and they have to reaffirm their faith? I went through that for about six months. It all seemed so remote.
It started when I had to research autism, because the state services couldn’t be trusted in any way, shape or form to give my son adequate therapy. So, I literally had to research the condition. I’ve got a PhD, I can research – it’s something I can do. Suddenly, texts no longer had the same character for me. These were texts that had to be truth-yielding. They had to be factual. They had to give me the answer to a very concrete problem that I had, like what would be the most appropriate education for my son who might never have been able to speak again.
I was educated at university in high post-structuralism and, to some degree, postmodernism, which deals with speculations on the nature of meaning, slippages of meaning. But suddenly texts were no longer about speculation and they were no longer about creating and managing a world. I didn’t read anything that did not have a direct bearing on a very, very serious problem that I had before me.
In that context, I can now understand why people in engineering or doctors or people who study other branches of knowledge can go a bit blank on literature and sometimes don’t quite get it. Suddenly I understood them perfectly. I needed things that intervened in the most practical way in the world.
I was two-thirds of the way through Capital, Volume Two: Great Western Highway and I came to a dead halt. I could not really continue on with that book. I hadn’t lost faith in it, but my attention was utterly diverted by this more important problem. When I came to wanting to again write about a year later, there was only one book I wanted to write. I was so horrified by the abandonment of kids like my son that I thought this story had to be told. All that ornate, intellectually baroque machinery that I’d built up and taken to a nearly ridiculous extreme in Volume Two, which has got 900-word sentences – suddenly I didn’t want to write a book like that anymore. I wanted to write a book for a public, that would be read and that could intervene.
Don DeLillo believes that writing is a concentrated form of thinking. Helen Garner has said she writes to understand, to explore. Was the writing ever an act of needing to penetrate what was happening to your son and to your world?
I’m going to give a semi-complicated answer to that question. One of the things that came out of my PhD research was the notion of embodying affect. How do we recreate affect or emotion? Emotion is a central thing to narrative, something other forms of writing don’t usually do as effectively. A philosophical treatise is based on the modality of reason. Even when a psychologist writes about emotion, they’re doing it from a rationalist standpoint.
What literature can do very well is create a field of affect. You enter into an emotionally driven story-world. When I was looking over my old uni texts to prepare for some lectures I read The Poetics again. I came across something I’d never noticed before, it’s so central – the two great machines of Aristotelian tragedy are pity and fear. You don’t have a tragedy unless it’s based around moving the audience to pity and fear. This was at the time when I was starting to write Horse and it was like a revelation to me. These primordial, blood-soaked affects – no polite words like empathy or respecting the other – just this really quite brutal, twin-cam engine of pity and fear. I can’t tell you how that spoke to me.
When I wrote Horse, what I wanted to do was create a field of affect that put a reader through an experience of pity and fear. That’s the frame of the narrative. That’s very particular to that book. It wasn’t the central task of the Capital novels, which were about other things. They’ve still got emotional dimensions to them but never did I so self-consciously say I’m going to create a field of signifiers that evoke pity and fear – in the first third of the book, I’m going to make the reader watch a child disintegrate.
On that point, When Horse Became Saw is a profoundly personal piece of writing. Was it difficult to put yourself and your family out there in this way?
It actually wasn’t. It was an enormous relief. I’ve always been drawn to the confessional mode – I like music that’s in this mode. But I also like this notion of stand and deliver, of the unplugged – I’m going to strip away everything and it’s just going to be me and the audience, communicating what I think is important, that is quite personal and, I hope, affecting.
It didn’t feel like an act of catharsis at the time because I’d set this project for myself, to recreate affects. It was actually really disturbing. I know this sounds melodramatic but I wept and wept as I wrote that book. It was extraordinary because I had to whip myself up to recreate a moving experience for the reader. I was no longer a writer of sentences. It was like restaging things and creating a flow of affect.
I want to return to the word descended. It’s heavy with connotation and meaning – I think of Dante and abandoning all hope. In the book it becomes clear that it’s not just Alex who descends but both you and your wife. But the descent allows for an ascent. How redemptive was the writing of When Horse Became Saw? Did it satisfy the writerly desires of Tony Macris the author or was this the act of Tony Macris the father?
They all come together. I’m a person who has to write. There is a force in me that must be channelled towards that. My whole life I’ve spent trying to find time to write. It just will not go away. It’s like I’d be better off dead.
But it was interesting – you’ve got that precondition, but things in life happen to you and drop into that flow of energy, and in this case it was When Horse Became Saw. Suddenly I’m a father, a father under very weird and trying circumstances. There was no choice but to write from that space – there was no other book in me at the time.
There is a lot of artistry in the book. It’s still written according to first, second and third act. It does very standard things, it sets up a happy family in order for there to be an identification effect. The first sentence is a classic premise, it could be straight out of Kafka: Gregor Samsa woke up and turned into a bug, when my son was eighteen months old he descended into severe autism.
Could you write the fiction of Capital again?
I’m trying to find a way back into it. I’m not quite sure what this experience has done to me yet. I want to write another couple of books. But it changes at every stage and things happen to you.
I was fixated on this notion of how market forces affect our everyday lives. I now see that as somewhat narrow. The Capital novels are an attempt to use a vast repertoire of narrative techniques and even try to find a couple of new ones. They’re ambitious under-40 type novels that young men write in wanting to change the form.
Something I do and something I like other writers to do in their texts is meditate on the meanings of words. Early on when you’re researching autism you come across these terms – incurable, proprioception, intervention – and you’re weighing them and overwhelmed by the connotations attached to them.
Horse is not a standard memoir at all. There are whole chapters about critiques of behaviourism and essays on behaviourist psychology because that was the kind of therapy we ultimately decided on. There’s an intellectual, self-rationalisation of it because it comes from animal training, the denying of the states. In some ways it’s a pretty radical thing to do to a child.
I’ve had journalists say to me, all I wanted to know is if he’s going to be all right. I can see them flicking over to the end, and it kind of isn’t all right. This isn’t a miracle story. Autism wins in the end. It’s about mounting the fight and failing, but succeeding in another way.

domain: literature


Wheat Eases On Supply Pressure, Soybeans Up For Second Day
Chicago wheat lost ground on Monday after finishing the last two weeks lower, as the market faced pressure from abundant world supplies and an outlook for a bumper northern hemisphere crop.
Soybeans rose for a second session although gains were checked by higher production in South America.
The wheat market is being weighed down by amply supplied world market. Wheat production in top exporters Russia and the United States is expected to be above average with crops benefiting from friendly weather.
Try European Supermarket Magazine PREMIUM – 30 Day FREE Trial.
A trial subscription gives unrestricted access to all premium site content, app content, weekly email content and European Supermarket Magazine digital edition for a full 30 days. Try it now!


text:
5 Improvements Cable Needs To Survive
Broadband Internet access is now more popular than cable TV.
"That's been the industry trend," Albert Fried & Company analyst Rich Tullo told Benzinga. "The fact that we're now over half is somewhat important."
This is a sign of the changing times, but is there anything the industry can do to obtain new pay-TV subscribers? Read on to find out.
1. Lower Rates
According to NPD, the average monthly pay-TV bill will reach $123 by 2015 and $200 by 2020. Those fees are astonishingly high, especially when compared to the price of Netflix (NASDAQ: NFLX) ($8.99 per month for HD-quality video and $7.99 for standard definition) and Hulu Plus ($7.99 per month).
Granted, none of the streaming video services offer live sports, live news or coverage of any other live events. They don't offer new episodes of shows from AMC Networks immediately after they are aired. (Netflix users must wait a few months.) Last, they don't provide access to premium channels like Showtime and HBO.
As of this writing, there are still 49.91 million pay-TV subscribers in America versus 49.915 million Internet subscribers. The difference is minimal now, but the gap could widen if pay-TV bills continue to skyrocket. Cable companies might want to re-think their pricing plans before additional subscribers cut the cord.
2. Better Customer Service
Consumer Affairs -- a consumer advocacy organization -- has compiled more than 2,200 complaints about Comcast (NASDAQ: CMCSA), more than 800 regarding Time Warner Cable and more than 500 regarding Charter Cable. Cox Cable received more than 200 complaints, while AT&T's U-Verse attracted more than 500 complaints.
In addition to these user-submitted problems, Comcast is known for hiring customer service reps who are overly persistent -- even when subscribers ask to cancel their service.
Lackluster customer service could turn off some consumers and prevent them from subscribing to cable. Worse yet, it might actually inspire some existing subscribers to cancel their service and never return. If pay-TV providers want to change that, they need to change the way they handle customer service.
3. Affordable Ultra HD
Pay-TV services were quick to jump on the HD bandwagon, but Ultra HD is still in its infancy. When it goes mainstream, it is likely to cost more money.
Right now, the average cable company charges $10 per month for every HD set-top box. Cable companies may even be allowed to force consumers to rent one or more of these boxes.
Box rental is part of the reason why cable fees are rising, but it may have a negative impact on subscriber growth. Ultra HD could be an important part of TV viewing, but cable providers shouldn't expect customers to pay more for this option.
Instead, pay-TV companies might want to apply an Apple-style pricing approach. Now that HD cable is old, it could essentially take the place of standard definition. Monthly fees would be lowered in accordance with this transition. Cable companies could still offer SD cable for those who want an even cheaper option. Then the all-new Ultra HD service could sell for as much as HD does today.
Cable companies have teamed up with Netflix to improve the quality of its streaming video service, but they should take things one step further.
For example, Comcast could offer a free 12-month subscription to Hulu Plus (which it partially owns) to new subscribers. Similar deals could be worked out with Netflix and Amazon Prime.
5. Fresh Concepts
How long has it been since cable was referred to as "fresh" or "innovative"?
Netflix and Hulu may have an unfair advantage in this regard. They are, after all, the new kids on the block. Comcast launched its on demand video services long before Netflix started streaming video, but that's old news now.
To obtain and retain new subscribers, cable companies need to offer a unique experience that cannot be acquired through streaming video or over-the-airwaves antennas. It cannot merely be a new channel, another sporting event, or some other feature that has been available for 10-plus years. It needs to be something that will make cord cutters return to cable without hesitation.
Disclosure: At the time of this writing, Louis Bedigian had no position in the equities mentioned in this report.
© 2017 Benzinga.com. Benzinga does not provide investment advice. All rights reserved.

domain: news


text:
Introduction & Public Schools
Minimum Wage, Licensing, and Labor Laws
The Welfare System and Conclusions
Walter Williams' PBS documentary Good Intentions based on his book, The State Against Blacks (1982). The documentary was very controversial at the time it was released and led to many animosities and even threats of murder.
|Video Sharing Sites|

domain: library


text:
Tue, Aug 03|
Tuesday, Aug. 3rd NYC Takeover Comedy Showcase
The Big Apple takes over the Sunset Strip with all NYC comics at this stellar comedy showcase live in the heart of downtown ATX. Lineup includes Carmen Lynch (Tonight Show with Jimmy Fallon), Paul Virzi (Bill Burr co-host), KP Burke (New Jeresy's funniest man), and Gary Leli (top young roast comic).
Time & Location
Aug 03, 2021, 8:00 PM
Austin, 310 E 3rd St, Austin, TX 78701, USA
About the event
Live comedy is on fire here in Austin, so come have a few drinks and a lot of laughs in our gorgeous venue in downtown ATX. Reserve you tickets now before this show sells out. These top NYC comics will have you and crew laughing all night!!
Tickets$30.00Tax: +$2.48 taxes +$0.81 service fee

domain: artistic


text: To Share out the gifs click on the gif and use the share tools. Related Gifs. On mobile and touchscreens, press down on the gif for a couple of Imvu Gif Patch and the Gif Rat option will appear. We make a lot of gifs here, especially all the Holidays and Birthday card gifs. If artist name appears next to the animation or on the animation then you must check the copyright restrictions with the original author. Home All Gifs Animals Mammals. Rat Running. Rat Running animation gif. Gif Rat On desktop right click the animation and select save. We like to hand select the best gifs found on the internets.


text: Growing up on the Mesa as a faculty child, I took for granted all of the amazing opportunities offered at Cate. I used to walk past buildings and think they were just buildings, not places where I would someday be learning how to decipher the works of Beaumarchais or study the periodic table of elements. When I became a Cate student, everything changed for me. The theater and athletic fields were suddenly my home base in the afternoons, and I realized how lucky I was to have grown up in such a glorious place. I decided to become a tour guide because I wanted to share my experiences of life on the Mesa as well as my enthusiasm for it. I look forward to welcoming people as they join our wonderful Cate family. I hope that they love this place that I have always called home as much as I do!

domain: geography


Bursa Metropolitan Municipality will not only bring 20,000 children to their festive clothes, but also be a lifeline for small shopkeepers with Kart16 checks, which it will distribute to those in need before Eid al-Adha.
BURSA (IGFA) – Bursa Metropolitan Municipality has implemented the exemplary practices of social municipality in Bursa during the struggle with the pandemic.
In this process, 140 thousand food packages, 900 thousand BESAŞ breads, 30 thousand 500 market nets, 31 thousand packages, 72 thousand hot food services, 10 thousand hygiene kits for schools, 6 thousand 500 products for people under quarantine. Vitamin C supplement package, 46 thousand vitamin C plates were distributed to health workers, police and gendarmerie members, nursing homes and care centers. Reaching approximately 200 thousand families, the Metropolitan Municipality distributed tablets and laptops to students in need within the scope of reinforcement for distance education.
The Metropolitan Municipality, which also commissioned ‘life water’ packages for families and tradesmen who were negatively affected by the pandemic, provided 10 million TL to neighborhood grocers with 400 TL checks distributed to 25 thousand households in need during Ramadan with the project that continues this year. .
Before the Eid al-Adha, the Metropolitan Municipality put a smile on the face of shoemakers and small shopkeepers operating in the ready-made garment sector.
HOLIDAYS FROM METROPOLITAN
Before the Eid al-Adha, the Metropolitan Municipality, which signed a protocol with Bursa Chamber of Shoemakers and Bursa Chamber of Ready-made Clothing, will distribute supplementary checks of 300 TL for 20 thousand children in need, and will be valid for tradesmen registered to these chambers. Distributing 5,000 checks valid for tradesmen registered in these two chambers during the Ramadan Feast in one-to-one form, the Metropolitan Municipality will thus contribute 7.5 million TL to the tradesmen with a total of 25 thousand checks.
Bursa Metropolitan Municipality Leader Alinur Aktaş reminded that they are the first municipality in Turkey to implement the Kart16 application, which allows citizens to buy the works they want from wherever they want, instead of the application of food distribution in parcels.
Reminding that in addition to the Kart16 project, they have put into place the mainstay check applications that will contribute to both the shopkeepers and the needy, Lider Aktaş said, “This project is a project that has been put forward so that we can touch the lives of our children so that they can smile during the holiday. On this occasion, 20 thousand of our children will wake up in the morning of the feast with the most pleasant clothes, with the reinforcement checks we have prepared specially for the Eid-al-Adha, in order to make our children happy and to support the shopkeepers. We are making these attacks in order to touch the lives of our children and young people. hopefully; If we see the joy of the holiday and the joy of the holiday on the faces of our children, we will be happy.”
Bursa Chamber of Craftsmen and Craftsmen Union Leader Fahrettin Bilgit also reminded that the section of tradesmen has been greatly affected by the pandemic process, and that the Metropolitan Municipality has implemented many projects that will be the lifeblood of tradesmen in this process. Wishing that such practices would continue for many years, Bilgit thanked Metropolitan Municipality Leader Alinur Aktaş for her contributions.
Bursa Chamber of Shoemakers’ Leader Servet Kaynar also stated that they received very positive feedback from the tradesmen due to the practice, the first of which was carried out last Eid-al-Adha, and thanked Leader Aktaş for his contributions.
At the end of the meeting, where Burfaş General Manager Furkan Banaz made a presentation to the tradesmen on how the system would work; Regarding the Feast of Sacrifice checks, a protocol was signed in the middle of Metropolitan Municipality Leader Alinur Aktaş, Bursa Chamber of Craftsmen and Craftsmen Union Leader Fahrettin Bilgit and Bursa Shoemakers Chamber Leader Servet Kaynar.


text:
From Sam Miller at ESPN.com on February 7, 2019:
Imagine you’re the Tampa Bay Rays, and there’s a young superstar free agent like Bryce Harper — let’s call him “Bryce Harper” — available. You gather in a conference room and decide that, as a low-revenue team, you could comfortably afford to pay him $125 million for some number of years. Meanwhile, somebody in the front office has been assigned to study the Yankees’ operation, and the best estimate is that they can comfortably afford to pay him up to $250 million for those same years.
The best outcome, extremely unlikely as it is, would be that Bryce Harper accepts your $125 million offer. Big news conference, MVP candidate in the heart of the order, what an exciting new era for Tampa Bay baseball! But the second-best outcome would be the Yankees signing him for $500 million. At that price, for those years, it could come back to bite them, and eat up some of their financial advantage over you. You’re in something close to a zero-sum contest with the Yankees. Bad for them is almost as good for you as good for you is.
The worst outcome is the Yankees signing him for $250 million.
Read the full article here: http://www.espn.com/mlb/story/_/id/25891797/welcome-small-market-team-worst-nightmare
Originally published: February 7, 2019. Last Updated: February 7, 2019.

domain: sports


Help keep One Green Planet free and independent! Together we can ensure our platform remains a hub for empowering ideas committed to fighting for a sustainable, healthy, and compassionate world. Please support us in keeping our mission strong.
Lawns are getting a bad rap these days, and the truth is that it doesn’t have to be that way. The problem, perhaps, is that we have — as is oft the case — taken things a bit too far into the one-track mindset. While undoubtedly a huge patch of grass and little else is a complete energy, money, and resource sink, it doesn’t mean that our entire yard needs to be put to garden beds and dedicated to home food production. There is a happy medium that can provide food, biodiversity, and a place to spread a blanket out for a picnic.
Converting a lawn into a productive garden is a project best undertaken mentally first, with the physical changes being slowly developed as it makes sense. For one, taking on an entire yard, front or back or both, is a bit overwhelming. Secondly, it’s worth having a small piece at a time that gets special attention, until it is stable, before moving on to a new project. Success breeds success.
For those interested in converting lawns into a productive garden, there are some other things to keep in mind.
Choose Good Spots for Growing
Plants need sun, water, and soil to thrive, so it’s important that we allocate spots with these attributes for growing food. Sun should probably be the main factor when choosing where to place the productive parts of the yard. It’s also helpful to have a water source near to the garden because, if watering the vegetables means unrolling and rolling up a fifty-foot hose, we are less likely to do it. (Check out some tips on wasting less water in the garden). Lastly, raised beds are a great solution for any soil woes. Once in place, we just have to feed the soil with compost, organic mulch, and good stuff. (Check out lasagna gardens and double-dig beds.)
Begin Close to the House
One of the most likely ways to fail when making a garden is to put it in a distant corner or along the side of a house that’s rarely seen. Food-producing gardens need to be somewhere that gets attention: Along the front walk used every day or just off the back patio outside the kitchen windows or the beds at the front of the house. These are places that are easy to keep an eye on, so we are able to harvest stuff that’s ready or notice something needs water without going out of our way to do it. Make the vegetable gardening easy and let the grassy lawn have the hidden corners.
Don’t Forget Perennials
While many of us think of productive gardens as those filled with tomatoes and cucumbers, the fact of the matter is that perennial vegetables and edible evergreens, not to mention fruit trees and berry bushes, are much lower maintenance and still provide food. There are a host of culinary herbs that grow perennially (every year without cultivating anew), and they provide a tremendous amount of flavor and healthful elements to our meals. There are also perennial vegetables, like asparagus, rhubarb, Turkish arugula, and Jerusalem artichokes, that come back every year. Lastly, plant fruit or nut trees instead of a non-productive species, and plant berry bushes instead of purely decorative shrubs.
Ultimately, Let the Lawn Be as Small and Natural as Possible
As for those patches of grass upon which to picnic, enjoying all the fruits and food of the garden, there are some possible guidelines to doing it greener. Try to minimize them into useful spaces—a spot for a picnic that doubles as a clear area for children to play a game, a bathroom for the dog—and let them go wild. Rather than creating a monoculture grass lawn, let the weeds (many are edible) and such merge with the grass. It’s still green. It can still be cut regularly and look nice. But, wouldn’t it be more rewarding to spend most of that current grass-cutting and weeding-seeding time and/or money on a garden that’ll give something back?
The fact of the matter is that a yard largely designed into gardens, with a healthy number of perennial plants, is much less maintenance and costs than a grass lawn. Well-run garden beds don’t have to be cut once a week, don’t need to be fertilized very often (a bit of compost a couple times a year), and won’t suck the soil dry of nutrients.
For more Animal, Earth, Life, Vegan Food, Health, and Recipe content published daily, subscribe to the One Green Planet Newsletter! Lastly, being publicly-funded gives us a greater chance to continue providing you with high-quality content. Please consider supporting us by donating!


text:
Jiquanda Johnson is an award-winning journalist and founder of Brown Impact Media Group, an independent publishing company focused on developing media products in underserved and marginalized communities. The company kicked off efforts in 2017 with FlintBeat.com covering the city of Flint, and in 2020 she launched Black Like Us in partnership with Facebook, which takes a close look at Black America by showing the diversity within the community through thought-provoking commentary and stories from a variety of Black perspectives.
Her efforts in Flint also include launching a youth journalism program teaching Flint-area youth various newsroom skills, including writing, graphic design, photography, and
Johnson serves as publisher of Flint Beat and content creator and founder of Black Like Us. She is an Emmy Award-winning producer and has been recognized by the Michigan Press Association for her solutions journalism work. She has nearly 20 years of experience in journalism, including working for MLive Media Group, Fox 46 in North Carolina, NBC25’s affiliate station in the Flint area, The Detroit News, and two online magazines. In addition, her work has appeared in Frontline PBS, The Guardian, Belt Magazine, National Geographic, and Spotlight on Poverty. She sits on several boards and has served on panels for many events and organizations, including The Aspen Institute, LION Publishers, Solutions Journalism Network, the National Association of Black Journalists, Online News Association, ONA Local, the John S. Knight Fellowship at Stanford’s journalism series, the Chautauqua Institute, and the Society of Environmental Journalists.
Please contact Andy Everman or send me a phone number where he can contact you. He was unable to retrieve the number from his answering machine. His phone is 810-659-6112.
Comments are closed.


text:
Speaking at yesterday’s demonstration to a crowd of between four and five hundred, in a damp Dundee City Square, Sarah called for solidarity with fighters for democracy in other countries, including the Kurds in Turkey. It was particularly pleasing to be thanked afterwards by a young Turkish woman.
Here is Sarah’s speech:
Last week I wrote an article on the dangers of allowing reversals of democracy to become accepted as the new normal. I wasn’t making predictions about Boris Johnson shutting down parliament. It wasn’t about the UK. Attacks on hard-won democratic freedoms are taking place across the world – and every gain won by reaction encourages other governments to follow suit.
We can’t look at our ‘Very British Coup’ in isolation. It is part of a global politics, and must be resisted with international solidarity. We are standing side by side, not only with other protestors in cities and towns across the UK, but also
with the people of Kashmir, where the anti-democratic crackdown relies on brutal and overwhelming military occupation by the Indian Army;
with the people of Brasil, where Bolsenaro was only able to win in the polls because a compliant judiciary jailed the popular opposition leader;
with the people of Catalonia, whose political leaders have been imprisoned for daring to hold a democratic referendum;
and with the Kurds in South East Turkey, where Erdogan has yet again dismissed democratically elected mayors to replace them with government appointees – and where criticism of the Turkish government has landed thousands behind bars.
I could – we all could – list many more examples, both of soft coups and of violent ones. We are entering a new age of dictators, with the potential to be even more destructive than that eighty years ago.
This closing down of parliament should be our wake-up call – a reminder of the importance of democracy, but also an indicator of the flawed nature of the democracy we had, and of the need to fight, not for its return, but – as all the speakers today have said – for something better.
A constitution, yes. A republic, yes. But also a system that really does enable people to be actively involved in the running of their communities – as those Kurdish mayors were attempting to promote in South East Turkey. And we won’t win that if we think of democracy only as voting in elections – even though a general election must be our immediate demand in this current crisis.
Real democracy is a continuous process of political engagement. It doesn’t silo off politics as the responsibility of experts, but integrates it into community life. And it is only through continued political engagement that real democracy can be won.
Those international struggles demonstrate humanity’s potential for dedication and courage; and they can also help us discover a different, more democratic, way of doing things.
We stand with people fighting for democracy everywhere – your struggle is our struggle, and our struggle is yours.
(Picture by Karen Taylor Murdoch)

domain: politics


text:
Charitable Giving: Smart from the Heart
Do you have causes that you want to support with donations?
Have A Question About This Topic?
When your child has income, there’s a good chance that he or she will need to report it and pay taxes.
How does your ideal retirement differ from reality, and what can we do to better align the two?
We all know the stock market can be unpredictable. We all want to know, “What’s next for the financial markets?”

domain: finance


When it comes to innovation, it’s not enough to have a great idea. Execution, timing, and maybe having a few lawyers by your side are all key. In The True Story of the Internet: Browser Wars, I was almost shocked to see the aggression with which Microsoft went after Netscape in its quest for monopoly. What kind of world would we be living in today if we had to pay a toll every time we wanted to access the internet? Even in public places where I don’t necessarily have the right to free Wi-Fi access, I feel personally offended if asked to pay for anything more than a cup of coffee to access the Internet.
Besides the giggles that come with looking at (what seems like) baby photos of tech giants, it was interesting to see the beginnings of copyright and intellectual property disputes on the web. The videos point to YouTube and Napster as innovations that opened the gates of content distribution, giving media moguls a financial panic attack. Today, streaming services like Spotify work with record companies to pay artists for their work, but some think it’s still not enough. Interestingly, when Taylor Swift withdrew her entire catalog of music from Spotify ahead of her 1989 album launch, the move actually brought Spotify more business. Scores of people who had never heard of Spotify but had heard of Taylor Swift came to the music streaming service to see what it was about. In a recent interview with CNET, Spotify CEO Daniel Ek points out that the people who would have provided compensation to Swift via Spotify are now likely turning to free YouTube videos to consume her content.
The popularity of Spotify parallels the rapid growth of Google as compared to other search engines. Google cared deeply about search – something its competitors let fall by the wayside. In this article from The Verge, Ben Popper notes that the standout difference between music streaming services today is curation. People want to discover, share and amass a collection of excellent music. Spotify’s Discover Weekly feature, an automatically curated playlist based on user data, sets the platform apart. In the end, lasting and successful innovation seems to come down to a user-focused approach.


Field Service and Workshop Repairs
BPF Equipment have a well appointed modern workshop equipped with the necessary tools to get your machine back into service quickly. Whether it is a simple engine service you need, or a major overhaul, BPF Equipment has the knowledge and ability to get the job done in a timely and cost effective manner
Our workshop services include, all aspect of preventative repairs and maintenance, welding, fabrication, trailer repairs, electrical, hydraulic and tyre repairs
BPF Equipment has wash bay facilities available for your machine also.
We appreciate the saying “Time is Money” because it is.
We know that because you are busy, you do not have the time to come to us. So we come to you!
That way you can remain focused on whats important to you — generating income for your business.
Our typical in field services include, preventative maintenance servicing, breakdowns, hydraulic and electrical repairs.
If these become major jobs they can be redirected to our workshop utilising our contract tilt tray service if required.


text:
Get the facts about colonoscopy, including how and why it's done and doctors who perform the procedure.
- Metastatic Melanoma The facts about metastatic melanoma, a serious skin cancer.
- Skin Cancer Get the facts about skin cancer, including the types and symptoms.
- Colonoscopy Facts about colonoscopy, including how and why it's done.
- Endometriosis Facts about endometriosis, including symptoms.
- Bowel Incontinence Facts about bowel incontinence, including causes & who's most at risk.
- View All Care Guides Prepare for your next visit with our extensive library of Care Guides
About Dr. Craig Copeland
Dr. Craig Copeland, MD is a Doctor primarily located in Midland, MI, with another office in Midland, MI. He has 24 years of experience. His specialties include General Surgery. Dr. Copeland is affiliated with Henry Ford Macomb Hospitals, Henry Ford Wyandotte Hospital and Hurley Medical Center. He speaks English.
Dr. Craig Copeland has the following 1 specialty
- General Surgery
A surgical specialist is a physician who has additional training in a specific area of surgery.
The American Board of Medical Specialties acknowledges the following surgical specialties: general surgery, thoracic and cardiac surgery,...
Dr. Craig Copeland is similar to the following 3 Doctors near Midland, MI.
Dr. Robert Jones
Vascular Surgery, Thoracic Surgery, General Surgery
Midland, MI 0.01 mi41
Dr. Melwyn Sequeira
Midland, MI 0.01 mi27
Dr. George Zainea
Colon and Rectal Surgery, General Surgery
Midland, MI 0.01 mi32

domain: health


ADD : ROOM 19/F AiLeiw 532 Basheki.sepwer.Hong Kong
Email : [email protected]
If you want to know about KOYO 51408 Agent,Distributors or LM48548PX/LM48510PX1 Agent,Distributors. Please catch me
KOYO Thrust Ball Bearing 51408 product listings on SeekPart.com - Choose quality KOYO Thrust Ball Bearing 51408 products from large database of KOYO Thrust Ball SKF 51408 Single direction Thrust ball bearings. SKF Single direction Thrust ball bearings 51408 consist of three parts, TIMKEN bearing 51408. KOYO bearing 51408. Koyo Bearings 51306 Thrust Ball Bearing SAIFAN 51306 Mini Hydroelectric Generator Bearing Size 30x60x21mm,US $ 0.85 - 1.65 / Piece, Thrust, Ball, SAIFAN Or OEM.Source 51408 51408 bearing SKF bearing accessories knowledge and coupling assembly How to determine KOYO bearing size parameters FAG 51408 for sale with high quality and cheap price.Biggest Agent In Asia, Delivery In three Days. Bearing For Sale FAG 51408. More details about NACHI 51408 Bearing. Wholesale brand NACHI 51408 Bearing Spherical Roller Bearings, cheap NACHI 51408 Bearing price agent, sizes, supplier Model: 16BTM2212AD:22 mmCr:7.6 N C0r:9.8 N Oil RPM:22000 1/minm:11 kg 16BTM2212A bearing KOYO Japan -16BTM2212A
Providing superior quality Japan NSK 51408 bearings with quick delivery,immediate stock and excellent service.Rolls Bearing Limited will be your reliable Japan NSK In addition to the information provided on this page, consider what is provided under Deep groove ball bearings. For information on selecting the appropriate bearing Model: 51408d:40 mmD:90 mmCr:113 N C0r:205 N Grease RPM:1700 1/minOil RPM:2600 1/minm:1.14 kg 51408 bearing KOYO Japan -51408 51408 FAG are high quality bearings and 51408 FAG bearings could be used in many field.As the good quality of 51408 FAG bearings,they have won good reputation from Alibaba.com offers 127 51408 bearing products. About 7% of these are deep groove ball bearing, 3% are other bearings, Tags: Koyo Ball Bearing 51408 Bearings>Ball Bearings>Thrust Ball Bearing>5140851408 THRUST BRGLeader Singapore is authorized dealers in interchange all bearing types, including SKF single direction ball bearing NTN 51408 bearing,US $ 5 - 10 / Piece, Thrust, Ball, NTN.Source from Jinan Baisite Bearing Co., Limited on Alibaba.com.
Eric Bearing Ltd.,is a comprehensive manufacturer and service provider with world leading NSK 51408 bearing manufacture NSK 51408 By KOYO Bearings; KOYO 16014; We guarantee to provide you with the best KOYO 51264 Bearings,At the same time to provide you with the KOYO 51408 Supplier : Xbearings Condition: KOYO Bearing Single direction Thrust ball bearings Koyo 51240 are with flat back faces. So they do not have the capability of self-aligning. These kind of Koyo bearings are 51408 Bearing 40x90x36mm 40x90x36- 51408 bearing,Seals Type: TIMKEN bearing 51408. KOYO bearing 51408 . Part stocklist of our Thrust ball bearings. BA 3. 51411. Bearing 51408, Wholesale Various High Quality Bearing 51408 Products from Global Bearing 51408 Suppliers and Bearing 51408 Factory,Importer,Exporter at Alibaba.com. Providing superior quality Germany FAG 51408 bearings with quick delivery,immediate stock and excellent service.Rolls Bearing Limited will be your reliable FAG 51408 D:40mm,d:90mm,B:36mm Thrust ball 51408 bearing sale need the following 51408 NSK , provide you Price., we can quote 51408 NSK price , dimensions NSK
TIMKEN LM48548PX/LM48510PX1 taper roller bearing LM48548PX/LM48510PX1 LM Bearing 30209 J2/Q 320/332X 3585/3525 25580/25522 74550/74850 355/352X 3586. Our professional sales TIMKEN LM48548PX/LM48510PX1 bearing, TIMKEN LM48548PX/LM48510PX1 bearing related information are: Model LM48548PX/LM48510PX1 inner diameter: 34 timken 30205 Bearingstimken 30205 Bearing Size. WELCOME TO Tell Qi (Tianjin) TIMKEN LM48548PX/LM48510PX1 Bearings; TIMKEN LL428349/LL428310 Bearings; bearing LM48548PX/LM48510PX1,LM48548PX/LM48510PX1 bearings,TIMKEN LM48548PX/LM48510PX1,Tapered Roller Bearings LM48548PX/LM48510PX1 Size -ID*OD*thickness：34.92(mm The Timken Company engineers and manufactures bearings and mechanical power transmission components. We use our knowledge to make industries across the globe work better. You may also find other latest SKF Single row taper roller bearing T7FC070/QCL7C selling and buying TIMKEN LM48548PX/LM48510PX1 taper roller bearing TIMKEN LL529749 Bearing buy TIMKEN LL529749, old model LL529749/LL529710 be 146.0x188.1x22.22 Size LL529749 Price.
LM48548PX/LM48510PX1 price Suppliers Catalogue, China LM48548PX/LM48510PX1 price manufacturers is good in quality and competitive in price, Include Bearings Of The Timken Company é uma fabricante mundial de rolamentos, aços de alta performance, e componentes e conjuntos relacionados. Timken opera em 30 países e territórios 32211 Bearing 55x100x26.75 Size TIMKEN 32211 stock supply, old model 7511E bearing, 32211 Tapered Roller Bearings Price. TIMKEN 302TVL510 TIMKEN 359-S/3525 TIMKEN 47685/47620-B TIMKEN LM48548PX/LM48510PX1 TIMKEN 3586 Timken Bearing Sizes Products at timken bearing ,ball TIMKEN LM48548PX/LM48510PX1 Bearing bearing 34.92x58.08x18.03 Size LM48548PX/LM48510PX1 Tapered Roller Bearings Price. L521949 TIMKEN 107.9x146.0x21.43, Altes Modell L521949/L521910 bear,Möchten Sie mehr über die detaillierten technischen Parameter und L521949 wissen, kontaktieren timken 30208 Bearingstimken 30208 Bearing Size. WELCOME TO Tell Qi (Tianjin) TIMKEN LM48548PX/LM48510PX1 Bearings; TIMKEN LL428349/LL428310 Bearings;
You may also find other latest TIMKEN Single row taper roller bearing 32944 selling and buying leads on weiku.com. TIMKEN LM48548PX/LM48510PX1 taper roller TIMKEN: Bore Diameter: Outside Diameter: Thickness: Product Categories: copy links to the clipboard: LM48548PX/LM48510PX1: 34.925: 58.088: 18.034: tapered roller bearing TIMKEN 33205 Roulements 3007205E roulements 25x52x22 Taille 33205 Roulements à rouleaux coniques prix. Timken LM48510 Wheel Bearing Timken Wheel Bearings are designed to help the wheels of the vehicle spin smoothly and quietly. timken Bearingstimken Bearing Size. WELCOME TO Hongkong NKF Machinery Co.,Limited. TIMKEN LM48548PX/LM48510PX1 Bearings; TIMKEN LL428349/LL428310 Bearings; timken D3182124 Bearingstimken D3182124 Bearing Size. WELCOME TO SRG BEARING INT'L LTD English TIMKEN LM48548PX/LM48510PX1 Bearings; TIMKEN LL428349/LL428310 Browse Timken Part Number LM48548 - LM48510, Tapered Roller Bearings - TS (Tapered Single) Imperial in the The Timken Company catalog including Timken Part Number
Copyright © 2018.Company name All rights reserved | SITEMAP


text:
Smart Village Forum, the most anticipated event in the region on its topic, is set to return with its 4th edition, which will take place from June 18-23, 2024 at the Poseidon Hotel 4*, in Jupiter. The flagship event of the year will be the epicenter of debates, opportunities and solutions for policy makers and local and regional development professionals from all over Europe!
This year’s edition is ready to unleash a new challenge, with the five days of sessions dedicated to communes, cities and regions. As a result of the exceptional situation we are facing in this election year, we invite you to the Romanian seaside to debate the subject of financing projects and identify solutions for local communities.
Taking place during the start of a new electoral phase, the dialogue will include a large number of working sessions, along with policy proposals and projects. Discover together with experts in intelligent solutions, consultants in European funds, technology providers, political factors, mayors, advisers and opinion leaders, what are the perspectives for the period 2024 – 2027.
Don’t miss the chance to be part of the community of smart people again and book your participation in the Smart Village Forum in advance.
The “Smart Village” is a trademark registered at the State Office for Inventions and Trademarks, since April 22, 2021 under the number 190512.
The forum is organized by the Asociația Smart Village through the Satul Inteligent s.r.l.
Trade Register Office: J15/711/13.10.2015
Tax ID Number: 35119943
ING Bank, IBAN: RO30INGB0000999909974396
Trezorerie Operativa Titu, IBAN: RO29TREZ2765069XXX001875
Address: Sat Alunișu, 90 Inv. S. Stancescu Street,
Comuna Cornațelu, Dambovita County