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Jaswinder Bolina, Poet and Essayist
On September 2, 2019, I had the opportunity to interview the poet and essayist Jaswinder Bolina. Born in Chicago, he received his BA from Loyola University, his MFA from the University of Michigan, and his PhD from Ohio University. Jaswinder and I met at Antioch University’s residency where I had the pleasure of hearing him lecture. We immediately had a connection, discussing poetry from the Midwest and relating over his time spent in Ohio, my home state. Bolina is the author of three full-length collections of poetry, The 44th of July (2019), Phantom Camera (2013), and Carrier Wave (2007), and of the digital chapbook The Tallest Building in America (2014).
In this interview, Bolina shared his love for poetry, writing as a person of color, advice for MFA students, and his current work. His fun and lighthearted personality kept me intrigued and excited for his next response. Bolina’s first collection of essays, Of Color, is being released by McSweeney’s in March 2020. He currently teaches in the MFA program at the University of Miami.
Barbara Fant: When did you start engaging poetry and what made you fall in love with poetry?
Jaswinder Bolina: I was fairly young. I was drawn to writing and stories and reading, even song lyrics. I was always curious when I would hear the songs on the radio; I was curious about what the lyrics meant. That always seemed more interesting to me than the music itself. I’m a terrible dancer and I played some music, but that didn’t really come natural to me. But I always had a fascination with the way some songs and songwriters would spin a phrase, and as I got older, I started to learn that there was this whole other thing in poetry.
I think it was my freshman year of high school in English class reading Keats and Frost for the first time. I remember a strange thing that would happen in class where the teacher would ask a question and nobody would raise their hand to answer, but it would always seem kind of natural to me what was going on. My teacher would say, “Yes, that’s what he’s saying.” I don’t know why that happened, but I didn’t start writing myself until later in high school as we all do, like bad writing stuff, in notebooks. So it started fairly early, but I didn’t take it seriously until really late in college.
I took creative writing workshops in college, but I don’t think I had realized that living people still wrote poetry. I had to learn that in college. It was towards the very end that my poetry professor, the rather famous poet Dean Young, who happened to be teaching at the school I went to, asked, “Why don’t you go do an MFA?” I didn’t know what that was, and I didn’t know what kind of path would take place from there. But that is sort of the long version of a lifelong kind of interest in poetry, and then somewhere along the way, a teacher kind of pushed me, and said “Hey, why don’t you think about pursuing this a little more seriously?” And I did, not knowing anything about what I was doing. I had no idea how to publish or to get a job as a professor or any of that. I just kept going, one thing led to another, and that worked out so far, I guess.
BF: What was your goal in going to get your MFA? Was it to teach or just because you loved the art?
JB: Teaching was important to me. It was sort of a nice cover story. I could tell my parents “Hey, I’m going to graduate school and there might be a job when I’m done.” But at that time, the programs that I applied to and got into offered full funding, so it was one of those things where no one could stop me. I kept in the back of my mind that when all of this fell through and didn’t work out, I would probably be forced to go to law school or something. I had worked office jobs so I thought I would just end up doing that, but then it all kept working out. I kept applying for opportunities and it all kept coming together.
“I was drawn to writing and stories and reading, even song lyrics. I was always curious when I would hear the songs on the radio; I was curious about what the lyrics meant.”
I don’t think I knew at that time how long those odds were. If I did, I don’t think I would have done it. If I had known anything about how hard it was or rare it would be to get books published and to get jobs, I would have thought differently. But at the time, I had no idea, I just thought, “Hey, you know what, it’s two years of my life, I’m getting some funding, I get to go live in a different town, and write poetry full-time. That wouldn’t be so bad.” So, I did that for a couple years, got my MFA, and got a chance to teach and I really, really liked teaching; I enjoyed it.
Then I wasn’t sure if I wanted to keep doing this. I knew I needed to have a book published and I didn’t have a book published at that time. I took a job as an editor, took a full year as an adjunct teacher in Michigan, and then I got a full job as an editor back in Chicago. Then I thought, “I don’t know how I’m really going to get into teaching. Maybe I should look at getting a PhD?” Then I did five years in Ohio at Ohio University, not far from you. That degree, I really went into with a plan, trying to get a job at a University. But when getting my MFA, I had no idea, I just wanted to write.
BF: How does your teaching influence your writing and how does your writing influence your teaching?
JB: Teaching always influences the writing, I think. It effects your work because it forces you to come up with different frameworks and different ways of thinking about the thing that you are already doing. It’s one thing to swing a baseball bat but having to explain it to somebody makes you self-conscious. “Well, what am I doing with my arms and my wrist and my foot?” You have to think about all of those things, and if you think about them long and hard enough as you’re trying to explain it to somebody else, it opens your eyes to your own work. It was so funny, I was reading a student’s poem and telling her not to do something, and there I was doing the very same exact thing I was telling her not to do. That’s the kind of feedback you get.
I also think it gives you perspective on your location in relationship to the greater art and history of the art. As you move forward in your career, you might realize that people look to you for a specific aspect of writing. If that’s the case, it might help you feel that you do know a little something about what you are doing. It gives you more confidence and at the same time, makes you humble. You realize that there are lots of people who would love to be doing what you are doing. It is somewhat of a charmed life, so you don’t want to dismiss it. You don’t want to say, “Wow, well, I just got lucky.” You want to say, “I didn’t just get lucky, I worked really hard.” You realize that there are so many students who are talented and either had the opportunities or lacked the opportunities that you received, and you feel humbled. I wasn’t really that special. Teaching keeps you grounded. It makes you appreciate where you’re at, but then also keeping you confident in that you know what you’re doing.
Then, the way my work influences my teaching. I know what I like to read, and I know what I don’t like to read. I know the particular ways that I like to write, and not everybody writes the way that I do. Not everybody focuses on humor or weird ways of looking at things. Everybody does a version of it. I like to share what I’m working on with colleagues, and it may be totally different. People may come to writing and may have only read Rumi or Dickinson, and they think they can only write a sort of earnest work or something. And then someone like me comes along and says, “No, you can write about the gas station next to your house, and you can have fun with it. And you can talk about politics and you can talk about robots, and you can really do whatever you want.” That’s the way my own writing, hopefully, has an impact on others.
BF: What were the goals or intentions that you had when publishing your last three collections?
JB: The first book was basically my MFA thesis. At that time, I don’t think I was really writing individual poems. I was thinking more abstract. I studied philosophy in undergrad and had a fascination with language and the way that language fails to accurately convey experience. There’s only so much we can say that can give someone else the sensation of what it’s like to be us. You try and you fail. The first book deals with that idea, it’s an experiment. It’s having fun with language and then understanding when language can’t do everything we want it to. After writing that book, trying to get it published, and then finally getting it published, I couldn’t send the poems anywhere because I thought, “In order to understand this poem, you have to read this poem or to have read the other four poems in the book.” They were all interconnected.
For the second book, I tried to write individual poems. I didn’t want them to be about me, I didn’t want to write confessional poems. I wanted to write persona poems using the “I” and the “we,” but these characters are not me. What that allowed me to do was play a language game. The poems that came in the second book are fictional; it’s like a work of fiction. They’re about things that never happened to me and people I never met. The voice was still earnest and sincere, but it’s a lot like the work that a fiction writer does. You have these experiences and you project them onto characters and circumstances that you’ve never experienced. I’ve got poems in the book that are from the voice of senators that are writing letters back to their mistresses. Then there was one that was a mirror to my life. There was a lot of fictionizing, but there were still poems that were closer to what was on my mind and my everyday life. I think it’s a more topical book. I don’t think any of them are any more political than the others, but I think they get called that sometimes because of the title and the topic. It includes language that we hear all the time, about the news or about Obama or Mitch McConnell. You hear all that and then think, “Why haven’t I ever seen a poem with the word ‘filibuster’ in it?” I don’t know that I’ve ever written a poem with the word “filibuster” in it, but it was that kind of mentality behind them. It was me trying to get language that no one is expecting into poetry. That’s always been my interest.
So, in my most recent book, it turned into something that was more interesting to me. I adored Barack Obama and worked on his campaign, and I was so invested and focused on politics; that was permeating the work. All of a sudden, Trump was elected, and it was funny because most of the poems were written before that happened, yet they were addressing the very things that were happening at that time. It was a weird thing. I remember when it was going to get published and I was thinking that everybody would think I wrote the book as a protest to Trump, but it wasn’t. Some poems were written after that all shook out, but I was trying to get political language and content into poems where they weren’t expected before, while still doing all that other work. I was trying to fictionalize, but also be sincere. I think I was wrestling more with being a person of color in this country, more directly. Perhaps that comes out a lot more in the third book.
BF: The third book felt like commentary to me. I am wondering, as a poet and as a person of color, do you think there is a role that poets play to speak to the current times in their work?
JB: Yes, absolutely. I think what the poet can do is make us conscious of the language we are using. When politicians give their speeches, they’re trying to depict a certain part of the past that they want you to believe in, very similar to what a writer does. What the poet, the essayist, and the writer can all do is call our attention to look at and think about something in a different way. As a writer, you can say, “I can put language together to get you to think about this subject in a way that you haven’t thought about it before.” Hopefully, if you do that well, the person never looks back and sees it quite the same way again. Sometimes writers are expressing something about [things] they want you to directly know about, sometimes they’re trying to make you uncomfortable or find some humor in some element of what’s happening in the political sphere. Poets and comedians both play this role. We’re looking for a different effect coming from a totally different place, but all working through language. The thing about a joke is that it’s got to be perfectly worded and perfectly timed, very similar to poets. Comedians have the added pressure of performing, but some poets do perform. It’s part of their world and they perform the same. If we think about why we turn to comedians during certain difficult times, tense times, or just anytime, someone may say, “Because they make us laugh.” And yes, but that’s also a poet’s job. Poets make you laugh by making you look at the world a little differently. The poet’s job is to make you laugh, maybe make you cry, and maybe give you things to consider. Again, it’s the same thing that the comedian does, it’s the same thing that the politician does. It’s like the journalist, they’re just trying to get us to look at the world a little bit differently.
BF: How do you approach the topic of race and ethnicity in your work, including your own personal narrative?
JB: I think from early on, I kind of tried to avoid it. I think that when I did my MFA, and when I did my undergraduate degree, it wasn’t something we were encouraged to talk about. We were sort of told, “Well, the poet talks about universal things, big ideas.” We were always taught that those “bigger things” were bigger than race and gender and sexuality. Everything else has to do with identity. We were kind of discouraged from writing poetry with those themes. I was a good student. I did what I was told, and even if I was having those feelings, the norm was to downplay them. I do talk about them in my personal essays. I have some essays that will be coming out in the spring called, “On Color.” All the essays, from different angles, dive into growing up here as an immigrant and someone of color. As I got older, I realized that no matter what I do to downplay this, it keeps coming back. I realized that maybe I wasn’t supposed to change things about myself to fit in, but maybe it’s the culture around me that isn’t letting me in. It doesn’t matter where you were born or your religion, there’s always someone that comes around that says, “you’re different.” That difference is often rooted in race and physical appearance. It’s sad that people still think that way, but it’s a fact that some do. I’ve tried to get to a certain stage, perspective, and experience as a writer to where it didn’t feel didactic to me or as if I was just repeating things that other people were saying.
“There’s only so much we can say that can give someone else the sensation of what it’s like to be us. You try and you fail. [Carrier Wave] deals with that idea, it’s an experiment. It’s having fun with language and then understanding when language can’t do everything we want it to.”
Functionally, we all know that racism is bad. What I ended up doing was screwing with language, words, and perspectives. I am no longer willing to make plain statements about myself and my identity and my race. In the same way that I said you don’t hear people use “filibuster” in a poem because it’s not appropriate or something, we were taught that it’s not appropriate for race to be in a poem. Well, why not? I think about it all the time; I talk about it. So why can’t it come into the poem? When it comes in, some people will say, “There he goes talking about that political stuff again.” Some people will say, “Well, there he goes, he’s talking about the same things that affect me.” I have decided that I would rather be engaging that audience and having empathy. That might be some of the progression. But it’s still something that I wrestle with. I still think it’s important to talk about it and put it out there. You do it, you put it out there, and you hope that it reaches somebody.
BF: This makes me think about poets of color who sometimes feel the pressure to speak on behalf of their entire community. Have you experienced this? If so, how do poets of color handle the expectation/pressure to speak on behalf of their entire race, especially in predominantly all-white communities?
JB: You only hear that among predominantly white audiences. Among audiences of color, I feel nervous because I think, “Everybody here has their own version of this and they know better. They’ve read more than me or experienced greater hardships.” In that context, I don’t feel that I’m speaking for anybody else, I’d rather listen. I struggled with even calling the essay book, On Color because I don’t want anyone to think I’m grabbing this mantel and claiming it for myself; it’s just a theory and thoughts about color. The fact is that I am just one of many people, one of a majority on the planet. But sure, among predominantly white audiences, there is this feeling. But I don’t think that people think of me as someone to speak for an entire community. I just kind of avoided that. But yes, I guess on a small scale, in that context they don’t mind it that much. They don’t know the difference between someone from this region or someone from Pakistan and they can’t tell the difference between that and someone Middle eastern or Latin American. There’s such little awareness out there that in those cases, I don’t mind representing a group or a community, but, as opposed to speaking for the community, I am speaking from it. I think I know what you’re saying. It feels uncomfortable to be put in that position. So maybe that’s been a good way for me to articulate that. Even if it is to say, I don’t speak “for” anybody, but I can speak “from” a place.
BF: In an article I read, you discussed that as writers we need to be aware of and destruct the culture of privilege that insulates us. I am wondering, as writers, how do you suggest we do this?
JB: Some of this speaks to people who make decisions about people who come into MFA programs. We can speak from the inside to say, “Look, do we really need application fees? Do we really need to spend all these resources on GRE scores, or can we just let people in from unconventional places?” There’s also a way that we cultivate. When you want to be a poet, there’s a culture, language, etc. attached to it, and that is associated with people who have money and people who are with a particular race and strata. One way that you just destruct that is by showing up and not being from that place. Another is, not letting yourself get indoctrinated into it, so that you don’t become another cheese-eating, wine-drinking person who likes to hobnob and talk about literature. Don’t forget who else is out there. You get to sit in your graduate classroom or wherever you’re sitting in comfort, your stuff is not better, your life and your perspective on it is not better than that of someone who doesn’t have the time or access or, frankly, the privilege to sit around writing poems about it. So, when I go to write, I try to keep that experience in mind. You can’t always represent this, but you try to remember it.
On a daily, practical level, for me, in my position, it’s about making sure that students who come through my class are not thinking that this is something that I should or could or would be doing. At least, give it a longer look. Some of those folks can’t. They have to get jobs, they have to take care of family, and they have to go other places. But you know, those are the experiences that I want to see writing poetry. Not just the standard person who, “I went to this school or this school and I want to be a poetry professor, and I want to go to this degree program,” and everything just sort of falls into place. I don’t have a full answer on it. In part, I’ve just always been cognizant of it. I remind myself and my students in my classroom that “Hey, we get to be here. And not some place else.” We don’t have to apologize constantly. It’s not that I or anyone should live as, “Boy, I got into graduate school, I sure do suck because I’m privileged.” I’ve seen students who have so much guilt about the things that they have going for them. I’ve had waves of things like that happen to me too, but you don’t have to give up all of your possessions and go walk the earth to help other people. I think you can just stay where you are as long as you don’t forget those other people. I think that’s one of the things that essay was touching on. How beguiling it is and how easy it is to get your MFA and forget everything else. We get so fixated on this world.
There are others who I feel are in this world and come from that place, use it in their writing, and then try to win prizes and get this fellowship or that recognition just to get on Twitter make themselves known. It’s to always kind of be aware of the ego. You’re here, but it’s not about you. Enjoy where you are, but remember that you are lucky, so do what you can to help everybody else. Sometimes it’s not taking the paycheck you get and going out and buying the best iPhone and the finest clothes, but instead, spending the money somewhere else to help people. You only are going to do that if you remember those people are out there. That essay really touches on how easy it is to forget the rest of that world out there and I don’t want us to do that.
BF: As writers who are going into MFA programs or are currently in MFA programs, what kind of advice would you give them?
JB: I tell students who I’ve worked with from the very beginning to remember that we’re lucky to be here. Let yourselves be in the MFA program, let yourself enjoy that experience, be grateful for it, don’t have any survivors guilt about it. Don’t think, “Man, I’m here while there are people starving out there.” It’s okay to be here, so give yourself that time and space to be able to think about your writing and to really enjoy it and love it. It requires you to be generous to yourself. You can be generous to yourself and you can be generous to those around you. I always try to remind everybody that what we’re doing is not the center of the world. You should enjoy it, make the most of it, but don’t mistake it for something else, it’s not your calling. Don’t think this is a world-altering thing that you’re doing. You may alter the world by what you write, but don’t make that your world. Keep yourself focused. There’s so much criticism out there in the world, in the world of Twitter and Facebook, and everybody feels the need to comment, complain, or compete. The one thing that I’m trying to focus on this year and moving forward is the poetry that I love and asking everybody around me about the poetry they love. Have conversations with them, allowing them to enjoy talking about what they love, and you’ll come to love that too.
If you are generous enough to treat yourselves and each other that way, then I think, no matter what comes after, whether you become a famous poet or get a job, or you don’t, at least you’ve brought more things into your mind that weren’t there previously. If you are being competitive and saying, “I’m going to make it, I’m going to get published there and there,” then everybody else around you becomes an adversary. They become someone who is standing in your way. You will be critical of them and say, “Well, that person’s work sucks, that person’s advice is terrible, and I don’t like this professor of this class,” and you’ll be negative. If you focus on what you love, share that with other people, and ask them to share that with you, it becomes okay. You’ll end up doing your time in an MFA program, and hopefully, you will have learned a lot, had some really cool conversations, and whatever comes of this, let that come.
BF: Can you offer any advice to the MFA students who are either trying to get published, submitting for the first time, or want to become better at submitting?
JB: I think there are almost too many tools that are at disposal. I worry that I don’t have enough time in my day to read the hundreds of literary materials that are published. I just don’t have time. Nobody does. Yet, sometimes when I talk to people, they say, “Oh, I submitted this poem to like thirty different magazines,” and then I ask, “Are you reading those thirty different magazines?” I think the answer is often, “No.” It’s really, “Oh, I saw a list of journals on Facebook that I should be submitting to, so I started sending to them.” “Well, how many years have you been reading that journal?” “Oh, I’ve never read that journal.” It’s not the same thing, but it’s similar, “Focus on what you love.” Read the journals and read the books that are coming in. If you’re reading a book by someone, find the books that have the same publisher. Ask yourself, “Do I like all of the books that were published by this publisher?” Read all of them and then if you say, “Man, I really love what this journal puts out, month after month or year after year, that’s the journal I want to be in.” I’d be willing to bet there would be a lot more success getting published with that journal because you’ll have read it, you’ll have more perspective on your work, you’ll start writing differently, and you’ll start refining and revising differently. Eventually, you’ll find that your work reads better in certain places. From there, you can start to grow a readership.
When I was beginning, it was all so new. It was actually looked down upon to get an online publication. You wanted to be in print. I remember having a poem published through an online journal that I really liked. I submitted to them and they said, “We really like what you are doing, but if you wouldn’t mind, we would like to publish one of these on our website.” I told them that I was okay with it, but I was a little disappointed. The issue is probably archived somewhere, but that poem that was published on the internet is going to live forever, and it has had its moments of viral sharing.
“You don’t have to give up all of your possessions and go walk the earth to help other people. I think you can just stay where you are as long as you don’t forget those other people.”
It’s interesting how things have changed. Back then, you definitely had to read the journals to whom you were sending your work. You also couldn’t afford to subscribe to all of them, so you would have to go to the library or to your MFA program to a room where they would receive all the issues and put them on a table. When I was at Michigan, we would go into the room and pick up one of the copies and read it, but you had to know it, you would have kind of a reverence for it. There was something sacred about sending to a place. If you were accepted, it was exciting. Now it feels as if people are just looking to just take off and get something published and then move on to the next thing. I think it’s okay that people are getting published, I just get worried that they aren’t reading anyone else who is getting published. That’s one thing I would caution people on. If you’re submitting to forty places, look in the mirror and be honest about if you’re reading those places. If you can’t, then you should be. Going back to the question about “privilege,” imagine you’re at a place where you’re so fixed into your own work that you’re not even reading the journals where you’re trying to get published, and then you get into an MFA program. If you’re already not reading journals, then you’re not going to want to read your classmates’ work either. If you do read it, you’re going to read it kind of competitively.
BF: If you could change anything in your educational experience or your literary journey, would you change anything?
JB: On the education side, probably not. I didn’t have scholarships to go to Harvard or anything like that. But if I hadn’t gone to Loyola in Chicago, then I would’ve never met Dean Young, who was teaching at the time. Had I not met Dean Young, I probably would’ve continued doing what I was doing and I never would have gotten to where I am. It’s one of those old Hollywood movie tropes where there are mirrors or sliding doors; if one thing ends up different, then you end up in a different place. So, I wouldn’t change anything in my educational history because I’m really happy about who I am and what I’m doing. I think if I were miserable, I might feel different. Honestly, I think that’s how most of us look back on our lives. That’s how we got to where we are. Why would we change anything? I think part of that is not being competitive with the people around you too. It’s not saying, “Man, I’m driving this car, but I could be driving this car.” Or “I could be living in that house, or in that house.” You start to think that way and then you think, “Oh, I should’ve gone to that other school or I should’ve gotten that other job.” Then it gets really dark. I think one of the best things is when you can appreciate where you are and find joy in where you are, then you can find joy in where you were. I think that’s what has gotten us here.
In terms of literary, I wish that I had read more. I majored in philosophy and read a lot, but there’s so much that I just don’t know much about. I still have things that I read later, like Little House on the Prairie. There are things like that up until a few years ago I hadn’t read, like I hadn’t read any James Baldwin. I wasn’t in classes where that was taught to me so, I’ve been trying. We just had a baby, so I’ve been trying to read. My wife awhile ago would tell me about books that she loved to read, and it’s so funny, growing up, I just had never read this book or that book because we weren’t girls, so we were discouraged to read them. So, I’m trying to go back and read some of those books. I went back and read Little Women a few summers ago. I feel like I should read one Babysitter’s Club book, just to find out what the heck that was that some of the girls were reading at school. Those are goofy examples, but they make the greater point that no matter how much you have read, there is always a vast library of work that you have completely missed. And that’s just in this country alone.
So, I constantly feel bad about things I’ve never read, and that might not ever go away. That’s a feeling that is always with me. I’ll like read an article or hear students talk, and I’ll think, “I still have not read that, I don’t know anything about that.” I wouldn’t change anything in my education other than I would change everything I’ve ever read. Or I would’ve just read and included more. I know many people who are amazing readers, but they don’t write. That’s the other thing, when you’re a writer on top of a reader. If there’s something I get excited about, then I want to go write. I don’t have as much time to read as other people do, so I’m making up lost ground. Like getting through the Baldwin catalog, which is quite huge, and reading about Latin American writers, and authors in Europe that I don’t know about. So that work is never done.
“I think one of the best things is when you can appreciate where you are and find joy in where you are, then you can find joy in where you were. I think that’s what has gotten us here.”
BF: What is your dream for your own work? What do you hope it does in the world?
JB: I don’t really know. I have just gotten to the point where I can write the things that I am excited about writing. I don’t really feel a lot of pressure about what I publish. I can write the things that I love. Following from that, the dream is just for someone else to find it great and exciting. If they don’t, then frankly, that’s okay, but nobody is required to like the things that I produce. You hope that people do. You hope that on the backend, it might help them look at some small or big thing a little bit differently. I think about all the writing in my life that helps me look at something differently. There was a poet that I loved who died recently, we talked about it at Antioch at the Meet the Mentors panel, his book that I just loved was called Actual Air. He was a songwriter too and had amazing lyrics. I think about how much those individual lines between us still effect the way that I look at things. The line that was in my head this morning was from a song a guy wrote where he asked his dad for a car and then the dad said, “Well, first, you gotta cut that hair.” The kid says, “Yeah, but Jesus had long hair.” The dad then says, “Yes, that’s right son, and Jesus walked everywhere.” And for whatever reason, that line was in my head. Probably because it’s almost my son’s first birthday, and it’s actually my birthday today. I was thinking about fathers and sons and sons growing up and asking for things. For whatever reason, that popped into my head. I think about that writer, whom I never got to meet. We corresponded a little here and there, and I loved his work. He’s long gone, but he will in some way be in the back of my mind forever. Somewhat like my relationship with my own son for years to come. I think great writing does that. It just sticks in you somewhere. If I have any hope, it’s to have my lines stick to someone in a positive way. That’s how I feel about poems I love, they’re always there to help. There always stuck in my head and they help. That’s what I can hope for my work.
BF: What are you working on right now?
JB: The book of essays. I’m trying to finish my very final essay. That will be out next year. I’m also working on a collection of poems, (I’m not sure if this will hold for the entire manuscript), but so far, they’re all elegies. They’re all elegies in weird ways. It’s me trying to remember things that I would like to be taken out of the world, but then also remembering things that I have missed about the world. It was all born of this. My wife, because of her job, had to go to Italy. She goes to Rome once a year to teach for our study abroad program. I went with her on one of these trips about a year and a half ago when she was pregnant because I was worried about her possible pregnancy complications. It happened over our spring break, so I got to go. Obviously, it’s Rome, why wouldn’t it be cool? We were at a very famous tomb, and there’s a quote there by an emperor that they have translated into English. It says something like, “Now it is time for the soul, the little companion, and guest of the body to go down into the little colorless arduous places where we will no longer have the usual entertainment.” And I thought, what a weird phrase. This whole concept that in his tomb, is a poem that he wrote, talking about his own soul and how his soul was this little companion of the body, and now it had to go down into some dark colorless place. I thought it was a weird perspective. From that, I started to think about the idea of “usual entertainment.” What is it that the soul would miss about the world? It was a funny thing and suddenly, it began generating little elegies that don’t necessarily make sense. So, they’re fun, they’re fun elegies. We’ll see what comes of it.
Barbara Fant has been writing and performing for thirteen years. She has represented Columbus, OH, in nine National Poetry Slam competitions and placed eighth out of ninety-six poets in the 2017 Women of the World Poetry Slam. She is a 2014 graduate of the Lincoln Theatre Incubation program, a TEDx speaker, a GCAC Columbus Makes Art Campaign artist, and a 2017 Columbus Alive People to Watch. She is the author of one poetry collection, several chapbooks, and the co-author of two stage productions. She has been commissioned by over ten national organizations and has received residencies in Idyllwild, CA, and Havana, Cuba. She holds a BA in literature, a Masters in theological studies, and is currently pursuing an MFA in poetry. The founder of Bloom Barb Fant, LLC, she teaches poetry at Transit Arts and in correctional institutions. Barbara believes in the transformative power of art and considers poetry her ministry. Find her at www.barbarafant.com.

domain: literature


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Mental Health First Aid training grant available
Supporting the wellbeing of staff continues to be a concern for administrators, especially during this unique time. Central Rivers AEA has obtained a grant that allows us to offer Mental Health First Aid Training sessions free of charge (seats are limited). If you are interested, please see this flyer for more details and contact information. Questions? Contact Cindy Rurup, School Social Worker.

domain: medical


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[youtube=http://www.youtube.com/watch?v=zw5pAshxY80 400 300]
I am sleepy, but I am afraid to close my eyes. I am afraid that if I sleep, by the time I wake up, you are no longer by my side. To be left by you momentarily is already so hard. To leave you behind is an even harder decision that I have to make. Therefore, while we still have time, I am utilising each and every second just to be with you.
Deep down inside, I am battling my own demon. I keep asking myself, if I really have to take this path. I wonder if I would be able to survive on the other side of the planet without you. Yet I dare not bring it up with you, for I don’t want to spoil your happy mood with unnecessary thoughts. I don’t want you to be sad while I am still here. And I don’t want you to be sad alone either. Life is too short to be sad. Cherish the past, embrace the moment, and look towards our future together.
“Every moment spent with you is the moment I treasure…”

domain: psychology


text:
Some physician offices do have the capacity to do lab tests. Large medical groups, especially, may have a fully equipped and staffed clinical lab. Most physicians, however, will send their clinical lab work to outside labs that are typically better equipped, better staffed, fully accredited and independent of the physician’s control. There has always been some question about the quality of physician “in-office” labs.
Mark Risi, DO
Specialty: Family Medicine
Location and Office HoursRednor-Risi Family Practice
Robbinsville, NJ 08691
- AmeriHealth HMO
- CIGNA HealthCare
- Great-West Healthcare CIGNA
- Horizon HMO (BC/BS of NJ)
- Oxford Health Plans
- WellChoice of New Jersey
- Robert Wood Johnson University Hospital at Hamilton
- How can I find out if lab tests are performed at a doctor’s office?
What kind of training do primary care providers have?
Primary care physicians are trained to diagnose and treat the initial stages of disease for adult patients. They also should be trained in prevention and wellness. Pediatricians provide primary care for children. In addition, many women use Obstetrician-Gynecologists for primary care and many Ob-Gyns have given up practicing obstetrics and only practice gynecology and serve as Primary Care physicians for women. Despite this, the College of Obstetrics and Gynecology states the training programs for that specialty are not designed to train Primary Care physicians.
How can I find a good general practioner where I live?
Stuart Linder, MD, Plastic & Reconstructive Surgery, answeredBrowse the internet to find a good general practitioner or any doctor. Check out credentials and board certification. Check with the nearby hospital for the chief of staff for the specialty you desire. Always seek 2 if not 3 consultations and bring a check list of questions with you during your visit.
See all Healthcare Basics questions


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Home Tags Community colleges
Tag: community colleges
The university will establish Transfer Tickets for students majoring in social work, finance, business economics and computer science.
“More people are working instead of taking classes,” said Westchester Community College spokesman Patrick Hennessey.
U.S. Sens. Chris Murphy and Richard Blumenthal of Connecticut have joined their Vermont colleague U.S. Sen. Bernie Sanders in introducing legislation that would make public...

domain: economics


Sharp has successfully developed a technology which can generate electricity on see-through glass. This see-through solar panel is mainly designed for balcony railings and skyscraper windows.
The semi-transparent solar panel can be installed on the façade of buildings. With a capacity of 6.8 percent and a maximum output of 95 watts, the panel size ranges from 4.5 feet wide and 3.2 feet tall and it features a super thin profile of 0.37 inches.
The elegant modules bring about energy savings along with the production of green and clean energy. One of the advantages is the unique thin-film modules, which act as a heat shield, and can reduce energy load for air conditioning.
The modules mainly pack laminated glass infused with photovoltaic cells. In addition to this, Sharp also plans to introduce a home energy management system (HEMS).
You will be able to connect electronic devices to the system too. It controls power consumption considerably, making energy supply more efficient and sustainable.
The see-through solar panels will launch in Japan on October 1. Sharp has not opened up much on its plans to launch this panel outside Japan.


A savvy cook has shown how she turns one medium-sized chicken into four different dinners.
After a stranger accused her of exaggerating her abilities, Susan Hawkins posted snaps of the tasty dinners in the popular Facebook group “ Feeding a family on £1 a day”.
The group shares advice, hacks and recipes based around being frugal with food.
Susan wrote: “A few days ago I was somewhat incensed when a lady posted how many meals she had made from one small chicken only to be called a liar.
“This is what I did with one small chicken.”
The super-saver then posted photos of one 1.5kg medium Ashfield chicken followed by the dishes she made from it.
The first was a tasty looking roast for two including a chicken breast each, potatoes, carrots, sprouts, broccoli, gravy and Yorkshire puddings.
One person noted: “Good size portions!”
The next meal was chicken noodle egg-drop soup which page members said looked “gorgeous” and “lovely”.
Susan said: “I began cooking the chicken in about an inch of water in the slow cooker and I used that as the base with a bit more water and a stock cube.
“I added the chicken pickings from the bones, some noodles a few finely sliced spring onions as I had some left over, but have used half a white onion before which works just as well.
“I put a small tin of sweet corn in and some noodles. Simmered for a little while and just before serving added a whisked egg to make it more like Chinese.”
The next dinner was a chicken and bacon salad, which included fresh cucumber, yellow bell pepper, onion, tomatoes and salad leaves with chicken, bacon and dressing.
When one member asked how Susan had managed to get white meat for the salad and the roast dinners, she said: “Plated dinners [used the] majority of breast meat, legs I intend to do a similar meal, remainder of breast meat is in the chicken and bacon salad with the pickings going into the soup.”
At the end Susan shared a photo of all the remaining chicken she had left.
The snap showed two full chicken thighs and a chicken drum stick.
One appreciative person wrote: “That’s really good and it’s about portion sizes how far it goes so it can be done.
“Thank you so much for sharing, I can do three meals with a medium chicken: Sunday roast, chicken and bacon wraps and then chicken and chips or omelettes.”
Another added their piece, and said: “I make loads with one small chicken: roast, chicken and rice soup, sticky chicken stir fry, bbq’d chicken buttys.”
However some posters argued that the feat wouldn’t work for families which include bigger eaters.
One pointed out: “I believe it, I wish I could [do this] my two boys and hubby are big meat eaters.”
To help the frugal Facebook users out further, one budget-conscious user said: “Ladies, if you are lucky enough to have a local market nearby they have chicken carcasses on sale.
“Usually six for £1. I use two to make maybe 10 portions of chicken noodle, or creamy chicken, soup and it's gorgeous.”
The post came after an argument erupted on the page after a woman claimed she could make four meals from one chicken, but fellow frugaleer’s didn’t believe her.
Commenting on the case, one person said: “Why would you lie FFS. Least you’ve proved them wrong."
The group continues to post handy hacks for saving money on the food shop including when yellow stickers are rolled out on supermarket foods and batch cooking tips.
Some of the recipes recently shared on the page include homemade Greek yoghurt pizza, vegetable peeling soup, potato bread and gnocchi.
One budgeter is even attempting to feed a family of four for just £100 per month.


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This sativa and indica hybrid has a remarkable and pleasant pineapple taste and scent. Of short flowering, the results are excellent. Ideal for those people who are new to the world of cannabis.
With this variety from Barney's Farm, result of the cross between a Mexican sativa and an Afghan indica we will get a cannabis that will help us to relax and take away the stress of the day when it ends.
Of short flowering, it can be grown both indoors and outdoors. In the first case, we will obtain a large number of very fat and resinous buds. In the second case the plant that grows will remind us of a leafy cypress from which we can obtain up to 800 grams of cannabis.
In both cases the cultivation is really simple and it should be noted that it gives especially good results when we carry out crops in SOG or in SCROG.
Both its flavor and its aroma remind the pineapple very strongly; something that is often liked by the people who grow it.
Its effects are powerful, lasting and relaxing, being ideal to end the day in a relaxed way and forget the stress of the day, but without becoming soporific, so it is also ideal to share with friends.

domain: agronomy


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Lea Michele's Waterfall Blowout
Who: Lea Michele
The Expert: Celebrity hairstylist Giannandrea
The Look: A chic, sleek blowout slicked back at the crown
- Starting with wet hair, I applied a gel to the top and combed all the hair back.
- With a diffuser I dried only the top of her hair to maintain the sleek shape.
- Once the top was dry, I applied L'Oreal Paris Advanced Haircare Total Repair 5 Multi-Restorative Dry Oil to the rest of the hair to create a super smooth and shiny, soft blow out.
- I used a large natural boar bristle round brush on large sections, keeping the ends round in shape.
- To finish off the look, I brushed all the hair back and sprayed with L'Oreal Paris Elnett Satin Hairspray to maintain the sleek shape in the back. The goal is to keep the sides flat and back while keeping the softness on top to create the waterfall effect!

domain: artistic


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Note: reprinted with author’s permission and appearing here.
Polls show that the Congress continues the downward slide in approval among the American people, yet has the highest number of incumbents. Everyone agrees that voter frustration with Congress’ failure to tackle issues close to people’s pocket books has led to the polarization of the political parties and to the rise of less main stream candidates. We need to ask why there is a logjam in the legislative branch and why do elected representatives no longer feel the need to stay close to the voters.
There was a time when compromise was not a dirty word and men and women of the Senate and House were honored for working with their colleagues while upholding their visions of the country’s future. President Ronald Reagan and Speaker Tip O’Neill were famous for working out deals. Nowadays, compromise is publicly scorned and once-dignified political debates have become vulgar brawls.
One of the trends which has brought about this stifling result is not increased partisanship, but increased institutionalization of partisanship. Since the mid-1990s when Dennis Hastert, who just went to jail, was Speaker of the House, he required that no bill could be brought to the floor for a vote unless a majority of House Republicans supported the bill. If Democrats wanted to vote for a bill later that was fine, but their input into what was in the bill was significantly marginalized. In 1995-1996, the Republican-controlled House and Senate shut down the government twice for a total of 26 days.
Most recently, Senator Ted Cruz is credited with shutting down the government for 16 days in October 2013. It has been many years since a budget was passed, most departments are operating on continuing resolutions and there is little thinking about rainy day emergencies, such as the appearance of the Zika virus.
Another recent trend is the Grover Norquist anti-tax pledge. The operational effect of the combination of the Hastert Rule and the Norquist pledge was a focus on theoretical orthodoxy, rather than caring for human beings. Handcuffed by these two trends Republican congressmen became more and more like robots, empty vessels doing the bidding of the wealthy political bosses.
While these trends were afoot in the daily operation of the Congress, other trends outside Congress were beginning to be felt. Considerable money and effort at the state level went to restricting the vote. New, specialized and hard to obtain IDs were required. Furthermore, we’ve seen more effort put into creating unfair election districts where the candidate selects his voters.
State Senator Bryce Reeves, who will now run for Attorney General, proved the point before his last election. The Republican-controlled Virginia legislature was reprimanded by the courts for its unfair congressional districts and new district maps have been required and drawn for November’s election. Representatives who select their voters are less concerned about constituents’ concerns and more beholden to their handlers. We don’t even have to discuss the Supreme Court’s “Citizens United” ruling. Democracy may be one man one vote, but the flood of dark money and hence, influence of the few, such as the Koch Brothers, is discouraging.
Perhaps the final log in the logjam is the relatively new focus on Constitutional and conservative orthodoxy the idea that the Constitution belongs to only one political party and that there is a one and only true version of conservatism. Speaker Ryan raised this point in his meeting with candidate Donald Trump as he and other Republicans suggest Trump is not conservative enough. The idea the Constitution has turned from being the greatest guideline to democratic government to a written-in-stone mantra which all must worship in one particular way is frustrating.
One local priest of the written-in-stone Constitution is David Brat. He hasn’t voted for a veterans’ bill or a bill to build roads or even a budget. His version of the Constitution has little room for real people: Social Security should be cut, people should not have access to medical insurance and the working poor should be demonized.
So the Trump voter and the Sanders voter, to the extent their complaints are that the government isn’t working for them, have a point. The larger point, however, is what they want and are not getting is a focus on solutions to real world issues: jobs, public debt, transportation, public health, veterans’ benefits and national security.
Candidate Trump — in focusing on Mexican rapists, nuking ISIS and demeaning everyone but old white men — gives voice to populist frustrations among both Republicans and Democrats that the government is broken. He vows that he will just plow through this broken structure and “make America great” again. It is interesting to contemplate what Trump would do if the Senate refused to consider his Supreme Court nominee.
In the face of a shrinking middle class, candidate Sanders’ call that there can be a brighter future also gives voice to the same frustration that government that doesn’t seem to care for all. From his Senate seat, he has seen the Republicans fight President Obama every step of the way for the last seven years. He knows why we have an empty chair at the Supreme Court.
We aren’t going to free up the logjam in Congress with one election, but more balance and less demonization, more focus on issues and less on orthodoxy, might create enough room for people of character, vision, determination, kindness and consideration to come to the fore.

domain: law


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WOMEN who turn up at a women’s refuge with just the clothes on their backs will be given a welcome pack.
The bags, which contain basic toiletries including toothbrush, toothpaste, soap, shampoo, conditioner, sanitary towels, flannel as well as a bath towel, have been donated to Cardiff’s Women’s Aid by Tesco Extra Pengam Green.
Leeanne Smith, service manager at Tesco Extra Pengam Green, said: “Women’s Aid came to Tesco for support.
“As we work alongside the community we donated a small amount of welcome packs consisting of a selection of basic toiletries, for women who enter the refuges.
“This is only one of the many organisations we at Tesco support.”
Claire Morgan, central services manager for Women’s Aid in Adamsdown, Cardiff, said: “We are delighted by Tesco’s response to our request for help.
“We often have women who have fled their homes without their belongings. So to have a welcome pack like this for them with toiletries in makes all the difference.
“It makes it less distressing for them if they have small items such as these to start them off. It’s a great help in making them feel more settled more quickly.”

domain: sociology


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A critical analysis and comparison of the supply chain networks of both the companies is done using the case studies provided to us. The analysis of the two cases has been done in line with the literature review. The final part of the document deals with two more companies in the fast fashion industry and compares their supply chain strategies with the strategies of H&M and Benetton whose case has been provided to us. The analysis of the two case studies provides us with an insight in to the importance of supply chain for the success of a firm. Supply chain is no longer considered just another element but is considered by many firms to be as important as marketing. It can drastically reduce the cost of the firm and give a strong competitive advantage to the firm which is hard and difficult to duplicate.
Benetton was established in Italy in 1965.It has it presence in 120 countires.12 of its 18 factories are located in Italy. It sells its good through a network of 6500 retailers. It's positioning in the international market is that the company sells good quality garments which are moderately priced. With the analysis of the case we will critically analyse how Benetton has increased its supply chain by utilizing the "Dual Supply Chain" system. We will see how this system takes advantages of both the push and pull factors of the supply chain and increases the performance objectives for the company.
H & M H &M case
H & M is a well known Swedish company and has been a leader both in terms of market share and financial performance of the company. The company's strategy has been continuous expansion to search for the most promising markets available, to produce goods in a cost effective and fast manner and to reduce lead times drastically in order to reach the retailers quickly and capture changes in customer moods and preferences and provide longer shelf life for its products. H&M is also an example of how e-business solutions can be used to obtain competitive advantage in the supply chain of a company. Procurement and logistics can easily track the sales as they share a common IT platform with the retailers. This allows the company to react quickly to any changes in the trends prevalent in the market. H&M also has an efficient inventory management system which reduces the lead times for the firm and ensures efficient stock management.
Operation Strategy of a firm may be defined as set of principals adopted by the organization for decision making to achieve at a reconciliation of the market demand and the operational resources available to the


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« ForrigeFortsett »
CHAP. linen, with which he gratified the faith of the royal
stranger, who had invoked his healing power, and offered the strong city of Edessa to protect him against the malice of the Jews. The ignorance of the primitive church is explained by the long imprisonment of the image in a niche of the wall, from whence, after an oblivion of five hundred years, it was released by some prudent bishop, and seasonably presented to the devotion of the times. Its first and most glorious exploit was the deliverance of the city from the arms of Chosroes Nushirvan; and it was soon revered as a pledge of the divine promise, that Edessa should never be taken by a foreign enemy. It is true, indeed, that the text of Procopius ascribes the double deliverance of Edessa to the wealth and valour of her citizens, who purchased the absence and repelled the assaults of the Persian monarch. He was ignorant, the profane historian, of the testimony which he is compelled to deliver in the ecclesiastical
of Evagrius, that the Palladium was exposed on the rampart, and that the water which had been sprinkled on the holy face, instead of quenching, added new fuel to the flames of the besieged. After this important service, the image of Edessa was preserved with respect and gratitude; and if the Armenians rejected the legend, the more credulous Greeks adored the similitude, which was not the work of any mortal pencil, but the immediate creation of the divine original. The style and sentiments of a Byzantine hymn will declare how far their worship was removed from the grossest idolatry. “How can we with mortal eyes contemplate this image, whose celestial splendour the host of heaven presumes not to behold? HE
of Edessa in 540 (Asseman. tom. i. p. 416. Procopius, de Bell. Persic. 1. ii). It is the sword and buckler of Gregory II. (in Epist. i. ad Leon. Isaur. Concil. tom. viii. p. 656, 657), of John Damascenus (Opera, tom. i. p. 281. edit. Lequien), and of the second Nicene Council (Actio, v. p. 1030). The most perfect edition may be found in Cedrenus (Compend. p. 175—178).
who dwells in heaven condescends this day to visit CHAP. us by his venerable image: He who is seated on the cherubim visits us this day by a picture, which the Father has delineated with his immaculate hand, which he has formed in an ineffable manner, and which we sanctify by adoring it with fear and love." Before the end of the sixth century, these images, made without hands (in Greek it is a single word), were propagated in the camps and cities of the eastern empire:' they were the objects of worship, and the instruments of miracles; and in the hour of danger or tumult, Its copies. their venerable presence could revive the hope, rekindle the courage, or repress the fury, of the Roman legions. Of these pictures, the far greater part, the transcripts of a human pencil, could only pretend to a secondary likeness and improper title: but there were some of higher descent, who derived their resemblance from an immediate contact with the original, endowed, for that purpose, with a miraculous and prolific virtue. The most ambitious aspired from a filial to a fraternal relation with the image of Edessa ; and such is the veronica of Rome, or Spain, or Jerusalem, which Christ in his agony and bloody sweat applied to his face, and delivered to a holy matron. The fruitful precedent was speedily transferred to the Virgin Mary, and the saints and martyrs. In the church of Diospolis, in Palestine, the features of the
AXSIDOTONTOS. See Ducange, in Gloss. Græc. et Lat. The subject is treated with equal learning and bigotry by the Jesuit Gretser (Syntagma de Imaginibus non Manû factis, ad calcem Codini de Officiis, p. 289—330), the ass, or rather the fox, of Ingoldstadt (see the Scaligerana); with equal reason and wit by the Protestant Beausobre, in the ironical controversy which he has spread through many volumes of the Bibliothéque Germanique (tom. xviii. p. 1–50. xx. p. 27 -68. xxv. p. 1–36. xxvii. p. 85-118. xxviii. p. 1–33. xxxi. p. 111_148. xxxii. p. 75—107. xxxiv. p. 67–96).
Theophylact Simocatta (l. ii. c. 3. p. 34. 1. iii, c. 1. p. 63) celebrates the θεανδρικον εικασμα, which he styles αχειροποιητον 5 yet it was no more than a copy, since he adds αρχετυπον το εκεινον οι Ρωμαιοι (of Edessa) θρησκευουσι τι αρρητον. See Pagi, tom. ii. A. D. 586, No 11. VOL. VI.
CHAP. Mother of God” were deeply inscribed in a marble
column: the East and West have been decorated by the pencil of St. Luke; and the Evangelist, who was perhaps a physician, has been forced to exercise the occupation of a painter, so profane and odious in the eyes of the primitive Christians.
The Olympian Jove, created by the muse of Homer and the chisel of Phidias, might inspire a philosophic mind with momentary devotion; but these Catholic images were faintly and flatly delineated by monkish artists in the
last degeneracy of taste and genius." Opposition The worship of images had stolen into the church to image worship. by insensible degrees, and each petty step was pleasing
to the superstitious mind, as productive of comfort, and innocent of sin. But in the beginning of the eighth century, in the full magnitude of the abuse, the more timorous Greeks were awakened by an apprehension, that under the mask of Christianity, they - had restored the religion of their fathers: they heard, with grief and impatience, the name of Idolaters; the incessant charge of the Jews and Mahometans, who derived from the Law and the Koran an immortal hatred to graven images and all relative worship. The servitude of the Jews might curb their zeal and depreciate their authority; but the triumphant Musulmans, who reigned at Damascus, and threatened Constantinople, cast into the scale of reproach the accumulated weight of truth and victory. The cities
m See, in the genuine or supposed works of John Damascenus, two passages on the Virgin and St. Luke, which have not been noticed by Gretser, nor consequently by Beausobre (Opera Joh. Damascen. tom. i. p. 618. 631).
n“ Your scandalous figures stand quite out from the canvas: they are as bad as a group of statues !” It was thus that the ignorance and bigotry of a Greek priest applauded the pictures of Titian, which he had ordered, and refused to accept.
By Cedrenus, Zonaras, Glycas, and Manasses, the origin of the Iconoclasts is imputed to the caliph Yezid and two Jews, who promised the empire to Leo; and the reproaches of these hostile sectaries are turned into an absurd conspiracy for restoring the purity of the Christian worship (see Spanheim, Hist. Imag. c. 2.)
of Syria, Palestine, and Egypt, had been fortified CHAP. with the images of Christ, his mother, and his saints; and each city presumed on the hope or promise of miraculous defence. In a rapid conquest of ten years, the Arabs subdued those cities and these images; and, in their opinion, the Lord of Hosts pronounced a decisive judgment between the adoration and contempt of these mute and inanimate idols. For a while Edessa had braved the Persian assaults; but the chosen city, the spouse of Christ, was involved in the common ruin; and his divine resemblance became the slave and trophy of the infidels. After a servitude of three hundred the Palladium was yielded to the devotion of Constantinople for a ransom of twelve thousand pounds of silver, the redemption of two hundred Musulmans, and a perpetual truce for the territory of Edessa. In this season of distress and dismay the eloquence of the monks was exercised in the defence of images; and they attempted to prove, that the sin and schism of the greatest part of the Orientals had forfeited the favour, and annihilated the virtue, of these precious symbols. But they were now opposed by the murmurs of many simple or rational Christians, who appealed to the evidence of texts, of facts, and of the primitive times, and secretly desired the reformation of the church. As the worship of images had never been established by any general or positive law, its progress in the eastern empire had been retarded, or accelerated, by the differences of men and manners, the local degrees of refinement, and the personal characters of the bishops. The splendid devotion was fondly cherished by the levity of the capital, and the inventive genius of the
P See Elmacin (Hist. Saracen. p. 267), Abulpharagius (Dynast. p. 201), and Abulfeda (Annal. Moslem. p. 264), and the criticisms of Pagi (tom. iii. A. D. 944). The prudent Franciscan refuses to determine whether the image of Edessa now reposes at Rome or Genoa; but its repose is inglorious, and this ancient object of worship is no longer famous or fashionable.
CHAP. Byzantine clergy; while the rude and remote dis
tricts of Asia were strangers to this innovation of sacred luxury. Many large congregations of Gnostics and Arians maintained, after their conversion, the simple worship which had preceded their separation ; and the Armenians, the most warlike subjects of Rome, were not reconciled, in the twelfth century, to the sight of images. These various denominations of men afforded a fund of prejudice and aversion, of small account in the villages of Anatolia or Thrace, but which, in the fortune of a soldier, a prelate, or an eunuch, might be often connected with the powers of the church and state.
Of such adventurers the most fortunate was the ardh his suc. emperor Leo the third," who, from the mountains of
Isauria, ascended the throne of the East. He was ignorant of sacred and profane letters; but his education, his reason, perhaps his intercourse with the Jews and Arabs, had inspired the martial peasant with a hatred of images; and it was held to be the duty of a prince to impose on his subjects the dictates of his own conscience. But in the outset of an unsettled reign, during ten years of toil and danger, Leo submitted to the meanness of hypocrisy, bowed before the idols which he despised, and satisfied the Roman pontiff with the annual professions of his orthodoxy and zeal. In the reformation of religion his
4 Αρμενιους και Αλαμανους επισης και αγιων εικονων προσκυνησις απαγορευται (Nicetas, 1. ii. p. 258). The Armenian churches are still content with the Cross (Missions du Levant, tom. iii. p. 148): but surely the superstitious Greek is unjust to the superstition of the Germans of the xiith century.
Our original, but not impartial, monuments of the Iconoclasts must be drawn from the Acts of the Councils, tom. viii. and ix. Collect. Labbé, edit. Venet. and the historical writings of Theophanes, Nicephorus, Manasses, Cedrenus, Zonaras, &c. Of the modern Catholics, Baronius, Pagi, Natalis Alexander (Hist. Eccles. Seculum viii. and ix), and Maimbourg (Hist. des Iconoclastes), have treated the subject with learning, passion, and credulity. The Protestant labours of Frederic Spanheim (Historia Imaginum restituta) and James Basnage (Hist. des Eglises Reformées, tom. ii. l. xxiii. p. 1339—1385) are cast into the Iconoclast scale. With this mutual aid, and opposite tendency, it is easy for us to poise the balance with philosophic indifference,

domain: library


We design as well!
This is so exciting !!! I am holding the prototype of the watch strap that our company designed. Fitsight, a medical watch with gadgets that help children prevent myopia, the brainchild of Prof Saw Seang Mei, NUS/ SERI. Yay !!!
My company has 2 designers, both Singaporeans, one based in NZ and the other in USA. It is our honor to be able to work on the strap design for this marvellous invention.


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This post was originally written and submitted to Huffington Post Alberta for the blog I write there about life in Fort McMurray. It received such a positive response that I felt it worthwhile to share it here on the community blog that inspires those emails and messages I get from across the country.
Not Your Father's Fort McMurray
In my life as a community blogger I occasionally get emails and messages from those curious about where I live. Sometimes they come from those who have been to northern Alberta, and sometimes they come from people from countries far away, wondering if this is the place they have been looking for to change their fortunes. And, on occasion, they come from someone who has heard about this place, through national media or anecdotes, and who have stumbled across my blog - and a different perspective.
Recently I received a message of the latter kind. As many know this region is not only home to many but also a place where many choose to work, but not live. They live here in rented rooms or hotels or work camps, away from their families while they work. They have, for whatever reason, decided they do not wish to live here, and instead this is simply a place where they derive their income. It has always been this way to some extent, as the person who contacted me recently explained. You see her father worked here many years ago, but left his family at home in a province far away. He would come home from his time here and tell his family stories of this rough, wild n'tumble place in the northern bush. I guess in the end that is why she contacted me, because she found my blog, and she had some questions.
When she wrote me she commented that the place I write about does not sound at all like the place her father described. She told me how he would call it "the real wild west", and how he said it was no place for families, or children. She told me he thought of it as a giant work camp, nothing more, and not a place he would ever take his family - and so she has never seen it. She said to me: "I guess you are either making up the stuff you write about Fort McMurray, or it has really changed since then". I found this comment intriguing, because there is a third option, too.
I can guarantee I am not inventing the story of my life here. This place truly is an astonishingly diverse community with dozens of nations represented. This is a place of amazing generosity, as shown by our keen interest in philanthropy and volunteerism. This is a place where the average age is 31 and with a skyrocketing birth rate, a place of baby strollers and toddlers and young families. This is a place of great natural beauty, the boreal forest and dancing northern lights. This is a place where thousands have decided to build a career, a life, and a home. All these things are true. And while things quite likely have changed since my correspondent's father worked here I think something else has changed, too. I think the way those who live here feel about our community has changed.
I believe there have always been those who were proud to live here, but in recent years I think this has skyrocketed just like our birth rate. Just in the eleven years I have been here I have seen that transition, as people have become not just proud but almost over-the-top ebullient about this place. Citizens began to not only feel pride but to display it, to talk about their community and what is good about it, not just the problems (and yes, we do have those problems, just like every other community, and we are working on them, too). So while I am not lying about the nature of this place, and while it has changed over the decades I think something else has changed, too - the people who choose to call this home.
When I read the message from the woman who has never been here I considered my reply carefully. When I did reply I suggested that she might want to come and visit to confirm that I am not, in fact, making anything up, and that I did think this place has changed as it has grown so much since her father was here. I then suggested something else. I asked her to consider bringing her father with her when he comes to visit to see if just maybe this is no longer the "wild west" he recalls, and if maybe he was wrong about it even all those years ago, as there have always been those who called this place home. I started my reply to her just as I have titled this post - "This is not your father's Fort McMurray", and I meant it. For him this place was never home, and it was not his Fort McMurray - but it is mine, and that is why I choose to write about it and share the story of my life. This is not your father's Fort McMurray, and not the Fort McMurray of infamy and lore. This is my Fort McMurray, a place of community, diversity, generosity - and my home.
This is a great post! And if I'm surprised at how much growth and change I've witnessed in the scant time I've lived here I can well imagine how it must seem to folks who have lived here much longer.ReplyDelete
I'm curious as to how old this person is. I grew up in Fort McMurray in the 80s, and while there were aspects of the "wild" about it (ie. we spent a lot of time playing in the woods, and riding our bikes on trails, etc.), there were many families even then who had chosen to make a home and a life there. Even as a child, it had a vibrant arts and culture scene, lots of recreational opportunities, and a distinct culture. Maybe in the 70s it was a little more "wild west", but I couldn't comment on that because I'm not old enough!ReplyDelete
Thanks for your blog. I am one of the few who can say they grew up in Fort McMurray. I was three when we moved there in 1969 "for a few years". It turned out to be more than thirty-five years for my parents! Back then, Highway 63 was unpaved. I can recall when Franklin Avenue got paved. It was a big deal! For a time in elementary school, we had to go to school in shifts because it was impossible to build schools fast enough. There were shortages in housing so many people lived in mobile homes. They were fun times. Parents working and kids being kids. I will always have a special place in my heart for my hometown.ReplyDelete
I am always surprised at how people who have never been there describe McMurray. I grew up there - moving there in 1978 when I was in grade 6 - I loved it. It was much bigger than the two places I lived before in my life. It was also growing. I loved it so much I went back and taught up there for 13 years after I got my degree in Edmonton. I have since left and I miss it for a lot of things. The people who describe it as 'rough' clearly do not see all of it. Maybe they only go to the Oil Can (is that still there?). Maybe they do not check out Keyano Theatre or the fabulous recreational facilities? Maybe because they have left their families away they are just living a party life - maybe the life they describe is more about the way they live their life than McMurray. Are there rougher places in Fort McMurray - yes - but there are in Edmonton and Calgary and any city. They are a small part of what McMurray is. To me McMurray was family centered with activities for kids and young families and older residents. I got to work with some fabulous artists who were brought in to the theatre. I worked at one of the best schools (Westwood - Holler!) with great resources and amazing kids, many of whom I am still in touch with. The whole is much bigger than it's pieces.ReplyDelete

domain: geography


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Looking like tiny fire crackers, the intensely-colored blooms of Lonicera Sempervirens Major Wheeler are right up in your face, demanding to be noticed. This climbing honeysuckle has been variously described as “the best,” a “stand-out” and a “non-stop bloomer,” and guess what? It’s all true.
This vine is not to be confused with the invasive honeysuckle shrub. Major Wheeler is a relatively new cultivar that promises and delivers an explosion of intense red blooms that cover the plant all summer. It is hardy to Zone 4, and unlike clematis, (which I also love), it requires no care other than planting and initial training up whatever it is you want it to climb. This plant grows to about eight feet.
I planted mine last summer to attract hummingbirds, and they do go crazy for all those tubular red blooms. I love watching them probing every single flower. The plant did ok the first year but this summer, what an explosion! As you can see in the photo below, it all but covers my ugly light.
Drought-tolerant, hardy, floriferous, and a hummingbird, butterfly and bee magnet, this is a wonderful plant with tidy, mildew-free foliage. I have also read that later in the season, it produces berries that other birds like robins love. Try it this summer – if you can get your hands on one.

domain: biology


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Here we report that low concentrations of alcohol (1–3 mM) increased Cl− currents gated by a recombinant GABAA receptor, α4β2δ, by 40–50% in Xenopus laevis oocytes. We also found greater hippocampal… Continue Reading
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After a season in which he led the Swiss top flight in scoring, Jordan Pefok is heading to the Bundesliga—and with it is adding a new layer to seemingly never-ending hunt to anoint a starting striker for the U.S. men’s national team.
With the World Cup mere months in the distance, the U.S. still has a few pressing roster questions, and the lack of clarity surrounding the identity of its center forwards remains at the top of that list. Pefok, 26, scored 22 league goals for Young Boys, with five goals in his last five games to end the season.
Regardless of whether it affects his USMNT standing, the move to the Bundesliga is a step up for Pefok in his career. After time in France with Reims and Rennes and after his success in Switzerland, he’s joining a team that finished fifth in the German top flight last season (missing UEFA Champions League qualification by a single point) and will play in the UEFA Europa League.
It’s true that Pefok was in the Champions League group stage last season—even scoring a game-winning goal against Manchester United and another tally vs. Atalanta—but the game-to-game competition should represent a greater challenge and be a more indicative proving ground for the striker, who hasn’t quite replicated his club success with the national team.
“After two successful years in Bern, where I had the perfect environment to develop as a young player, the next step in my career is now ahead of me. I want to prove myself in the Bundesliga and I’m sure that I have found the right club in Union. Their style of play suits me well,” Pefok (whose Twitter handle demands his last name be referred to as “Pefok” and who U.S. Soccer says prefers Pefok, yet identifies himself as Siebatcheu in his Union Berlin introduction) said in a statement.
His top moment with the U.S. came in the Concacaf Nations League semifinals over a year ago, when his late goal against Honduras sent the U.S. to the final. That was a big moment in the progression of this national team, given what happened in the title match vs. Mexico and everything that followed over the ensuing 10 months. He had a chance to cement his name in U.S. lore in a World Cup qualifier against Mexico in March at Estadio Azteca, but he completely shanked his opportunity to score what would have been a famous game-winner. The U.S. drew 0–0 anyway, and that point proved vital in securing a ticket to Qatar, but from an individual standpoint, that was a chance that needed to be taken. He was omitted from the U.S.’s camp roster earlier this month.
Nevertheless, with nobody truly seizing the position throughout qualifying, there’s still time to make a case. His new club will face the likes of RB Leipzig and Bayern Munich before the U.S.’s last pre-World Cup camp, and if he’s still in the picture for U.S. manager Gregg Berhalter come October, there’s a date with Borussia Dortmund looming as well. Telling data points could yet be generated.
“Jordan is a striker who will fit in well with us with his style of play and can operate in different systems. We are excited about him, his goalscoring ability and that he has chosen Union,” Union Berlin director Oliver Ruhnert said.
In some ways, Pefok’s place in the U.S. pecking order depends on his own performance as much as it does on those of his counterparts. Jesús Ferreira, who scored four goals for the U.S. vs. Grenada earlier this month in a Nations League match, is MLS’s leading scorer and likely has the inside track on starting vs. Wales in Qatar on Nov. 21. He scored again for FC Dallas on Wednesday night, although he was aided by a goalkeeping gaffe from LAFC’s Maxime Crépeau for his 10th goal of the season.
Elsewhere, Ricardo Pepi, who learned that simply moving to the Bundesliga does not equate to success, is seeking a hot start to his first full season at Augsburg. He scored against fifth-tier competition in preseason this week, and perhaps the simple act of seeing the ball go into the back of the net in a match will get the 19-year-old Texan going in the right direction.
Haji Wright entered the U.S.’s June camp in sizzling scoring form after his run in Turkey but then did little with his opportunity (and was singled out by Berhalter for his performance, in a direct and pointed way). Wright is in club limbo, linked heavily to Hull City in England’s second tier. Further on the periphery, Matthew Hoppe is another player who could be on the move, with his transfer from Schalke to Mallorca not resulting in the windfall he was anticipating. With the right landing spot and set of circumstances, perhaps a return to the fold is on order.
There are a couple of others who are just one goal-scoring run away from finding their way back into the good graces. Josh Sargent (Norwich City) and Daryl Dike (West Brom) are two that come to mind, with injuries behind them and opportunity ahead of them in England’s second-division championship.
Ultimately, that’s what this roster race comes down to: individual opportunity and making the most of it. Pefok now has his chance, and time—and the scoresheet—will tell whether a ticket to Qatar is the reward.
More Soccer Coverage:


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El Paso is a city located in El Paso County, Texas, United States.
As of the 2000 census, the city had a total population of 679,622. El Paso — second only to San Diego, California, in size among all United States cities on the border with Mexico — lies opposite Ciudad Juárez, Chihuahua. The two cities form a binational metropolitan area of approximately two million people, divided by the Rio Grande.
El Paso is the seat of the University of Texas at El Paso (founded 1913 as the Texas College of Mines, received university status 1967). Fort Bliss, a major United States Army installation, lies to the east and northeast of the city, extending north up to the White Sands Missile Range. The Franklin Mountains extend into El Paso from the north and nearly divide the city into two sections.
El Paso is served by El Paso International Airport, I-10, U.S. Highway 54, and Mexican Federal Highway 45.
Web Sites and Links
Handbook of Texas Online: El Paso, TXCommunity history and information.
Stanton StreetInternet magazine features news, entertainment, and dining for El Paso, Texas.


Hello everyone, and welcome to Music by Lace!
In this musical ensemble, available throughout Ireland, performers Amy Kelly and Louise Johnston have joined together in an exciting duo with the promise of adding a unique touch to your special day. Whether a church or civil service, a blessing or a drinks reception, we can offer a musical experience that will enhance any occasion.
As your choice of music is an important addition to any ceremony or event, a phone or email consultation will take place with each couple where you can select a program which is both personal and individual.
Although Louise and Amy are classically trained, Music by Lace offers a list of repertoire to suit a range of different styles, some of which can be heard below.
Read what our couples say about us:
Review by Maureen & Paul Stevens
Amy & Louise, Thank you both so much for such a wonderful and memorable day. The music was just beautiful and nothing was too much bother for you. Every guest at the wedding talked about how beautiful the music was and how different the arrangements were. It really made the entire service and even had the priest tapping along. If I could give 10 stars I would. Just fabulous. Thanks again. Maureen & Paul
Review by Enda & Céire
Louise & Amy preformed for my brother's wedding at both the Church & venue. We received numerous compliments from the guests on the beautiful music. They really made the day by providing such an enchanting backdrop. What fantastic musicians. Thank you both.
Review by Fidelma and Vincent
What an amazing ensemble. Harmonies were so perfect. The sounds that awe inspiring and were spoken most highly of from our guests. So glad that we booked Louise and Amy for our Wedding. They were so kind and flexible and had no issues fulfilling our song requests. Superb in every class. Thanks for the beautiful memories that will last us a lifetime.
Review by Lavinia and James
From our very first conversation with Louise and Amy, we knew our wedding music was in safe hands! They are the most obliging and talented musicians around who didnt have a problem learning any new songs we requestd (as gaeilge & as bearla!) If you want music that will last in your memories forever, we couldnt recommend Louise and Amy strongly enough! Míle Buíochas! Lavinia and James x
Review by Judy and Niamh
Louise and Amy, we were absolutely blown away by your music both during our ceremony and the reception. We felt so cheeky asking you to learn songs for us that we were really set on having and there was never any problem at all. The songs that were played on the day were even better than we could have expected. You managed to put your own little twist on them and we cannot thank you enough for helping to make our day so special. The two of you are so talented and we will be recommending you to everyone we know getting married. Thank you so much again. Judy and Niamh xx
Review by Annette & Richard Devane
Thank you so very much Louise and Amy for being an extremely special part of our wedding day. Your skill one talent is endless and the music you provided was enjoyed by all thoroughly.I would highly recommend you both to all in the future.
Review by Colette Costello
It was such a pleasure to have Louise & Amy be part of our wedding day, the music was really fantastic and really made our day extra special. Would highly recommend xx
Review by Nancy
Louise & Amy provided the music for our church ceremony. From the start they were great to deal with and so accommodating with our song choices. No song was a problem for them and they learned songs especially for our ceremony. So many people commented on the music in the church. I'm so glad I booked LACE and I would highly recommend them for another wedding.
Review by Sally Scully
Louise and Amy, I thoroughly enjoyed your absolutely amazing and memorable performance for church and drinks reception at a wedding I attended recently. Everyone was so complimentary of the music and singing.I would highly recommend you both for any wedding.
Review by Seamus & Odie Walsh
Thank you Louise and Amy for the beautiful music and singing you provided at Keith and Linda's wedding last Friday. We were captivated by your beautiful voices and haunting music and we cannot tell you how special you both made this ceremony for everyone. The family are still commenting on it.
Review by Mary Glynn
“L.A.C.E” performed at my godson’s wedding in Stradbally last week. We really enjoyed the wonderful mixture of instrumental music and vocal songs. Both Louise and Amy are outstanding musicians and angelic singers. The music and singing were the perfect mix: joyful, yet reverent. After the wedding, lots of guests were complimenting the music.
Review by Ciara & Denis
We would highly recommend Louise & Amy. We booked them for our church music. So many of our guests commented on how beautiful the music was. It really made our mass so special. Lovely girls to deal with too. We couldn't speak highly enough about them. Thank you for helping to make our day so special. Ciara & Denis
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