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          Изумительный узор крючком. Потрясающий снуд. Видео Мастер класс      Cache   Translate Page      


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48 (грудь-талия-бедра) 106-90-112
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52 (грудь-талия-бедра) 114-98-120
54 (грудь-талия-бедра) 118-102-124
56 (грудь-талия-бедра) 122-106-128














          Горшочки по-карпатски      Cache   Translate Page      
Горшочки по-карпатски – объедение!

Мясное рагу с бульоном получится очень вкусным, если приготовить его в горшочках и добавить несколько интересных ингредиентов. Это горячее блюдо может быть как сытным первым, так и вторым блюдом для праздничного ужина или большой компании. Самое приятное, что рецепт рагу в горшочках удивительно прост и не потребует особых усилий. Уверяем, это роскошное блюдо приведет в восторг ваших домочадцев и гостей!
Ингредиенты на 6-7 горшочков по 500 мл: 

свинина (лопатка) 1 кг; 
картофель 1 кг; 
фасоль консервированная 400 грамм; 
морковь по-корейски 400-600 грамм; 
лук крупный 1 шт.; 
маринованные шампиньоны (или другие грибы) 400 грамм; 
томатный соус краснодарский 6 ст. ложек; 
вода 2 литра; 
чеснок 2 зубчика; 
соль, черный перец по вкусу; 
лавровый лист 2 шт.; 
растительное масло для обжаривания; 
свежая зелень для подачи. 

Приготовление: 

Картофель очистить и нарезать кубиками. 
Мясо нарезать кубиками размером, как картофель. 
Лук нарезать четвертькольцами и хорошо распушить руками. 
С консервированной фасоли слить жидкость. 
Консервированные грибы откинуть на дуршлаг, сполоснуть холодной водой и обсушить. 
Томатный соус соединить с раздавленным через пресс чесноком и перемешать до однородности. 
Морковь по-корейски слегка отжать от рассола. 
В этом рецепте можно использовать и свежую морковь в таком же количестве, но с морковью по-корейски получится намного вкуснее и ароматней. 
На сковороде с высокими бортами, в казане или в утятнице разогреть немного растительного масла, добавить картофель и обжарить, помешивая, до золотистого цвета. 
Картофель не должен полностью проготовиться, а лишь кое-где зажариться. 
Когда картофель чуть зажариться, добавить на сковороду лук, перемешать и обжарить ещё 40-60 секунд. 
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Добавить на сковороду фасоль, грибы и морковь по-корейски, всё перемешать и держать на огне ещё 3-5 минут. 
Выключить огонь и наполнить подготовленным рагу керамические горшочки на 2/3 от их высоты. В сковороду, на которой жарилось рагу, влить 2 литра тёплой воды, добавить томатный соус с чесноком, лавровый лист и соль. Перемешать, попробовать на вкус, при необходимости ещё посолить и довести бульон почти до кипения. Выключить огонь. 
Залить бульоном горшочки с рагу. Количество жидкости добавлять в зависимости от желаемой густоты. Выложить горшочки на противень, поставить в холодную духовку и установить температуру 180 градусов. 
Томить рагу 45-55 минут. 
Подавать блюдо можно как в горшочках, так и выложив на тарелки. Готовые горшочки украсить свежей зеленью. 
Приятного аппетита!

          Великолепные японские узоры      Cache   Translate Page      
Красивый японский узор

Красивый японский узор, прекрасно подойдет для вязания теплой одежды, такой как свитер, жакет или пуловер.

Узорный ряд состоит из трех узоров. Центрального узора в виде извилистого стебля, листика и узора из кос, обрамляющего центральную часть.

Раппорт узора состоит из 31 петли + 2 кромочные.

Узорный ряд: 1 кром., 8 п. узора с косами, 15 п. центрального узора, 8 п. узора с косами, 1 кром.

1 ряд: 1 кром., 4 п. перекрестить вправо, 4 п. перекрестить влево, 2 изн., 2 п. перекрестить вправо, 2 изн., 2 п. перекрестить влево, 2 п. перекрестить влево, 5 изн., 4 п. перекрестить вправо, 4 п. перекрестить влево, 1 кром.

2 ряд: 1 кром., 8 изн., 5 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 4 лиц., 1 изн/скр., 2 лиц., 8 изн., 1 кром.

3 ряд: 1 кром., 8 лиц., 2 изн., 1 лиц/скр., 4 изн., 2 п. перекрестить влево, 2 п. перекрестить влево, 4 изн., 8 лиц., 1 кром.

4 ряд: 1 кром., 8 изн., 4 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 5 лиц., (1 изн/скр. - листик), 2 лиц., 8 изн., 1 кром.

5 ряд: 1 кром., 4 п. перекрестить влево, 4 п. перекрестить вправо, 2 изн., (1 накид, 1 лиц., 1 накид - листик), 5 изн., 2 п. перекрестить влево, 2 п. перекрестить влево, 3 изн., 4 п. перекрестить влево, 4 п. перекрестить вправо, 1 кром.

6 ряд: 1 кром., 8 изн., 3 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 6 лиц., (3 изн., - листик), 2 лиц., 8 изн., 1 кром.

7 ряд: 1 кром., 8 лиц., 2 изн., (1 лиц., 1 накид, 1 лиц., 1 накид, 1 лиц. - листик), 6 изн., 1 лиц/скр., 1 лиц., 1 лиц/скр., 3 изн., 8 лиц., 1 кром.

8 ряд: 1 кром., 8 изн., 3 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 6 лиц., (5 изн. - листик), 2 лиц., 8 изн., 1 кром.

9 ряд: 1 кром., 4 п. перекрестить влево, 4 п. перекрестить вправо, 2 изн., (2 лиц., 1 накид, 1 лиц., 1 накид, 2 лиц. - листик), 6 изн., 1 лиц/скр., 1 лиц., 1 лиц/скр., 3 изн., 4 п. перекрестить влево, 4 п. перекрестить вправо, 1 кром.

10 ряд: 1 кром., 8 изн., 3 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 6 лиц., (7 изн. - листик), 2 лиц., 8 изн., 1 кром.

11 ряд: 1 кром., 8 лиц., 2 изн., (2 п. вместе с наклоном влево, 3 лиц., 2 п. вместе с наклоном вправо - листик), 5 изн., 2 п. перекрестить вправо, 2 п. перекрестить вправо, 3 изн., 8 лиц., 1 кром.

12 ряд: 1 кром., 8 изн., 4 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 5 лиц., (5 изн. - листик), 2 лиц., 8 изн., 1 кром.

13 ряд: 1 кром., 4 п. перекрестить вправо, 4 п. перекрестить влево, 2 изн., (2 п. вместе с наклоном влево, 1 лиц., 2 п. вместе с наклоном вправо - листик), 4 изн., 2 п. перекрестить вправо, 2 п. перекрестить вправо, 4 изн., 4 п. перекрестить вправо, 4 п. перекрестить влево, 1 кром.

14 ряд: 1 кром., 8 изн., 4 лиц., 1 изн., 1 изн/скр., 1 лиц., 1 изн/скр, 4 лиц., (3 изн. - листик), 2 лиц., 8 изн., 1 кром.

15 ряд: 1 кром., 8 лиц., 2 изн., (3 п. вместе лиц. - листик), 3 изн., 2 п. перекрестить вправо, 2 п. перекрестить вправо, 2 п. перекрестить влево, 3 изн., 8 лиц., 1 кром.

16 ряд: 1 кром., 8 изн., 3 лиц., 1 изн/скр., 2 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 6 лиц., 8 изн., 1 кром.

17 ряд: 1 кром., 4 п. перекрестить вправо, 4 п. перекрестить влево, 5 изн., 2 п. перекрестить вправо, 2 п. перекрестить вправо, 2 изн., 2 п. перекрестить влево, 2 изн., 4 п. перекрестить вправо, 4 п. перекрестить влево, 1 кром.

18 ряд: 1 кром. 8 изн., 2 лиц., 1 изн/скр., 4 лиц., 1 ихн/скр., 1 лиц., 1 изн/скр., 5 лиц., 8 изн., 1 кром.

19 ряд: 1 кром., 8 лиц., 4 изн., 2 п. перекрестить вправо, 2 п. перекрестить вправо, 4 изн., 1 лиц/скр., 2 изн., 8 лиц., 1 кром.

20 ряд: 1 кром., 8 изн., 2 лиц., (1 изн/скр. - листик), 5 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 4 лиц., 8 изн., 1 кром.

21 ряд: 1 кром., 4 п. перекрестить влево, 4 п. перекрестить вправо, 3 изн., 2 п. перекрестить вправо, 2 п. перекрестить вправо, 5 изн., (1 накид, 1 лиц., 1 накид - листик), 2 изн., 4 п. перекрестить влево, 4 п. перекрестить вправо, 1 кром.

22 ряд: 1 кром., 8 изн., 2 лиц., (3 изн. - листик), 6 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 3 лиц., 8 изн., 1 кром.

23 ряд: 1 кром., 8 лиц., 3 изн., 1 лиц/скр., 1 лиц., 1 лиц/скр., 6 изн., (1 лиц., 1 накид, 1 лиц., 1 накид, 1 лиц. - листик), 2 изн., 8 лиц., 1 кром.

24 ряд: 1 кром., 8 изн., 2 лиц., (5 изн. - листик), 6 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 3 лиц., 8 изн., 1 кром.

25 ряд: 1 кром., 4 п. перекрестить влево, 4 п. перекрестить вправо, 3 изн., 1 лиц/скр., 1 лиц., 1 лиц/скр., 6 изн., (2 лиц., 1 накид, 1 лиц., 1 накид, 2 лиц. - листик), 2 изн., 4 п. перекрестить влево, 4 п. перекрестить вправо, 1 кром.

26 ряд: 1 кром., 8 изн., 2 лиц., (7 изн. - листик), 6 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 3 лиц., 8 изн., 1 кром.

27 ряд: 1 кром., 8 лиц., 3 изн., 2 п. перекрестить влево, 2 п. перекрестить влево, 5 изн., (2 п. вместе с наклоном влево, 3 лиц., 2 п. вместе с наклоном вправо - листик), 2 изн., 8 лиц., 1 кром.

28 ряд: 1 кром., 8 изн., 2 лиц., (5 изн. - листик), 5 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 4 лиц., 8 изн., 1 кром.

29 ряд: 1 кром., 4 п. перекрестить вправо, 4 п. перекрестить влево, 4 изн., 2 п. перекрестить влево, 2 п. перекрестить влево, 4 изн., (2 п. вместе с наклоном влево, 1 лиц., 2 п. вместе с наклоном вправо - листик), 2 изн., 4 п. перекрестить вправо, 4 п. перекрестить влево, 1 кром.

30 ряд: 1 кром., 8 изн., 2 лиц., (3 изн. - листик), 4 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 1 изн., 4 лиц., 8 изн., 1 кром.

31 ряд: 1 кром., 8 лиц., 3 изн., 2 п. перекрестить вправо, 2 п. перекрестить влево, 2 п. перекрестить влево, 3 изн., (3 п. вместе лиц. - листик), 2 изн., 8 лиц., 1 кром.

32 ряд: 1 кром., 8 изн., 6 лиц., 1 изн/скр., 1 лиц., 1 изн/скр., 2 лиц., 1 изн/скр., 3 лиц., 8 изн., 1 кром.
Узор повторяем с 1-го ряда.
Схема центрального узора




Ажурный японский узор "Колокольчики" 


В порядке эксперимента, даю две схемы вязания этого узора.

Первая, оригинальная схема от автора. При вязании по этой схеме, вам необходимо постоянно следить за рисунком.

Второй, "доработанной" схемой, я часто пользуюсь при вязании высоких узоров со смещением элементов.


Если схема новая и большая, то для начинающих мастериц, думаю, что второй вариант будет удобней. 

Схема узора (оригинал)

Описание вязания узора. 

Раппорт узора состоит из 14 петель + 2 кромочные

1 ряд: 1 кром., 5 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., 4 лиц., 1 кром.
2 ряд: 1 кром., 4 изн., 1 лиц., 3 изн., 1 лиц., 5 изн., 1 кром.
3 ряд: 1 кром., 5 лиц., 1 изн., 3 лиц., 1 изн., 4 лиц., 1 кром.
4 ряд: 1 кром., 4 изн., 1 лиц., 3 изн., 1 лиц., 5 изн., 1 кром.
5 ряд: 1 кром., 5 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., 4 лиц., 1 кром.
6 ряд: 1 кром., 4 изн., 5 лиц., 5 изн., 1 кром.
7 ряд: 1 кром., 5 лиц., 1 изн., 3 лиц., 1 изн., 4 лиц., 1 кром.
8 ряд: 1 кром., 4 изн., 1 лиц., 3 изн., 1 лиц., 5 изн., 1 кром.
9 ряд: 1 кром., 5 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., 4 лиц., 1 кром.
10 ряд: 1 кром., 4 изн., 5 лиц., 5 изн., 1 кром.
11 ряд: 1 кром., 5 лиц., 1 изн., 3 лиц., 1 изн., 4 лиц., 1 кром.
12 ряд: 1 кром., 4 изн., 1 лиц., 3 изн., 1 лиц., 5 изн., 1 кром.
13 ряд: 1 кром., 1 лиц., 4 п. перекрестить вправо, 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., 4 п. перекрестить влево, 1 кром.
14 ряд: 1 кром., 1 кром., 4 изн., 5 лиц., 5 изн., 1 кром.
15 ряд: 1 кром., 3 лиц., 2 лиц., 1 изн., 3 лиц., 1 изн., 2 лиц., 2 лиц, 1 кром.
16 ряд: 1 кром., 4 изн., 1 лиц., 3 изн., 1 лиц., 5 изн., 1 кром.
17 ряд: 1 кром., 5 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., 4 лиц., 1 кром.
18 ряд: 1 кром., 4 изн., 5 лиц., 5 изн., 1 кром.
19 ряд: 1 кром., 3 лиц., 2 лиц., 1 изн., 3 лиц., 1 изн., 2 лиц., 2 лиц, 1 кром.
20 ряд: 1 кром., 4 изн., 1 лиц., 3 изн., 1 лиц., 5 изн., 1 кром.
21 ряд: 1 кром., 1 лиц., 4 п. перекрестить влево, 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., 4 п. перекрестить вправо, 1 кром.
22 ряд: 1 кром., 1 изн., 1 лиц., 2 изн., 1 лиц., 3 изн., 1 лиц., 2 изн., 1 лиц., 2 изн., 1 кром.
23 ряд: 1 кром., 2 п. вместе, 1 накид, 1 изн., 9 лиц., 1 изн., 1 лиц., 1 кром.
24 ряд: 1 кром., 2 лиц., 9 изн., 3 лиц., 1 кром.
25 ряд: 1 кром., 2 лиц., 1 изн., 9 лиц., 1 изн., 1 лиц., 1 кром.
26 ряд: 1 кром., 1 изн., 1 лиц., 9 изн., 1 лиц., 2 изн., 1 кром.
27 ряд: 1 кром., 2 п. вместе, 1 накид, 1 изн., 9 лиц., 1 изн., 1 лиц., 1 кром.
28 ряд: 1 кром., 2 лиц., 9 изн., 3 лиц., 1 кром.
29 ряд: 1 кром., 2 лиц., 1 изн., 9 лиц., 1 изн., 1 лиц., 1 кром.
30 ряд: 1 кром., 1 изн., 1 лиц., 9 изн., 1 лиц., 2 изн., 1 кром.
31 ряд: 1 кром., 2 п. вместе, 1 накид, 1 изн., 9 лиц., 1 изн., 1 лиц., 1 кром.
32 ряд: 1 кром., 2 лиц., 9 изн., 3 лиц., 1 кром.
33 ряд: 1 кром., 2 лиц., 1 изн., 9 лиц., 1 изн., 1 лиц., 1 кром.
34 ряд: 1 кром., 1 изн., 1 лиц., 9 изн., 1 лиц., 2 изн., 1 кром.
35 ряд: 1 кром., 2 п. вместе, 1 накид, 1 изн., 4 п. перекрестить влево, 1 лиц., 4 п. перекрестить вправо, 1 изн., 1 лиц., 1 кром.
36 ряд: 1 кром., 2 лиц., 9 изн., 3 лиц., 1 кром.
37 ряд: 1 кром., 2 лиц., 1 изн., 2 лиц., 5 п. перекрестить влево, 2 лиц., 1 изн., 1 лиц., 1 кром.
38 ряд: 1 кром., 1 изн., 1 лиц., 9 изн., 1 лиц., 2 изн., 1 кром.
39 ряд: 1 кром., 2 п. вместе, 1 накид, 1 изн., 9 лиц., 1 изн., 1 лиц., 1 кром.
40 ряд: 1 кром., 2 лиц., 9 изн., 3 лиц., 1 кром.
41 ряд: 1 кром., 2 лиц., 1 изн., 2 лиц., 5 п. перекрестить влево, 2 лиц., 1 изн., 1 лиц., 1 кром.
42 ряд: 1 кром., 1 изн., 1 лиц., 9 изн., 1 лиц., 2 изн., 1 кром.
43 ряд: 1 кром., 2 п. вместе, 1 накид, 1 изн., 4 п. перекрестить влево, 1 лиц., 4 п. перекрестить вправо, 1 изн., 1 лиц., 1 кром.
44 ряд: 1 кром., 1 изн., 1 лиц., 2 изн., 1 лиц., 3 изн., 1 лиц., 2 изн., 1 лиц., 2 изн., 1 кром.
Узор повторяем с 1-го ряда.
Выделенные петли вязать согласно общей схемы узора.


Схема узора № 2
Сначала я выделила раппорт узора.
Так как ряды колокольчиков одинаковые, я их разделила на 2-е схемы и вязала попеременно, сначала схему А, затем схему В, и так их меняла между собой. При вязании высоких узоров, короткие схемы читать намного удобнее.

Чтобы выровнять начало вязания, от верхней схемы опустила голубую линию.
Раппорт узора состоит из 14 петель. Вязать мы будем на 23 петлях (7 петель перед раппортом) + 2 кромочные.

** - звездочками выделен раппорт узора. 
Узор формируется по схеме А. Провязав петли перед раппортом, далее постоянно повторяйте раппорт узора от *-* до нужной длины полотна.
Перейдя на схему В, повторяйте раппорт узора *-* до нужной длины полотна не провязывая петли за раппортом. Их провяжите в самом конце вязания.

Описание вязания узора

Схема А

1 ряд: 1 кром., 2 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., *9 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.,* - раппорт, 1 кром.
2 ряд: 1 кром., *5 лиц., 9 изн.* - раппорт, 5 лиц., 2 изн., 1 кром.
3 ряд: 1 кром., 1 изн., 3 лиц., 1 изн., *9 лиц., 1 изн., 3 лиц., 1 изн.*, 1 кром.
4 ряд: 1 кром.,*1 лиц., 3 изн., 1 лиц., 9 изн.*, 1 лиц., 3 изн., 1 лиц., 2 изн., 1 кром.
5 ряд: 1 кром., 2 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., *9 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.,*, 1 кром.
6 ряд: 1 кром., *5 лиц., 9 изн.*, 5 лиц., 2 изн., 1 кром.
7 ряд: 1 кром., 2 лиц., 1 изн., 3 лиц., 1 изн., *9 лиц., 1 изн., 3 лиц., 1 изн.,* 1 кром.
8 ряд: 1 кром. *1 лиц., 3 изн., 1 лиц., 9 изн.*, 1 лиц., 3 изн., 1 лиц., 2 изн., 1 кром.
9 ряд: 1 кром., 2 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., *9 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.,*, 1 кром.
10 ряд: 1 кром., * 5 лиц., 9 изн.*, 5 лиц, 2 изн., 1 кром.
11 ряд: 1 кром., 2 лиц., 1 изн., 3 лиц., 1 изн., *9 лиц., 1 изн., 3 лиц., 1 изн.,*, 1 кром.
12 ряд: 1 кром., *1 лиц., 3 изн., 1 лиц., 9 изн.*, 1 лиц., 3 изн., 1 лиц., 2 изн., 1 кром.
13 ряд: 1 кром., 2 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., *4 п. перекрестить влево, 1 лиц., 4 п. перекрестить вправо, 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.*, 1 кром. 
14 ряд: 1 кром., 5 лиц., 9 изн.*, 5 лиц., 2 изн., 1 кром.
15 ряд: 1 кром., 2 лиц., 1 изн., 3 лиц., 1 изн., *2 лиц., 5 п. перекрестить влево, 2 лиц., 1 изн., 3 лиц., 1 изн.,*, 1 кром.
16 ряд: 1 кром., *1 лиц., 3 изн., 1 лиц., 9 изн.*, 1 лиц., 3 изн., 1 лиц., 2 изн., 1 кром.
17 ряд: 1 кром., 2 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.,*9 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.,*, 1 кром.
18 ряд: 1 кром., *5 лиц., 9 изн.*, 5 лиц., 2 изн., 1 кром.
19 ряд: 1 кром., 2 лиц., 1 изн., 3 лиц., 1 изн., *2 лиц., 5 п. перекрестить влево, 2 лиц., 1 изн., 3 лиц., 1 изн.*, 1 кром.
20 ряд: 1 кром., *1 лиц., 3 изн., 1 лиц., 9 изн.*, 1 лиц., 3 изн., 1 лиц., 2 изн., 1 кром.
21 ряд: 1 кром., 2 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., *4 п. перекрестить вправо, 1 лиц., 4 п. перекрестить влево, 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн., 1 кром.
22 ряд: 1 кром., *1 лиц., 3 изн., 1 лиц., 2 изн., 1 лиц., 3 изн., 1 лиц., 2 изн.*, 1 лиц., 3 изн., 1 лиц., 2 изн., 1 кром.

 Схема В

23 ряд: 1 кром., *9 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.*, 7 лиц., 1 кром.
24 ряд: 1 кром., 7 изн., *5 лиц., 9 изн.*, 1 кром.
25 ряд: 1 кром., *9 лиц., 1 изн., 3 лиц., 1 изн.*, 7 лиц., 1 кром.
26 ряд: 1 кром., 7 изн., *1 лиц., 3 изн., 1 лиц., 9 изн.*, 1 кром.
27 ряд: 1 кром., *9 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.*, 7 лиц., 1 кром.
28 ряд: 1 кром., 7 изн., *5 лиц., 9 изн.*, 1 кром.
29 ряд: 1 кром., *9лиц., 1 изн., 3 лиц., 1 изн*, 7 лиц., 1 кром.
30 ряд: 1 кром., 7 изн., *1 лиц., 3 изн., 1 лиц., 9 изн.*, 1 кром.
31 ряд: 1 кром., *9 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.*, 7 лиц., 1 кром.
32 ряд: 1 кром., 7 изн., *5 лиц., 9 изн.*, 1 кром.
33 ряд: 1 кром., *9 лиц., 1 изн., 3 лиц., 1 изн.*, 7 лиц., 1 кром.
34 ряд: 1 кром., 7 изн., *1 лиц., 3 изн., 1 лиц., 9 изн.*, 1 кром.
35 ряд: 1 кром., *4 п. перекрестить влево, 1 лиц., 4 п. перекрестить вправо, 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.*, 4 п. перекрестить влево, 3 лиц., 1 кром.
36 ряд: 1 кром., 7 изн., *5 лиц., 9 изн.*, 1 кром.
37 ряд: 1 кром., *2 лиц., 5 п. перекрестить влево, 2 лиц., 1 изн., 3 лиц., 1 изн.*, 2 лиц., 5 п. перекрестить влево, 1 кром.
38 ряд: 1 кром., 7 изн., *1 лиц., 3 изн., 1 лиц., 9 изн*, 1 кром.
39 ряд: 1 кром., *9 лиц., 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.*, 7 лиц., 1 кром.
40 ряд: 1 кром., 7 изн., *5 лиц., 9 изн.*, 1 кром.
41 ряд: 1 кром., *2 лиц., 5 п. перекрестить влево, 2 лиц., 1 изн., 3 лиц., 1 изн.*, 2 лиц., 5 п. перекрестить влево, 1 кром.
42 ряд: 1 кром., 7 изн., *1 лиц., 3 изн., 1 лиц., 9 изн.*, 1 кром.
43 ряд: 1 кром., *4 п. перекрестить вправо, 1 лиц., 4 п. перекрестить влево, 1 изн., 1 накид, 3 п. вместе, 1 накид, 1 изн.*, 4 п. перекрестить вправо, 3 лиц., 1 кром.
44 ряд: 1 кром., 1 лиц., 3 изн., 1 лиц., 2 изн., *1 лиц., 3 изн., 1 лиц., 2 изн., 1 лиц., 3 изн., 1 лиц., 2 изн.*, 1 кром.
Узор повторяем с 1-го ряда (Схема А)

          Домашний сироп от кашля, который позволит избавиться от мокроты в легких      Cache   Translate Page      
Домашний сироп от кашля, который позволит избавиться 
от мокроты в легких

Лук обладает мощным противоспалительным и дезинфицирующим эффектом. Чтобы дополнить курс лечения от кашля, попробуй оставлять тарелочку с нарезанным луком возле кровати на ночь.

Существуют различные типы кашля. Так называемый «кашель с мокротой» (это медицинский термин) сопровождается определенными симптомами, против которых очень эффективны народные средства.

В этой статье ты сможешь узнать больше о домашнем сиропе, который поможет вывести мокроту из легких , а также о других домашних лекарственных средствах.

Сильный кашель: что следует знать
Если ты чувствуешь стеснение в груди или свист при дыхании, если при кашле у тебя выделяется мокрота или ты ощущаешь слизь в дыхательных путях или груди, у тебя, очевидно, кашель с мокротой. Мокрый кашель связан с накоплением густой слизи трех цветов: белого, желтого и зеленого. 

Кашель — это естественный ответ организма на раздражитель (в данном случае, слизь), который его беспокоит и не удаляется из легких естественным образом. Симптомы мокрого кашля — это:

Продолжительный кашель
Липкая слизь, которая выделяется при кашле
Свистящий звук при кашле или дыхании
Давящее ощущение в груди
Тяжесть или ощущение инородного тела в горле
Сильный кашель по утрам.
Как мы уже сказали ранее, слизь может быть разного цвета, на это важно обращать внимание, чтобы знать, как улучшить свое состояние: 

Если она светлая или прозрачная, то это нормально.
Если слизь желтая, это связано с ответом иммунной системы на воспаление дыхательных путей.
Если она зеленая, это связано с бактериальной инфекцией, такой как бронхит.
Если слизь коричневая, это связано со смогом или загрязнением воздуха.
Если слизь серая, скорее всего, ты куришь.
Если слизь розовая, наверняка у тебя астма.

Домашний сироп для лечения кашля и мокроты


Это очень эффективный рецепт для удаления слизи из легких, им можно лечить и маленьких детей. Необходимые ингредиенты:

Одна столовая ложка корня алтея лекарственного
Одна столовая ложка семян льна
Одна столовая ложка алоэ
Один лимон, нарезанный кружочками
Одна чашка воды
Одна чашка коричневого сахара.
Налей в кастрюлю воду, добавь к ней сахар, доведи до кипения и помешивай, пока сахар полностью не растворится. Добавь все остальные ингредиенты, хорошо перемешай и сними с огня. Оставь на пятнадцать минут, процеди смесь и перелей ее в банку с плотно закрывающейся крышкой. Принимай по столовой ложке этого сиропа три раза вдень, пока твое состояние не улучшится. Храни сироп в холодильнике, чтобы он не испортился.

Домашние средства против кашля с мокротой
Ты можешь дополнить сироп, рецепт которого мы даем выше, другими народными средствами против мокроты.

Паровая баня
Это одно из древнейших домашних средств — оно очень эффективно для того, чтобы навсегда попрощаться с кашлем. Ты можешь вдыхать простой водяной пар или добавить к воде щепотку крупной соли и лекарственные растения, которые помогают вылечить заболевания дыхательных путей, например, мяту, эвкалипт, бузину, тимьян и шалфей. Доведи воду в кастрюле до кипения, поставь кастрюлю на стол, накрой голову полотенцем и вдыхай пар до тех пор, пока вода не остынет.

Средство из меда и перца
Оба ингредиента обладают мощными отхаркивающими свойствами, поэтому помогают слизи удаляться из организма через кашель. Смешай одну столовую ложку меда с щепоткой черного молотого перца и принимай дважды в день.

Средство на основе лука
Это растение обладает множеством полезных свойств для нашего здоровья. Например, лук — это отличное противоинфекционное и противоспалительное средство, особенно для дыхательных путей. Самый простой рецепт для лечения мокрого кашля: разрежь луковицу напополам и вдыхай ее аромат.

Другой возможный вариант — приготовить чай из одной луковицы и одного литра кипящей воды (выпивай три чашки процеженного и подслащенного чая с медом, имбирем и лимоном).

Средство для избавления от слизи на основе чеснока
Также отлично походят для лечения дыхательных заболеваний. Это происходит из-за того, что чеснок содержит множество важных компонентов, которые работают как природный антибиотик. Ты можешь нарезать зубчик чеснока и съесть его сырым или добавлять чеснок в салаты. Можно также сделать настой, отварив чеснок несколько минут в кипящей воде, по тому же принципу, как и рецепт из лука.

Лекарство из молока и имбиря
Тебе понадобится небольшое количество корня имбиря и один стакан горячего молока. Имбирь обладает отхаркивающим действием, молоко помогает избавиться от слизи и согревает горло. Смешай обо ингредиента и выпей смесь, пока она не остыла. Это поможет быстро и эффективно вылечить мокрый кашель.


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Kim Anh Vo, 20, was charged Tuesday with conspiring to provide material support for the terrorist organization. Prosecutors say she recruited online members, including a minor.
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Who is Georgia-Pacific?Watch to find out! Georgia Pacific has an immediate opening for a Plant Engineer at our Lovell, WY Gypsum facility. The Plant Engineer...
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          Electrical Technician - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
Experience diagnosing mechanical and electronic systems using scanning and diagnostic tools, multimeters and computers....
From Koch Industries, Inc. - Sat, 23 Feb 2019 08:56:43 GMT - View all Lovell, WY jobs
          Production Operator - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
Driving forklifts to move material throughout the work site. Who is Georgia-Pacific?Watch to find out!...
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          Production Operator - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
This is an entry level position starting at $19.50 per hour. Who is Georgia-Pacific?Watch to find out!...
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          DKT. MPANGO AWASILISHA MAPENDEKEZO YA SERIKALI KWA MWAKA 2019/20      Cache   Translate Page      
Waziri wa Fedha na Mipango, Mhe. Dkt. Philip Isdory Mpango (Mb) amesema katika Mapendekezo ya Kiwango na Ukomo wa Bajeti ya Serikali kwa mwaka 2019/20, Shilingi bilioni 33,105.4 zitatumika kwa matumizi ya kawaida na maendeleo. 


MAELEZO YA WAZIRI WA FEDHA NA MIPANGO, MHESHIMIWA DKT. PHILIP I. MPANGO (MB) AKIWASILISHA MAPENDEKEZO YA
SERIKALI YA MPANGO WA MAENDELEO WA TAIFA
NA YA KIWANGO NA UKOMO WA BAJETI YA
SERIKALI KWA MWAKA 2019/20

UTANGULIZI


1.           Mheshimiwa Mwenyekiti, awali ya yote napenda kuchukua fursa hii kumshukuru Mwenyezi Mungu kwa kuendelea kutujalia uhai na afya njema na kutuwezesha wabunge wote kukutana tena hapa Jijini Dodoma, kupokea mapendekezo ya Serikali ya Mpango wa Maendeleo wa Taifa na ya Kiwango na Ukomo wa Bajeti ya Serikali kwa mwaka 2019/20, kwa mujibu wa Kanuni ya 97 fasili ya (1) na (2) ya Kanuni za Kudumu za Bunge Toleo la Januari 2016. Aidha, tunamshukuru Mwenyezi Mungu kwa kuendelea kuijalia nchi yetu umoja na amani.

2.           Mheshimiwa Mwenyekiti, naomba kutumia fursa hii kuwapongeza Mheshimiwa Angellah Jasmine Kairuki (Mb), Mheshimiwa Dkt. Augustine Philip Mahiga (Mb), Mheshimiwa Prof. Palamagamba Aidan Kabudi (Mb), Mheshimiwa Doto Mashaka Biteko (Mb), Mheshimiwa Joseph George Kakunda (Mb) na Mheshimiwa Japhet Ngailonga Hasunga (Mb) kwa kuteuliwa na Mheshimiwa Rais wa Jamhuri ya Muungano wa Tanzania kuwa Mawaziri ili kuongoza wizara mbalimbali. Ni matumaini yangu  kuwa Waheshimiwa Mawaziri mlioteuliwa na Waheshimiwa Wabunge wote mtaendelea kunipatia ushirikiano katika kuijenga nchi yetu kwa manufaa ya Watanzania wote.

3.           Mheshimiwa Mwenyekiti, taarifa hii inawasilisha Mapendekezo ya Serikali ya Mpango wa Maendeleo wa Taifa na ya kiwango na ukomo wa bajeti ya Serikali kwa mwaka ujao wa fedha 2019/20 ambayo imegawanyika katika sehemu kuu tatu. Sehemu ya kwanza ni tathmini ya mwenendo wa hali ya uchumi. Sehemu ya pili ni Mapitio ya Utekelezaji wa Mpango wa Maendeleo wa mwaka 2018/19 na Mapendekezo ya Serikali ya Mpango wa Maendeleo wa Taifa kwa mwaka 2019/20. Sehemu ya tatu ni tathmini ya utekelezaji wa bajeti kwa mwaka 2018/19 na mapendekezo ya kiwango na ukomo wa bajeti ya Serikali kwa mwaka 2019/20.







SEHEMU YA KWANZA

TATHMINI YA MWENENDO WA HALI UCHUMI

4.           Mheshimiwa Mwenyekiti, kutokana na juhudi za Serikali ya Awamu ya Tano inayoongozwa na Mheshimiwa Dkt. John Pombe Joseph Magufuli katika kuiandaa nchi kuelekea uchumi wa kipato cha kati, uchumi umeendelea kuimarika. Pato la Taifa  kwa kutumia mwaka wa kizio 2015 linaonesha kuwa katika robo ya tatu (Julai hadi Septemba) ya mwaka 2018, Pato la Taifa lilikua kwa wastani wa asilimia 6.8 ikilinganishwa na asilimia 5.0 kipindi kama hicho mwaka 2017. Shughuli za kiuchumi zilizokuwa kwa kasi kubwa ya ukuaji ni afya (asilimia 13.2), usafirishaji na uhifadhi mizigo (asilimia 12.4); Maji (asilimia 10.7); Ujenzi (asilimia 7.4); Habari na Mawasiliano (asilimia 7.3); viwanda (asilimia 7.3); na Biashara na Matengenezo (asilimia 7.3).

5.           Mheshimiwa Mwenyekiti, katika mwaka 2018, mwenendo wa mfumuko wa bei nchini uliendelea kuwa tulivu katika wigo wa tarakimu moja kutokana na kuimarika kwa hali ya upatikanaji wa chakula nchini na nchi jirani pamoja na usimamizi madhubuti wa sera za fedha na bajeti za Serikali. Mfumuko wa bei ulipungua kutoka wastani wa asilimia 4.0 Januari 2018, hadi kufikia asilimia 3.4 Juni 2018 na kuendelea kupungua zaidi hadi asilimia 3.0 Januari 2019.

6.           Mheshimiwa Mwenyekiti, katika kipindi cha mwaka unaoishia Januari 2019 thamani ya mauzo ya bidhaa na huduma nchi za nje ilikuwa dola za Marekani milioni 8,300.0 na thamani ya bidhaa na huduma zilizonunuliwa kutoka nje ilikuwa dola za Marekani milioni 10,462.6. Kwa upande wa nakisi ya urari wa biashara ya bidhaa, huduma na uhamisho wa mali nchi za nje ilikuwa dola za Marekani milioni 2,982.2 kutokana na kuongezeka kwa thamani ya bidhaa za mitaji zilizoagizwa kutoka nje ya nchi kwa ajili ya miradi mikubwa ya maendeleo. Kwa matokeo hayo akiba ya fedha za kigeni ni Dola za Marekani milioni 4,884.4 Januari 2019, kiasi kinachotosheleza kuagiza bidhaa na huduma kutoka nje ya nchi kwa kipindi cha takribani miezi 4.8. Kiwango hiki ni zaidi ya lengo la nchi wanachama wa Jumuiya ya Afrika Mashariki la miezi 4.5.

7.           Mheshimiwa Mwenyekiti, Ujazi wa fedha kwa tafsiri pana zaidi (M3) uliongezeka kwa wastani wa asilimia 6.6 katika mwaka 2018 ikilinganishwa na ongezeko la wastani wa asilimia 5.5 katika kipindi cha mwaka 2017. Mwenendo huo ulichangiwa na kuimarika kwa ukuaji wa mikopo kwa sekta binafsi kulikotokana na jitihada za Serikali kupitia Benki Kuu katika kuchochea ongezeko la mikopo kwa sekta binafsi. Riba za dhamana za muda mfupi za Serikali zilipungua hadi wastani wa asilimia 6.4 ikilinganishwa na wastani wa asilimia 11.1 mwaka 2017. Vile vile, riba za mikopo ya benki za biashara kwa sekta binafsi zimeendelea kupungua kutoka wastani wa asilimia 17.8 mwaka 2017 hadi wastani wa asilimia 17.4 mwaka 2018.

8.           Mheshimiwa Mwenyekiti, Mikopo kwa sekta binafsi iliendelea kuimarika kufuatia utekelezaji wa sera ya kuongeza ukwasi kwenye uchumi pamoja na jitihada zilizochukuliwa na Serikali kupitia Benki Kuu katika kuchochea ongezeko la mikopo kwa sekta binafsi. Kasi ya ukuaji wa mikopo kwa sekta binafsi imeendelea kuongezeka ambapo Januari 2019 ilikuwa asilimia 7.3 ikilinganishwa na asilimia 2.1 Januari 2018. Sehemu kubwa ya mikopo kwa sekta binafsi imeendelea kuelekezwa katika shughuli binafsi (asilimia 27.9 ya mikopo yote) ikifuatiwa na shughuli za biashara zilizopata asilimia 18.4, uzalishaji viwandani (asilimia 11.6) na kilimo (asilimia 7.8).

9.           Mheshimiwa Mwenyekiti, mwenendo wa thamani ya Shilingi dhidi ya Dola ya Marekani umeendelea kuwa tulivu ambapo katika mwaka 2018, Dola moja ya Marekani ilinunuliwa kwa wastani wa Shilingi 2,263.8. Hii ni kutokana na utekelezaji madhubuti wa sera za fedha, usimamizi thabiti wa mapato na matumizi ya Serikali, matumizi ya gesi asilia na umeme wa maji badala ya mafuta katika kuzalisha umeme na baadhi ya viwanda nchini kuzalisha bidhaa ambazo awali zilikua zikiagizwa kwa wingi kutoka nje.

10.       Mheshimiwa Mwenyekiti, Serikali ya Awamu ya Tano, itaendelea kutekeleza sera madhubuti za fedha na bajeti ili kuhakikisha uchumi wa nchi yetu unaendelea kuimarika.

SEHEMU YA PILI

TATHMINI YA UTEKELEZAJI WA MPANGO WA MWAKA 2018/19 NA MAPENDEKEZO YA MPANGO WA MAENDELEO WA MWAKA 2019/20

A.           TATHMINI YA UTEKELEZAJI WA MPANGO WA MWAKA 2018/19

11.       Mheshimiwa Mwenyekiti, katika mwaka 2018/19, Serikali ilitenga Shilingi bilioni 12,007.3 kwa ajili ya miradi ya maendeleo, zikijumuisha Shilingi bilioni 9,876.4 fedha za ndani na Shilingi bilioni 2,130.9 fedha za nje. Hadi Januari 2019, jumla ya Shilingi bilioni 2,788.5 zilitolewa kwa ajili ya kugharamia miradi ya maendeleo. Aidha, Shilingi bilioni 144 zilipokelewa kutoka kwa Washirika wa Maendeleo na kupelekwa moja kwa moja kwenye miradi ya maendeleo inayotekelezwa kwenye Wizara, Taasisi na Wakala za Serikali, Sekretaieti za Mikoa na Mamlaka za Serikali za Mitaa. Vile vile, Shilingi bilioni 3,803.4 zimetumika kulipa mikopo iliyotumika kutekeleza miradi mbalimbali ya maendeleo. Serikali imeshatenga na inatarajia kutoa kiasi cha Shilingi bilioni 1,433.8 kwa ajili ya kugharamia miradi mbalimbali ya maendeleo, ukiwemo mradi wa kufua umeme kwa kutumia nguvu ya maji Mto Rufiji (MW 2,115).

12.       Mheshimiwa Mwenyekiti, hatua zilizofikiwa katika utekelezaji wa baadhi ya miradi ya maendeleo katika mwaka 2018/19 ni kama ifuatavyo:

(i)           Ujenzi wa Reli ya Kati kwa kiwango cha Standard GaugeUjenzi wa kipande cha Dar es Salaam – Morogoro (km 300) unaendelea vizuri kama ilivyopangwa, ambapo shughuli zinazoendelea ni ujenzi wa madaraja, makalavati, daraja lenye urefu wa km 2.54 katikati ya jiji la Dar es Salaam, ukataji wa miinuko, ujazaji wa mabonde na utandikaji wa reli. Katika kipande cha Morogoro – Makutupora (km 422), kazi zinazoendelea ni pamoja na ukataji wa miinuko na ujazaji wa mabonde, usanifu wa njia na ujenzi wa kambi za Kilosa na Ihumwa. Kwa upande wa kipande cha Isaka – Rusumo (km 371), hatua iliyofikiwa ni kukamilika kwa mapitio ya upembuzi yakinifu na usanifu wa awali wa njia ya reli. Aidha, taratibu za ununuzi wa mabehewa, injini na mitambo itakayotumika kutoa huduma ya usafiri kwenye reli ya Standard Gauge zipo katika hatua za mwisho.

Katika miradi inayogharamiwa na mfuko wa reli, shughuli zilizofanyika ni: kununua vichwa 11 vya treni kwa ajili reli ya kati; kuendelea na ukarabati wa reli ya Tanga - Arusha (km 439) ambapo kipande cha Tanga – Mombo (km 129) kimeanza kufanya kazi ya kusafirisha mizigo na ukarabati wa vipande vya Mombo – Same (km124) na Same – Arusha (km 186) unaendelea. Aidha, kazi ya ukarabati wa mabehewa inaendelea ambapo hatua iliyofikiwa ni kukamilika kwa ukarabati wa mabehewa 15.

(ii)         Mradi wa Kufua Umeme wa Maji Rufiji - MW 2,115: Hatua iliyofikiwa ni: kupatikana kwa mkandarasi wa mradi wa kufua umeme utokanao na nguvu ya maji katika Mto Rufiji ambaye ni Kampuni ya Ubia kati ya Arab Contractors naElsewedy Electric S.A.E kutoka Misri ambapo mkataba wa ujenzi umesainiwa na mkandarasi alikabidhiwa eneo la mradi mwezi Februari 2019. Mafanikio yaliyopatikana ni pamoja na ukamilishaji wa ujenzi wa miundombinu wezeshi ikijumuisha njia ya umeme wa msongo wa kV 33 kutoka Msamvu hadi eneo la mradi; mifumo ya huduma ya maji na ya mawasiliano ya simu; kukamilika kwa ujenzi wa nyumba 10 na kuendelea na ukarabati wa nyumba 28 za iliyokuwa kambi ya RUBADA; ujenzi wa barabara za Kibiti - Mloka – Mtemere – MatambweJunction – Mto Rufiji (km 210) na Ubena Zomozi – Mvuha – Kisaki – MtemereJunction (km 178.39) zimekamilika.

(iii)       Kuboresha Shirika la Ndege TanzaniaHatua iliyofikiwa ni: kuwasili kwa ndege nyingine tatu, moja ikiwa ni aina ya Boeing 787-8 Dreamliner na mbili zikiwa ni Airbus A220-300, na hivyo kufanya idadi ya ndege zilizonunuliwa kuwa sita; kulipa sehemu ya gharama za ununuzi wa ndege moja aina ya Boeing 787-8 Dreamliner na Bombadier Q400 zinazotarajiwa kuwasili nchini mwishoni mwa mwaka 2019. Kufuatia hatua hiyo, ATCL itaanzisha safari za ndege kwenda nchini China na India ambazo kimkakati ndizo masoko mapya ya utalii.

(iv)        Miradi ya Umeme: Hatua iliyofikiwa ni: kukamilika kwa njia ya kusafirisha umeme yenye urefu wa km 250 ya msongo wa kV 220 Makambako – Songeapamoja na vituo vitatu vya kupoza umeme vya Makambako, Madaba na Songea, hivyo kuwezesha mikoa ya Njombe na Ruvuma kuunganishwa katika Gridi ya Taifa; kuendelea na mradi wa kusafirisha umeme wa msongo wa kV 400 wa Singida – Arusha – Namanga wenye urefu wa km 414; kuendelea na miradi ya kusafirisha umeme ya Geita – Nyakanazi (kV 220), Rusumo – Nyakanazi (kV 220) na Bulyankulu – Geita (kV 220); kuendelea na utekelezaji wa mradi waKusambaza Umeme Vijijini na Makao Makuu ya Wilaya ambapo vijiji 1,782 na wateja 96,832 wameunganishiwa umeme hivyo kufikia jumla ya vijiji 1,039 vilivyounganishwa na umeme; kukamilisha utengenezaji wa mitambo minne ya kufua umeme na kupelekwa mitambo miwili ya kufua umeme katika eneo la mradi wa Kinyerezi I Extension – MW 185; Mradi wa Kufua Umeme wa Rusumo MW 80: Hatua iliyofikiwa ni: kukamilika kwa ujenzi wa barabara za kuingia eneo la mradi; kukamilika kwa ujenzi wa kikinga maji; kuanza kazi ya kuchimba handaki la kupitisha maji; kuendelea na uchimbaji wa eneo itakapofungwa mitambo; na kukamilika kwa ujenzi wa nyumba mbili kati ya tano za wafanyakazi.

(v)         Huduma za Maji Mijini na Vijijini: miradi 65 imekamilika na kufanya jumla ya miradi yote iliyokamilika kufikia 1,659 na vituo vya kuchotea maji kuongezeka hadi 131,370 na kuhudumia wananchi 25,359,290. Upatikanaji wa huduma za maji Jijini Dar es Salaam umefikia asilimia 85, katika mikoa mingine asilimia 80, miji midogo asilimia 64 na vijijini asilimia 64.8. Aidha, utekelezaji wa miradi ya maji katika maeneo mengine unaendelea katika hatua mbalimbali ikiwa ni pamoja na mradi wa maji wa Ziwa Victoria – Igunga - Nzega na Tabora, mradi wa maji katika jiji la Arusha na Same – Mwanga - Korogwe. Vile vile, utekelezaji wa mradi wa maji katika miji 28 wenye thamani ya Dola za Kimarekani Milioni 465 upo katika hatua za kumpata Mtaalamu Mwelekezi na Mkandarasi wa mradi.


(vi)        Miradi ya Afya: Serikali imeendelea kuimarisha huduma za afya kwa kuongeza upatikanaji wa dawa muhimu katika vituo vya kutolea huduma za afya kwa asilimia 96. Hatua nyingine zilizofikiwa ni pamoja na: kukamilika kwa ujenzi wa jengo la vifaa vya uchunguzi (X–Ray Building)  na kununua vifaa vya tiba ya mionzi katika Hospitali ya Rufaa ya Mbeya; na kuongeza utoaji wa chanjo kufikia asilimia 97. Aidha, Serikali imeendelea kuboresha miundombinu ya afya katika ngazi zote ikijumuisha ujenzi na ukarabati wa hospitali za rufaa za mikoa, kanda na kitaifa; ujenzi wa hospitali za halmashauri 67; ujenzi wa vituo vya kutolea huduma za afya 352; kuajiriwa kwa watumishi wa sekta ya afya 7,680; ujenzi wa nyumba 310 za watumishi wa afya; ununuzi wa vifaa na vifaa tiba kwa Hospitali za Rufaa za Mikoa, Hospitali za halmashauri, Vituo vya Afya na Zahanati. Serikali imeendelea kuimarisha huduma za matibabu ya kibingwa kwa kuboresha miundombinu ya kutolea huduma, ununuzi wa vifaa tiba vya kisasa na hivyo kupunguza rufaa za wagonjwa nje ya nchi katika hospitali za Muhimbili, Taasisi ya Moyo ya Jakaya Kikwete (JKCI), Taasisi ya Saratani ya Ocean Road (ORCI), Taasisi ya Mifupa (MOI),  hospitali ya Benjamin Mkapa na Hospitali ya Taaluma na Tiba ya Chuo Kikuu cha Afya na Sayansi Shirikishi – Mloganzila.

(vii)      Miradi ya Elimu: Serikali imeendelea kugharamia elimumsingi bila ada ambapo kila mwezi kiasi cha shilingi bilioni 24.4 kinatumika. Hatua nyingine zilizofikiwa ni: ujenzi na ukarabati wa miundombinu ya kufundishia na kujifunzia ikijumuisha madarasa 870, matundu ya vyoo 1,958, mabweni 210, mabwalo 79; ukarabati wa shule kongwe; ujenzi na ukarabati wa miundombinu katika vyuo vya ualimu Ndala, Shinyanga, Patandi, Mpuguso na Murutunguru; kukamilisha maboma ya madarasa, mabweni na nyumba za walimu 39; ukarabati wa vyuo vya kati 20 kati ya 54 vya Maendeleo ya Wananchi (FDCs), nyumba za walimu 39; kukamilika na kuzinduliwa kwa Maktaba ya Kimataifa yenye uwezo wa kuhudumia wanafunzi 2,600 kwa wakati mmoja katika Chuo Kikuu cha Dar es Salaam; ujenzi wa mabweni katika Chuo Kikuu cha Mzumbe yenye uwezo wa kuchukua wanafunzi 1,000; ujenzi na ukarabati wa miundombinu katika vyuo vikuu vya Sokoine na Dar es Saaalm; na mikopo kwa wanafunzi wa Elimu ya Juu 119,214; uimarishaji wa vyuo 10 vipya vya VETA na kukuza ujuzi kwa vijana; na ujenzi wa shule kwa ajili ya wanafunzi wenye mahitaji maalum katika chuo cha Ualimu Patandi.




(viii)    Kilimo: Utoshelevu wa Chakula kwa mwaka 2018/19 umefikia asilimia 124. Aidha, Serikali imeanza utekelezaji wa Programu ya Kuendeleza Sekta ya Kilimo awamu ya pili (ASDP II) na mkazo umewekwa katika kuendeleza mazao ya kimkakati yakiwemo Kahawa, Pamba, Chai, Korosho, Tumbaku, Alizeti, Michikichi, Mpunga na Mahindi. Ili kuongeza ukuaji wa sekta ya kilimo, Serikali inaendelea kuimarisha shughuli za ushirika, ujenzi wa maghala na vihenge vya kisasa vyenye uwezo wa kuhifadhi tani 250,000 katika kanda saba, kuongeza uzalishaji wa mbegu za mafuta hususan alizeti na michikichi, kuimarisha shughuli za utafiti wa mazao, kuongeza thamani ya mazao ya kilimo kwa kufufua vinu vya kusindika mazao ya nafaka na mafuta, kudhibiti visumbufu vya mazao, kuimarisha mifumo ya upatikanaji wa pembejeo za kilimo na kuimarisha mifumo ya masoko ya mazao. Vile vile, Serikali imeanza kuboresha mifumo ya takwimu za kilimo kwa kuanza usajili wa Wakulima.

(ix)        Mifugo: Hatua iliyofikiwa ni kuendelea kuimarisha vituo 3 vya kuzalisha vifaranga vya samaki vya Kingolwira (Morogoro), Mwampuli (Igunga) na Ruhila (Songea) kwa kuzalisha na kusambaza vifaranga vya samaki kwa wafugaji wa  samaki wakiwemo vijana. Aidha, Serikali kwa kushirikiana na sekta Binafsi imeweza kuzalisha jumla ya vifaranga 17,301,076 kama ifuatavyo: kambamiti 11,080,000, sato 5,072,800 na kambale 1,148,276. Vile vile, jumla ya wananchi 6,995 wamepatiwa elimu ya ugani katika ukuzaji wa viumbe maji.

(x)         Mradi wa Bomba la Kusafirisha Mafuta Ghafi kutoka Hoima (Uganda) hadi Tanga (Tanzania): Hatua iliyofikiwa ni: kukamilika kwa tathmini ya athari za mazingira na jamii kwa upande wa Tanzania; kukamilika kwa tafiti za kijiolojia katika eneo la Chongoleani; kukamilika kwa tathmini za Kijiolojia na Kijiofizikia katika eneo la mkuza wa bomba; na kutwaa ardhi eneo la Bandari – Tanga (Chongoleani) kutakapojengwa miundombinu ya kuhifadhi mafuta.

(xi)        Miradi ya Viwanda: Kiwanda cha Kuunganisha Matrekta (TAMCO, Kibaha): Hatua iliyofikiwa ni: kuingiza matrekta 822 aina ya URSUS (semi knocked down) ambapo matrekta 571 yameunganishwa na matrekta 339 yameuzwa; Kituo cha Zana za Kilimo na Ufundi Vijijini – CAMARTEC: kutengeneza zana zikijumuisha mashine 64 za kupandia mbegu za pamba, kusaga karanga, kukausha mbogamboga na kukata majani pamoja na  ujenzi wa mitambo 55 ya biogasSIDO: kuendelea na ujenzi wa majengo ya viwanda 11 katika Mikoa ya Dodoma, Geita, Kagera, Katavi, Manyara, Mtwara na Simiyu na ujenzi wa ofisi za SIDO katika mikoa mipya ya Geita na Katavi.
(xii)      Miundombinu ya Biashara ya Madini: Kazi zilizotekelezwa ni pamoja na ujenzi wa miundombinu ya kuboresha mazingira ya biashara kwenye sekta ya madini ikihusisha: vituo vya umahiri katika mikoa saba, vituo vitatu vya mfano, jengo la taaluma la madini katika chuo cha madini, One Stop centre Mirerani,Brokers house Mirerani, uanzishwaji wa masoko ya madini mikoani, na uwekaji wa mfumo wa ulinzi wa kidigitali Mirerani, ununuzi wa mtambo wa uchorongaji miamba kwa ajili ya kusaidia wachimbaji wadogo kupitia STAMICO.

(xiii)    Ardhi na Makazi: Kazi zilizotekelezwa ni pamoja na: kuandaliwa na kusajiliwa kwa Hati Milki 110,000 na Hati za Kimila 133,000; kuandaliwa kwa mipango ya matumizi ya ardhi ya vijiji 263 katika Wilaya 45; kuandaliwa kwa Mipango Kabambe ya miji mikuu ya mikoa ya Arusha, Mwanza, Mtwara, Mara, Singida, Iringa na Pwani, Ruvuma, Tabora na Simiyu; kuendelea na hatua za maandalizi ya Mipango Kabambe ya miji mikuu ya mikoa ya Dar es Salaam, Morogoro, Rukwa, Shinyanga, Manyara, Dodoma, Tanga, Mbeya, Kagera, Kigoma, Katavi, Lindi, Kilimanjaro, Njombe na Geita; kuanzishwa kwa Mfumo Unganishi wa Taarifa za Ardhi; na kuongezeka kwa idadi ya benki na taasisi za fedha zinazotoa mikopo ya nyumba kufikia 31 na kuwanufaisha wananchi 4,174. Aidha, Mfuko wa Mikopo Midogo Midogo ya Nyumba ulio chini ya Benki Kuu umeongezewa mtaji wa dola za Marekani milioni 18 ambapo taasisi za fedha tano (5) zimepatiwa mtaji wa shilingi bilioni 13.87 kwa ajili ya kukopesha wananchi wa kipato cha chini kwa masharti nafuu.

(xiv)     Ujenzi wa Barabara Dar es Salaam: Hatua iliyofikiwa ni: kukamilika kwa ujenzi wa barabara ya juu katika makutano ya TAZARA (Mfugale flyover); kuendelea na ujenzi wa barabara za muingiliano Ubungo; mradi wa kuendeleza Jiji la Dar es Salaam km 210 za barabara kwa kiwango cha lami; na kuendelea na ujenzi wa barabara ya Morogoro sehemu ya Kimara – Kibaha (km 19) kwa njia nane.

(xv)      Ujenzi wa Meli: Hatua iliyofikiwa ni: kuendelea na Ujenzi wa meli mpya yenye uwezo wa kubeba abiria 1,200 na tani 400 za mizigo katika ziwa Victoria; kufikia asilimia 82 ya ujenzi wa meli moja mpya yenye uwezo wa kubeba abiria 200 na mizigo tani 200 za mizigo katika ziwa Nyasa; na kukamilika kwa ujenzi wa matishari mawili katika Ziwa Nyasa. Kwa upande wa Ziwa Tanganyika, Ujenzi wa Meli Mpya yenye uwezo wa kubeba abiria 600 na tani 400 za mizigo, ambapo uandaaji wa mikataba kwa ajili ya ujenzi wa meli hiyo pamoja na ukarabati wa meli ya MV Liemba umekamilika. Miradi mingine ni kukamilika kwa ujenzi wa kivuko kipya cha Kigongo – Busisi; kukamilika kwa ukarabati wa kivuko cha MV Pangani II; kuendelea kukarabati vivuko vya MV Sengerema, MV Kigamboni na MV Misungwi.

(xvi)     Viwanja vya Ndege: Hatua iliyofikiwa ni: kukamilika kwa asilimia 90.7 ya ujenzi wa jengo jipya la abiria (Terminal III) katika kiwanja cha ndege cha Kimataifa cha Julius Nyerere; kuendelea na upanuzi wa maegesho ya ndege, ujenzi wa jengo la mizigo, uzio wa kiwanja, maegesho ya ndege za mizigo na jengo la kuongozea ndege katika kiwanja cha ndege cha Mwanza. Aidha, ujenzi na ukarabati wa viwanja vya ndege vya mikoa vikiwemo vya Sumbawanga, Kigoma, Shinyanga, Mtwara, Songea, Mara, Songwe, Mbeya, Mwanza, Kigoma, Tabora na Iringa unaendelea.

(xvii)   Mawasiliano: Hatua iliyofikiwa ni: kuendelea na ujenzi wa Mkongo wa Taifa wa Mawasiliano ambapo vituo vitatu (3) vya Mkongo katika maeneo ya Tukuyu, Kibaha na Kahama vimejengwa na kuvipa nguvu vituo vitatu (3) vya mkongo (Optical Line Amplifier (OLA) katika maeneo ya Ifakara, Kidatu na Mafinga; na kuendelea kutekeleza mradi wa Mfumo wa Anwani za Makazi na Postikodi umetekelezwa kwa kubandika vibao vya namba za nyumba katika Halmashauri 12. Vile vile, Mfumo wa Usimamizi na Ufuatiliaji wa Mawasiliano ya Simu (TTMS) umekabidhiwa rasmi kutoka kwa Mkandarasi SGS/GVG ambapo katika kipindi cha Julai, 2018 hadi Februari, 2019 jumla ya miamala 2,004,196,139 imepita katika mitandao ya simu na wastani wa fedha zilizopita ni Shilingi bilioni 12,202.7.

(xviii) Uendelezaji wa Bandari: Bandari ya Dar es S
          Wajumbe wa Bodi ya Wakurugenzi wa TANESCO Watua Rukwa Kukagua Miradi ya Umeme.      Cache   Translate Page      
Meneja wa Shirika la umeme, TANESCO mkoa wa Rukwa, Frank Chambua (kushoto), akitoa maelezo kuhusu upatikanaji wa huduma ya nishati ya umeme katika mkoa huo kwa viongozi wa bodi ya Tanesco nchini walioongozwa na makamu mwenyekiti wa bodi hiyo, Balozi Dkt. James Nzagi, (mwenye shati ya mabaka) mara baada ya kutembelea kituo  cha kupooza umeme kilichopo eneo la majengo mjini Sumbawanga. 
Meneja wa Shirika la umeme TANESCO mkoa wa Rukwa, Frank Chambua (kulia), akitoa maelezo kuhusu upatikanaji wa huduma ya nishati ya umeme katika mkoa huo kwa viongozi wa bodi ya Tanesco nchini walioongozwa na makamu mwenyekiti wa bodi hiyo, Balozi James Nzagi, leo mara baada ya kutembelea kituo  cha kupooza umeme kilichopo eneo la majengo mjini Sumbawanga. 
 Mdhibiti mifumo ya umeme wa TANESCO mkoa wa Rukwa, Halfan Seba (kulia), akitoa maelezo  kuhusu uzalishaji na usambazaji wa nishati ya umeme katika mkoa huo kwa viongozi wa Bodi ya Tanesco nchini walioongozwa na Makamu mwenyekiti wa bodi hiyo, Balozi James Nzagi, leo mara baada ya kutembelea kituo hicho kilichopo eneo la majengo mjini Sumbawanga.
 Mdhibiti mifumo ya umeme wa TANESCO mkoa wa Rukwa, Halfan Seba (kulia), akitoa maelezo  kuhusu uzalishaji na usambazaji wa nishati ya umeme katika mkoa huo kwa viongozi wa Bodi ya Tanesco nchini walioongozwa na Makamu mwenyekiti wa bodi hiyo, Balozi James Nzagi, leo mara baada ya kutembelea kituo hicho kilichopo eneo la majengo mjini Sumbawanga.
 Makamu mwenyekiti wa bodi ya shirika la umeme nchini (TANESCO), Balozi Dkt. James Nzagi  akiambatana na wajumbe wengine wa bodi hiyo kukagua eneo lililotengwa kwa ajili ya  kujengwa kwa kituo cha kupoza umeme wa gridi ya taifa mkondo KV 411 lililopo katika kata ya Malangali mjini Sumbawanga Machi 11, 2019 wakati wa ziara ya viongozi wa bodi hiyo mkoani hapa kukagua miundombinu ya Shirika ikiwa ni pamoja na kuangalia hali ya upatikanaji wa umeme.
 Makamu mwenyekiti wa bodi ya shirika la umeme nchini (Tanesco), Balozi Dkt. James Nzagi (katikati), akitoa maelekezo kwa watendaji wa shirika hilo mkoa wa Rukwa mara baada ya kutembelea kituo cha kuzalisha na kusambaza umeme cha mjini Sumbawanga wakati wa ziara ya viongozi wa bodi ya shirika hilo.
Makamu mwenyekiti wa bodi ya shirika la umeme nchini (Tanesco), Balozi Dkt. James Nzagi (kulia), akitoa maelekezo kwa watendaji wa shirika hilo mkoa wa Rukwa mara baada ya kutembelea kituo cha kuzalisha na kusambaza umeme cha mjini Sumbawanga wakati wa ziara ya viongozi wa bodi ya shirika hilo.

          US Arrests Daesh Cyber Terrorist From State of Georgia - Justice Department      Cache   Translate Page      
WASHINGTON (Sputnik) - A member of the United Cyber Caliphate, an affiliate of the Daesh terror group, has been arrested and charged with recruiting terrorists and publishing lists of people for Daesh devotees to kill, the US Department of Justice announced in a press release on Tuesday.
           Comment on State’s proposed take over of Atlanta’s Hartsfield-Jackson airport misguided by AtlantaJ       Cache   Translate Page      
Ugh: correction: Thanks for referencing Georgia’s “ownership” of the GWCC/Savannah Port. And I am not being snide. This is a phrase I’ve repeatedly heard and wondered, how does a state actually own a convention center/sea port? From whom did they buy it? Seriously, the GWCC/Savannah Port is a complicated entity. Think about it. That the people who run/bungle State Government own the GWCC/Savannah Port should, at the least, cause a collective outbreak of hives. To Google I go to pose the ownership question about who owns GWCC/Savannah Port. I agree with you about the costs of the litigation.
           Comment on State’s proposed take over of Atlanta’s Hartsfield-Jackson airport misguided by AtlantaJ       Cache   Translate Page      
You may have also heard Renee Unterman's catchy phrase, "ATL, this is not your ATM anymore". It's not too difficult to discern that she wants Hartsfield/Jackson to be the State of Georgia's "ATM" instead.
           Comment on State’s proposed take over of Atlanta’s Hartsfield-Jackson airport misguided by AtlantaJ       Cache   Translate Page      
Thanks for referencing Georgia's “ownership” of the GWCC/Savannah Port. And I am not being snide. This is a phrase I’ve repeatedly heard and wondered, how does a state actually own a convention center/sea port? From whom did they buy it? Seriously, this airport is a complicated entity. Think about it. That the people who run/bungle State Government own the airport should, at the least, cause a collective outbreak of hives. To Google I go to pose the ownership question about who owns GWCC/Savannah Port. I agree with you about the costs of the litigation.
           Comment on State’s proposed take over of Atlanta’s Hartsfield-Jackson airport misguided by William James Brotherton       Cache   Translate Page      
Wow, what a fascinating article and the replies are just as good! I grew up in Atlanta when it was a small town and watched as the Hartsfield Airport grew and grew as Atlanta morphed into a city. Somehow, Atlanta has avoided becoming another Detroit or Baltimore, thank goodness, but it has always been an open secret that once Maynard Jackson and his cronies took office that the corruption doors were flung wide open. Just what is wrong with an airport authority operated by the state. Indeed, the comments about the Georgia Ports Authority and the World Congress Center being well-run would seem to support that it's time for the state to do something similar with the Atlanta airport.
          Afghan Horse      Cache   Translate Page      





In the mid-1980s, the Iran–Contra affair was a United States political scandal that happened during the Reagan administration. Senior Reagan administration officials, aided by the Central Intelligence Agency (CIA), secretly facilitated the sale of arms to Iran, the proceeds of which were intended to fund the Nicaraguan Contras, in defiance of the Boland Amendment which prohibited the funding of Nicaraguan government rebels. At the time, Iran was under an arms embargo by the U.S., but officials hoped that the illegal arms sales would secure the release of American hostages being held in Iran, while at the same time, allow the CIA to fund the Nicaraguan Contras surreptitiously.

To pull off this clandestine feat, the CIA conspired with the Sinaloa Cartel in Mexico, to sell cocaine in the United States, especially southern California. The money raised was used to covertly buy the illegal arms for the Iranian sale. One man, an investigative reporter named Gary Webb, discovered evidence of the plot and began to report on the existence of the operation in the mid-1990s. In 2004, he was found dead with two bullet holes in his skull which the coroner declared a suicide. Gary Webb apparently offed himself by shooting himself in the head… twice. Or so the coroner’s report ruled.

In 2003, the United States invaded Afghanistan, purportedly in pursuit of Osama bin Laden, the mastermind of the 911 attack on the World Trade Center in New York City. At the time of the American invasion, most of the poppy fields in Afghanistan had been destroyed by the Afghan government and the Taliban. But over a decade and a half later, Afghanistan, today, exports nearly 80 percent of the world’s heroin and opium, and poppy fields again litter the country’s landscape, guarded by U.S. troops overseen by the Central Intelligence Agency. These are facts, not fiction, and their truth is undisputed.

With this backdrop, our fictional story begins in 2016, in Tampa, Florida, where the younger brother of a U.S. Senator has overdosed on heroin. The tragic and untimely death of his brother motivates Senator Gavin Manson to write legislation to reform the antiquated drug laws in the U.S. and put an end to what he sees as the dangerous and destructive War on Drugs begun during the Nixon Administration. To that end, he hires a brilliant and beautiful researcher named Alexandra Katsaros. 

Together, Gavin and Alex begin to collect data on every facet of the drug world from big pharma to drug cartels to the heroin crisis in America. But when Alex uncovers a secret government plot to smuggle heroin into the United States from Afghanistan, a modern-day Iran-Contra operation, everything changes. Like Gary Webb, they now know too much, and the directors of the CIA’s black operation deem it imperative to silence them, forever.

If you are a fan of Tom Clancy, Robert Ludlum or Dan Brown, this novel is right up your alley. The journey is a fast-paced ride halfway around the world as Gavin and Alex do their best to stay one step ahead of their determined pursuers. The novel’s seamless blend of fact and fiction will have you guessing what is real and what is made up. And all the while you’ll wonder, could this really happen? Could it actually be happening? The answer you will eventually be forced to admit is… yes. It is absolutely possible. Sometimes conspiracy theory isn’t theory at all. 









          3 bedroom, Lenham Kent      Cache   Translate Page      
995
A three bedroom Neo-GeorgIan style semI-detached house found wIthIn walkIng dIstance of the vIllage square In Lenham.To the ground floor there Is an entrance hall leadIng to the open plan lIvIng space, whIch has been arranged to Include two...
3 rooms parking garden
Mon, 11 Mar 2019 13:03:00 -0400
          3 bedroom, Lenham Kent      Cache   Translate Page      
995
A three bedroom Neo-GeorgIan style semI-detached house found wIthIn walkIng dIstance of the vIllage square In Lenham.To the ground floor there Is an entrance hall leadIng to the open plan lIvIng space, whIch has been arranged to Include two...
3 rooms parking garden
Mon, 11 Mar 2019 13:03:00 -0400
          surrir50: простые рамочки для записей с нежным светлым фоном      Cache   Translate Page      

Это цитата сообщения Arnusha Оригинальное сообщение
...Здесь будет ваша запись...



...Здесь будет ваша запись...



...Здесь будет ваша запись...




...Здесь будет ваша запись...



...Здесь будет ваша запись...



...Здесь будет ваша запись...



...Здесь будет ваша запись...



...Здесь будет ваша запись...



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...Здесь будет ваша запись...



          surrir50: 3 кратких мудрых притчи      Cache   Translate Page      

 

За что все любят притчи — так это за краткость изложения и глубину мысли. Причем эта глубина изменяется со временем — каждый раз мы видим в них что-то новое. Они поучают и развлекают, но при этом совершенно не напрягают — именно так хочется учиться жизни.

КАК НА НАС ВЛИЯЮТ СЛОВА?

Беседуют два приятеля:
Моя жена такая неопрятная и неаккуратная! Я ей все время об этом говорю, но с каждым годом все становится только хуже и хуже.

На что второй ему отвечает:
А моя такая умница и замечательная хозяйка! И с каждым годом становится все лучше и лучше! Я ей тоже постоянно об этом говорю.

ТО, ЧЕМ НАПОЛНЕНА ДУША…

Однажды несколько человек нарочно громко осуждали мудрого человека, когда тот проходил по их кварталу. Тот все слышал, но ответил им улыбкой и желал здравствовать. Некто спросил его:
— Ты улыбался и желал этим людям здоровья, неужели ты не испытывал к ним злости?

На что мужчина ответил:
— Когда я прихожу на рынок, я могу тратить только то, что есть у меня в кошельке. Так же и при общении с людьми — я могу тратить только то, чем наполнена моя душа…

ВСЕГДА НАЧИНАЙ С СЕБЯ

Одна семейная пара переехала жить в новый дом. Утром, едва проснувшись, жена выглянула в окно и увидела соседку, которая развешивала на просушку выстиранное бельё.

— Посмотри, какое грязное у неё бельё, — сказала она своему мужу.
Но тот читал газету и не обратил на это никакого внимания.
— Наверное, у неё плохое мыло, или она совсем не умеет стирать. Надо бы её поучить.

И так было всякий раз: когда соседка развешивала бельё, жена удивлялась тому, какое оно грязное.

В одно прекрасное утро, посмотрев в окно, она воскликнула:
— О! Сегодня бельё чистое! Наверное, научилась стирать!
— Да нет, — сказал муж, — просто я сегодня встал пораньше и вымыл окно.

                                                                                                                                                                                                                 Источник

 

 

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          Georgia Bulldogs vs. Missouri Tigers – 3/13/2019 Free Pick & CBB Betting Prediction      Cache   Translate Page      
Looking for Georgia Bulldogs vs. Missouri Tigers NCAA basketball free picks & CBB odds? CBB betting sees the Bulldogs taking on the Tigers on Wednesday, March 13, 2019 at Bridgestone Arena,...

Please visit http://www.capperspicks.com to view all of today's handicapping posts and daily free picks.

          Production Operator - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
One (1) year or more of experience in an industrial or manufacturing environment. Willing and able to work in a hot, humid, cold, and noisy industrial...
From Koch Industries, Inc. - Thu, 28 Feb 2019 02:58:40 GMT - View all Lovell, WY jobs
          Maintenance Technician - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
Associates degree or two (2) years of study from a technical college in the fields of Industrial Maintenance or Industrial Technology....
From Koch Industries, Inc. - Sat, 23 Feb 2019 08:56:48 GMT - View all Lovell, WY jobs
          Electrical Technician - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
Four (4) or more years of experience as an Industrial Electrician and/or Industrial Maintenance Mechanic. Two (2) year technical degree in Maintenance Mechanics...
From Koch Industries, Inc. - Sat, 23 Feb 2019 08:56:43 GMT - View all Lovell, WY jobs
          PLANT ENGINEER - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
1-2 years mechanical engineering & capital project management experience to include scope development, bidding/purchase, and installation/setup of heavy...
From Koch Industries, Inc. - Thu, 14 Feb 2019 20:59:19 GMT - View all Lovell, WY jobs
          Production Leader - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
A minimum of two (2) years supervisor experience in an industrial, manufacturing or military environment, - OR – a Bachelor’s degree in Engineering and (1) one...
From Koch Industries, Inc. - Thu, 17 Jan 2019 02:57:22 GMT - View all Lovell, WY jobs
          Mine Supervisor - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
Industrial maintenance experience, including but not limited to mobile equipment and conveyor belt/material handling systems....
From Koch Industries, Inc. - Thu, 29 Nov 2018 20:56:51 GMT - View all Lovell, WY jobs
          Production Operator - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
“Innovation is facilitated by having the right people in the. Right roles with the right skills and values.''....
From Koch Industries, Inc. - Thu, 28 Feb 2019 02:58:40 GMT - View all Lovell, WY jobs
          Maintenance Technician - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
Willing and able to perform tasks such as lifting, walking, climbing, stooping, standing, pushing and/or pulling for up to twelve (12) hours a day....
From Koch Industries, Inc. - Sat, 23 Feb 2019 08:56:48 GMT - View all Lovell, WY jobs
          Production Leader - GEORGIA-PACIFIC - Lovell, WY      Cache   Translate Page      
If you are a driven leader who can operate with a principled entrepreneurial spirit, then we’d like to learn more about you!...
From Koch Industries, Inc. - Thu, 17 Jan 2019 02:57:22 GMT - View all Lovell, WY jobs
          Una maestra fue detenida por posesión de heroína, y la policía descubrió que tenía relaciones sexuales con un alumno      Cache   Translate Page      
Sucedió en la escuela secundaria Northwest Whitfield, de Georgia. La mujer, de 29 años, fue condenada a un mínimo de tres meses de cárcel y 10 años de libertad condicional
           Comentario en EE.UU prohibirá los abortos de fetos que sientan dolor por rosamagarcia       Cache   Translate Page      
En el número del 24 de agosto del 2004, el órgano oficial de difusión de la Asociación Médica de EEUU, Journal of the American Medical Association (JAMA), volumen 294, página 947, se publicó un artículo que causó un gran alboroto. Los autores dijeron que los conductos neurológicos del cerebro del feto que permiten “la percepción consciente del dolor” no funcionan hasta después de las 28 semanas de gestación. Decir que ha habido una explosión de críticas es poco. Las reacciones a lo aseverado en el artículo se refieren fundamentalmente a tres asuntos. Uno de ellos es que, contrariamente a lo que dicen los autores del artículo, los bebés prematuros que nacen antes de las 29 semanas y tan temprano como entre las 22 y las 23, sí manifiestan con toda claridad que sienten dolor, ya que reaccionan a los estímulos dolorosos retirándose y llorando. Un segundo asunto es que el artículo referido no da a conocer ninguna investigación nueva, sino que simplemente repasa algunos hallazgos anteriores. El tercero es que se ha hablado mucho de la parcialización de los autores. Uno de ellos es el director del departamento de medicina del centro de abortos ubicado en el San Francisco General Hospital. Se ha informado que en este hospital se practican anualmente 600 abortos entre el 5to y el 6to mes del embarazo. El otro autor trabajó anteriormente para la organización abortista nacional llamada NARAL, por sus siglas en inglés. Estos comentarios son válidos y por sí mismos destruyen la credibilidad científica del artículo. Sin embargo, es evidente que sería más conveniente realizar un análisis más profundo del tema. Luego de leer el artículo con sumo cuidado, me resultó chocante el hecho de que si uno es capaz de cambiar la definición de algo para que concuerde con las propias conveniencias, entonces es fácil demostrar que lo que uno dice es verdad. La clave de la cuestión aquí fue la de cambiar la definición del dolor. Obsérvese que en el artículo se habla de “la percepción consciente del dolor”. Además, los autores definieron el dolor como “una sensación y una experiencia emocional que requiere el estar consciente para ser capaz de reconocer el estímulo como desagradable”. La definición del dolor que dan los autores es simplemente incorrecta. Si decimos que el dolor es cerebral, si lo definimos como algo que existe solamente cuando están presentes la consciencia y la memoria, si definimos todas las otras reacciones a los estímulos nocivos como meros reflejos que en realidad no causan daño, entonces el artículo tiene mérito. Pero he ahí precisamente la falsedad fundamental del análisis de los autores. Es un hecho que no se requiere el estar consciente para reaccionar ante un estímulo doloroso. Además, ni siquiera se necesitan los hemisferios cerebrales. Los siguientes ejemplos servirán para ilustrar nuestro argumento. Si usted coloca el dedo sobre un horno caliente, lo retirará de inmediato. Su dedo estará apartado de ese horno caliente antes de que su cerebro registre conscientemente el dolor. Que ese fenómeno sea un reflejo, no hay duda, pero el hecho de que es un reflejo no significa que no le haya dolido, ya que a su dedo ciertamente le dolió y luego desarrolló una ampolla. Los bebés anencefálicos nacen sin las partes superiores del cerebro. Todo lo que tienen es el tronco cerebral. Por lo tanto, ciertamente no están conscientes. Algunos de ellos viven algunos días; otros, un poco más. Durante este breve período neonatal, si se les pincha con una aguja o si se mojan los pañales, se ponen a llorar. ¿Sienten dolor? Dudo que haya una madre, un padre o un médico que lo está atendiendo en ese momento que diría que eso no es dolor, porque es obvio que lo es. Consideremos otro ejemplo, el de un feto de tan sólo 8 a 10 semanas de gestación. Si usted le pincha la palma de la mano con una aguja, retirará la mano. También abrirá la boca. Podemos comparar este episodio con el caso de un recién nacido a quien accidentalmente se le clava un alfiler al cambiarle unos pañales de tela. Ese bebito retirará sus nalguitas y se quejará estrepitosamente. Las reacciones en estos tres casos es la misma. ¿Cuál es entonces la reacción neurológica en todos estos ejemplos? Un nervio sensorial lleva un estímulo doloroso de la superficie o de la periferia a una porción del tronco del cerebro, que se llama el tálamo. El tálamo se parece a una pizarra rotativa. Dirige el mensaje del dolor hacia abajo, hacia un nervio motriz. Este nervio motriz va a la palma del feto o a las nalguitas del bebé recién nacido y activa un movimiento muscular de echarse atrás, el mismo que consiste en retirar el dedo de un horno caliente. Hasta hace pocos años, había una cierta sabiduría convencional en el campo de la medicina que decía que los bebés muy prematuros no podían sentir dolor. Debido a ello, a un recién nacido prematuro lo operaban sin anestesia. En años recientes, una serie de artículos han demostrado con bastante claridad que eso no es cierto. Estos artículos han informado, no sólo que un bebé prematuro (o un feto) siente dolor, sino también que esa personita siente el dolor, incluyendo el dolor severo, de una manera mucho más aguda que un adulto. La razón de ello es la capa de mielina. La capa de mielina es fundamentalmente un aislante. Se la puede comparar a la cubierta de un alambre eléctrico. Ese alambre recibe una carga eléctrica en una punta y la descarga por la otra, sin que la carga eléctrica se salga de la ruta que lleva, gracias a la cubierta del alambre. Los nervios periféricos de los niños más grandes y de los adultos están cubiertos por la mielina, de manera que llevan el estímulo de una punta del nervio al tálamo sin impactar los tejidos por los cuales pasa. Ello ubica el dolor allí donde el estímulo nocivo tuvo lugar. Ahora se sabe que un feto grande y que los bebés prematuros no tienen esta capa protectora o, si la tienen, su desarrollo no se ha completado todavía. Debido a ello, el estímulo doloroso no sólo se siente allí donde ocurrió, sino probablemente también a todo lo largo de la fibra del nervio expuesto. Si ello es así, entonces ese pequeño ser humano siente un dolor mucho más agudo que el niño más grande o el adulto que reciban el mismo estímulo doloroso. Citemos a algunas autoridades en este campo. La Dra. Jean Wright, de la Universidad de Emory, ha afirmado: “Los bebitos de 23 semanas de gestación reaccionan al dolor de maneras altamente específicas, así como fisiológica y conductualmente coordinadas, similares a las de los bebitos más grandes”. Blechschmidt ha declarado: “A las siete semanas de edad fetal, se crispan o viran la cabeza para alejarse del estímulo con el mismo tipo de maniobra que se puede observar en todas las etapas de la vida”. Matviuw ha dicho: “A las 13 semanas, la respuesta orgánica fetal al dolor es más que un reflejo. Se trata de un intento fisiológicamente integrado de apartarse del estímulo nocivo.” Pero, ¿no es cierto que el bebé no nacido no puede decirnos que siente dolor? Esa es una buena pregunta. Pero hay una respuesta. El dolor se puede detectar cuando los receptores del dolor descargan impulsos eléctricos en la espina dorsal y el cerebro. Disparan impulsos que les comunican a los músculos del cuerpo que reaccionen, como se ha indicado arriba. Estos impulsos se pueden medir. Además, los cambios en los latidos del corazón, los movimientos fetales, así como los movimientos del recién nacido prematuro, también sugieren una reacción al estímulo doloroso. Más recientemente, en EEUU, el Tribunal Federal del Distrito del Sureste del Estado de Nueva York recibió una serie de extensos testimonios de expertos en este campo, unos que están de acuerdo con que los bebitos no nacidos pueden sentir dolor y otros que no durante la práctica del aborto “de nacimiento parcial”. En su testimonio, el Dr. Kanwaljeet Anand explicó que los fetos sufren un dolor severo durante los procedimientos de aborto. Este testimonio no fue cuestionado por nadie. Uno de los que defendió el controversial artículo de la revista JAMA fue el Dr. David Grimes, quien hasta hace poco era el jefe del departamento de ginecología y obstetricia del mismo San Francisco General Hospital en el cual trabaja uno de los autores. Grimes, junto con el Dr. Cates, practicó abortos en el segundo y tercer trimestres en Atlanta, capital del Estado de Georgia. Cates fue el autor de un artículo en el que sugirió que el precio de un aborto tardío se calculara según la longitud del pie del feto. Desde entonces, Grimes se ha convertido en un conocido defensor del aborto sin restricción alguna. El Acta para Informar acerca del Dolor del Niño No Nacido, que se ha propuesto en el Congreso de EEUU, exige que a la madre que se va a someter a un aborto se le diga que un aborto tardío le causará dolor al feto y que, por lo tanto, éste necesita anestesia. Es evidente que el propósito del artículo de la revista JAMA es descarrilar la aprobación de este proyecto de ley. Considerando todo lo que hemos dicho aquí, tenemos la esperanza de que el intento de los autores sea contraproducente y de que este proyecto de ley sea aprobado. Fuente: Vida Humana Internacional
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          In Search of Wisdom: My 13 favorite ideas.      Cache   Translate Page      
It would be hubristic of me to assert that these attempts at wisdom have reached that high bar, but my Psychology Today article today offers my best shots.



          The Beast from 20,000 Fathoms (1953) at Wonders in the Dark      Cache   Translate Page      
 
The Rhedosaurus attacks a lighthouse in
The Beast from 20,000 Fathoms (1953).

This is about the day Jean Renoir watched The Beast from 20,000 Fathoms. I’m not making this part up. He went to a matinee.

To repeat: Jean Renoir—a giant among film artists, director of The Rules of the Game (cited by some sophisticated and astute people as the greatest film ever made) and other masterpieces, ranked as the fourth greatest director of all time in the 2002 BFI Sight and Sound poll, son of the famed impressionist painter Pierre-Auguste Renoir—had a grand time at a matinee in summer 1953 watching The Beast from 20,000 Fathoms accompanied by Eugene Lourié, the movie’s director.

Years later, writing his 1985 memoir My Work in Films, Lourié remembered: “Renoir reacted just like the youngsters surrounding us. ‘Eh bien, mon vieux,’ he said. ‘You surely had a wonderful time making this film.’”

I’d give anything for a photo of Jean Renoir and Eugene Lourié in that movie theater, surrounded by a happy sea of monster-loving children and thrill-seeking adults, enjoying the first of the 1950s cycle of giant-monster-attacking-a-city movies. According to Lourié, it made Renoir feel like a kid again.

Monster movies have a way of doing that. Apparently, even the most sensitive and compassionate of directors can enjoy an afternoon of popcorn, rampaging dinosaurs, and urban mayhem. It’s good for the soul.
The essay continues at Wonders in the Dark

This is my second contribution to the Top 100 Science Fiction Countdown at Wonders in the Dark. There’s a little hint at the end regarding what my third contribution will be. Enjoy!

© 2016 Lee Price

          Invaders from Mars (1953) at Wonders in the Dark      Cache   Translate Page      

Helena Carter in Invaders from Mars (1953)

Count me in as an Invaders from Mars boy. (Are there Invaders from Mars girls? All the Invaders from Mars obsessives whom I know are baby boomer male nerds. The movie feels completely locked into an adolescent boy perspective.)

While Invaders from Mars enjoyed some popularity upon release in 1953, its real impact came when the movie was released to television in the late 1950s. Although it inevitably lost the power of its weird Cinecolor process and its depth of field, it strangely gained in resonance as well. In their comfortable suburban homes, boys could watch the story of a boy who looked out the window of his suburban home. And there was a curious leveling of the image in those old TVs—low budget science fiction came out looking eerily similar to the 6:00 news.

I think I must have seen Invaders from Marsfor the first time between 1965 and 1970 (when I was five to ten), probably on a Saturday afternoon. Although I watched it approximately 15 years after the movie was made, the movie’s main protagonist—a preadolescent boy—could have easily been a neighbor on my block. His bed looked like mine, his telescope looked like mine, and his window looked like mine. I could easily imagine rising from bed at 4 a.m. and looking out my window to see a UFO descending. This key scene was grounded in my reality. For a suburban 60s kid, it felt archetypal.
Excerpted from my Invaders from Mars essay:
read it all at Wonders in the Dark

I contributed this piece to the Top 100 Science Fiction Countdown at Wonders in the Dark. For the next three months, Wonders blogmaster Sam Juliano will be sharing 100 essays on these great films, written by dozens of his knowledgeable film-buff friends. It’s an honor to be counted among them!

© 2016 Lee Price





          The Fallen Idol (1948) at Wonders in the Dark      Cache   Translate Page      

Bobby Henrey in The Fallen Idol (1948).

Sometimes as adults, we forget how lonely and confusing childhood can be. Produced in England in 1948, The Fallen Idol(1948) resonates long after its final scene for its moving central depiction of vulnerability and helplessness.

Fade in on Bobby Henrey as Phillipe, an inquisitive-looking boy peering through a second-floor railing, watching the clockwork precision of the embassy staff below. Everyone has a job to do but him. In his privileged position as the diplomat’s son, Phillipe is simply an observer, like a child in a movie theater (or, more pessimistically, like a prisoner behind bars). Being so young, nine-years-old at the most, he watches intently but probably understands only a fraction of what he sees.
The essay continues at Wonders in the Dark

I contributed this piece to the Childhood Films Countdown at Wonders in the Dark. Wonders ringleader and mastermind Sam Juliano has organized dozens of his knowledgeable film-buff friends to write in-depth essays on 80 great films that explore childhood and adolescence. It is an honor to be participating!

Skip on over to Wonders in the Dark to read my whole piece on Carol Reed’s The Fallen Idol (1948). Meanwhile, here at 21 Essays, I’ll just tease with some tasty images from the film, a favorite of mine for many years.

"... a panic-stricken Phillipe dashes down deserted city alleys..." And
a friendly policeman finally calms the child down. The Fallen Idol
displayed director Carol Reed's skill at capturing the ominous
atmosphere of the city at night.

Director Carol Reed liked using Dutch angles where he tilted the camera
to suggest a world out-of-balance. This image shows a tense scene
between Bobby Henrey and Sonia Dresdel. In his next movie,
The Third Man (1949), Reed's use of Dutch angles hit an all-time high
as he filmed the streets and sewers of post-war Vienna.

© 2015 Lee Price




          Mary Anning's Icthyosaur      Cache   Translate Page      


London blogging:
Essay 2 of 10 on
ten artifacts 
that I saw 
while on vacation
in London 
in summer 2015.




Drawing by Everard Home for the Royal Society depicting the
Icthyosaurus skull found by Mary and Joseph Anning in 1811.
Source: Wikimedia Commons.

Mary Anning (1799-1847).
Source: Wikimedia Commons.

There aren’t many testaments to the achievements of 19th century women in the British Museum.  In those days, the British Royal Society and its offshoots acted as gatekeepers for recognizing scientific achievement, with their memberships strictly closed to women and lower-class riff-raff.  Science and exploration were activities reserved for gentlemen.

So who let Mary Anning in?

In gender-suppressing, class-conscious early 19th century England, Mary Anning forced her way into the museums and science books by sheer genius of observation.  Better-educated men trolled the countryside for fossils, but lower-class, under-educated Mary ran circles around them.  She was so good they eventually had to take notice.

The Mary Anning display case
at the British Museum.
While preparing for our London vacation, a friend had advised me to check out the rather drably titled Enlightenment Gallery at the British Museum.  It’s where the museum displays many of the original collections gathered during its early years, imposingly displayed in the King’s Library (which really WAS home to the King’s Library, being George III’s collection donated to the British Museum by George IV).  Row after row of display cases stand as silent testimony to England’s greatest scientists and explorers when the Empire was at its peak.

I settled in to pay my respects at the Mary Anning display case.  Raised in a poor family that earned a little extra cash each summer by selling fossils to tourists visiting Lyme Regis, Mary was just 12 years old when she and her brother Joseph made their first great discovery—a remarkably intact fossilized icthyosaur skeleton from the long-ago Jurassic world.  At a time when would-be amateur geologists and paleontologists were scouring England for prize specimens, Mary Anning nurtured a talent for finding the very finest pieces.  Although lacking formal education, she intuitively grasped the biology of the strange animals that she discovered along the limestone and shale cliffs that lined the Lyme Regis coast.

The Blue Lias cliffs at Lyme Regis where Mary Anning
made her great discoveries.
Source: Wikimedia Commons.

On long-time loan from the Natural History Museum, London, the little sampling of icthyosaur bones in the British Museum display cabinet came from a later 1821 discovery, when Anning was slowly gaining a reputation for being uncommonly knowledgeable and talented.  As the label in the display cabinet describes:  “Her knowledge and expertise were sought by the most important geologists of the day.”

Mary Anning tribute at the
Natural History Museum, London.
Several days later at the Natural History Museum, I enjoyed seeing fossils associated with prominent and respected Victorian scientists such as Gideon Mantell, William Buckland, and Sir Richard Owen, but their antique fossil discoveries didn’t thrill me a tenth as much as stumbling upon more Mary Anning tributes, including a complete Plesiosaurus skeleton discovered by Anning when she was 25.

If, as Martin Luther King Jr. observed, the arc of the moral universe is long but bends toward justice, then Mary Anning is now justly receiving her due in 21st century British museums.

History vindicates.  Mary Anning rules.

The Mary Anning plaque at the Natural History Museum, London,
with one of her discoveries: a Rhomaleosaurus.
Source: Wikimedia Commons.

Remarkable Creatures
by Tracy Chevalier.
After we returned home and shared pictures of our trip on Facebook, a friend of my wife’s inquired if we knew about Remarkable Creatures, a recent novel by Tracy Chevalier, best-selling author of Girl With a Pearl Earring.  Well, I’ve been reading about Mary Anning all my life, starting with my earliest dinosaur picture books, so I couldn’t resist.  Remarkable Creatures is a fine addition to the Mary Anning legend and a fitting tribute to one of the 19th century’s most remarkable pioneers, who fearlessly ventured back into time along the rocky ledges of her little tourist town.

© 2015 Lee Price



          Beowulf as a Read-Aloud      Cache   Translate Page      


London blogging:
Essay 1 of 10 on
ten artifacts 
that I saw 
while on vacation
in London 
in summer 2015.



Once upon a time, I read Beowulfas a bedtime read-aloud to my son.  I read it in the Seamus Heaney translation, but in retrospect maybe it would have been more fun (for me, at least) to do it in the Old English, starting with a firm:


Hwæt!


Hwæt is an appropriate word to begin a read-aloud because—at least according to many scholars—it means something like, “Shut up, pay attention, this is important!” succinctly reduced to a single exclamatory command:  Hwæt!

It could be argued that English literature was launched with that one word.  Once it was uttered, Chaucer, Shakespeare, Milton, Austen, Keats, Dickens, and Beowulf-scholar Tolkien would inevitably follow.

First page of Beowulf in the Cotton MS Vitellius
A XV manuscript at the British Library.
On my second day in London, I’m standing in front of the first leaf of the only existing manuscript of Beowulf, poised behind glass in the Sir John Ritblat Treasures of the British Library Gallery, the word Hwæt large in the left corner.  The penmanship was the work of some anonymous scribe, toiling in the late Anglo-Saxon world circa 1000 A.D., give or take a half-century either direction.  Beowulfprobably felt ancient even then, a mysterious relic of a marauding foreign mode of life.

Today no one knows exactly what “Hwæt” means, the word apparently having dropped out of common usage as language shifted toward Middle English under the Norman occupation.  By the time of Chaucer, no one was saying, “Hwæt,” not even the Wife of Bath.

In the introduction to his magisterial Beowulf translation, poet Seamus Heaney wrote:

Conventional renderings of Hwæt, the first word of the poem, tend towards the archaic literary, with ‘lo,’ ‘hark,’ ‘behold,’ ‘attend,’ and—more colloquially—‘listen’ being some of the solutions offered previously.

Heaney settled on the word “So,” with a period following it to signify its separate function from the words that follow.  First, you demand attention and then you begin the story:

Hwæt we Gar-Dena in gear-daum

becomes in Heaney’s translation:

So.  The Spear-Danes in days gone by…


But I prefer to think that something was lost as the poem moved from a tale told in a mead-hall to an epic transcribed in a scriptorium.  “In gear-daum” (in days gone by) doesn’t sound right to me, at least from the perspective of a bedtime read-aloud.  I prefer:

So.  Once upon a time, the Spear-Danes
And the kings who ruled them had courage and greatness…

Of course, that would never have been the way the Beowulf poet would have declaimed it in in formal company, where certain poetic rules had to be observed.  No, it’s the first draft that he improvised by the bed of his son, sharing a tale of Grendel beasts and dragons as the sun set and the shadows grew long.



This entry is dedicated to Amy Heuer, my colleague at the Conservation Center for Art and Historic Artifacts, both because she loves Beowulf and also because she just graciously redesigned my 21 Essays banner, beautifully fine-tuning my beloved Leonardo da Vinci dragon!

© 2015 Lee Price
          Ray Harryhausen Goes to Heaven      Cache   Translate Page      
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Selenite-blogging, essay 5 of 5 blog entries

on First Men in the Moon (1964)

Ray Harryhausen Goes to Heaven

Joseph Cavor (Lionel Jeffries) approaches the lunar staircase
in First Men in the Moon (1964).

“I had always intended the meeting with the Grand Lunar to be a spectacular scene and decided that a huge, almost never-ending staircase would give the scene a grandeur that would only be rivaled by A Matter of Life and Death (1946) in the history of film.”
Ray Harryhausen
An Animated Life

The celestial staircase in A Matter
of Life and Death
(1946).
As the praise from Harryhausen would indicate, the production design of A Matter of Life and Death—particularly the celestial staircase—is sublime.  In A Matter of Life and Death, the moving staircase is the connecting link between the worlds of life and death.  It is a vast escalator in constant stately motion, lined by the statues of famous men.  In the film’s design, where the afterlife is black-and-white and the earthly scenes are in Technicolor, the stairs are black-and-white when ascending and color when descending.  Thus, this Jacob’s Ladder exists on the cusp of life and death.

Harryhausen’s challenge to himself was to create a lunar staircase for First Men in the Moon to rival the grand design that legendary producers Michael Powell and Emeric Pressburger brought to A Matter of Life and Death.  The result is formidable—Harryhausen’s lunar staircase is not as ethereal as the Life and Death staircase but entirely appropriate for an alien monarchy.  Lined by impressive lunar crystals, the moons staircase proceeds upward in a series of four flights, cleverly combining miniatures and tricks of perspective to make the scale look enormous.

Lionel Jeffries as the brilliant Victorian scientist Joseph Cavor ascends the stairs alone, his character so delightfully delineated by the actor that he completely anchors the scene.  From beginning to end, Jeffries’ performance is witty and unpredictable.  His phrasing is deliciously staccato, swinging wildly between loveable insecurity and manic explosions.  And it’s not just a verbal performance but a physical one, too, that allows Jeffries to use the awkwardness of his gangly frame to eccentric advantage.

Cavor (Lionel Jeffries) inside the sphere in First Men in the Moon.

As the movie proceeds, it gradually becomes apparent that Cavor is our real hero.  He’s the heart and soul of the movie.

Above: Lionel Jeffries as
Joseph Cavor in First Men in the
Moon
.  Below: Ray Harryhausen.
So let’s look at him.  His bald head disguises his real age, which is surprisingly young—Jeffries was 38 in 1964, two years younger than Martha Hyer who was playing the heroine.  His smiles and guffaws are contagious, his delight expressed in unsuppressable childlike glee.  He radiates eccentric amiability, quirky and British to the core.

Did it occur to anyone during casting that this prematurely balding actor looks a bit like Ray Harryhausen?  They share the long forehead, the narrow face, and the intense gaze of the consummate professional practicing his craft.  And there’s something childlike about both of them, too, as if they’ve somehow managed to retain the enthusiasm of their youths.  Why, Jeffries is the British doppelganger of the beloved animator!

When Cavor ascends the staircase in First Men in the Moon, he is surrounded by one of the richest of Harryhausen’s dream landscapes, a Neverland of the artist’s imagination fueled by memories of the staircase to heaven in A Matter of Life and Death.  Now squint at the screen, look sideways, out of the corner of your eye, and discreetly replace Cavor with Harryhausen, ascending to sublimity surrounded by an awe-inspiring world of his imagination.

The look on Cavor’s face, dazzled and humbled and awestruck, reminds me of the recurring looks of wonderment in the movies of Steven Spielberg that filmmaker and critic Kevin B. Lee celebrated in his video essay The Spielberg Face.


In the video, the Spielberg Face is described as:

“Eyes open, staring in wordless wonder, in a moment where time stands still, but above all a childlike surrender in the act of watching, both theirs and ours.”
Kevin Lee
The Spielberg Face

When you’re climbing the staircase of unfettered imagination, it is the only appropriate face.  The Spielberg Face is the Cavor Face is the Harryhausen Face.

The moment exceeds every expectation.  Freeze frame on the Harryhausen Face.

Richard Dreyfuss in Close Encounters of the Third Kind (1977) and
Lionel Jeffries in First Men in the Moon.

OR…

Picture Ray on the grand staircase, ascending higher and higher, until he at last arrives at the celestial courtroom where he will be judged by a jury of his peers, among them Georges Melies, Wladyslaw Starewicz, John P. Fulton, Les Bowie, George Pal, Carlo Rambaldi, Stan Winston, Peter Ellenshaw, and Marcel Delgado.  As he enters, the deafening applause washes across heaven like waves as his friends and fans stand to welcome him.  Ray Bradbury smiles.  And his old friend and mentor Willis O’Brien, animator of King Kong, rushes forward to greet him.

The courtroom travels to earth via the celestial
staircase in A Matter of Life and Death.

Reference Sources
Into the Unknown: The Fantastic Life of Nigel Kneale by Andy Murray
Film Fantasy Scrapbook by Ray Harryhausen
Ray Harryhausen: An Animated Life by Ray Harryhausen and Tony Dalton

... and a special thank you to the hosts of For the Love of Film: The Film Preservation Blogathon: Ferdy on FilmsThis Island Rod, and Wonders in the Dark.

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© 2015 Lee Price





          The Music Behind the Harryhausen Movies      Cache   Translate Page      
Selenite-blogging, essay 4 of 5 blog entries
on First Men in the Moon (1964)

Part One: A Salute to Laurie Johnson

The great movie composers inevitably seem to get associated with one particular score—the one that would play behind them when they accept a Lifetime Achievement Award or receive an MBE from the Queen.

For Max Steiner, it would be Gone With the Wind (1939).  For Victor Young, The Quiet Man(1952).  For Bernard Herrmann, Psycho (1960).

Composer of the wonderful score of First Men in the Moon (1964), Laurie Johnson is forever tagged as the composer of The Avengers TV theme, the music that must have played behind him when he was awarded the MBE (Member of the Order of the British Empire) for his services to music in 2014.  It’s one of the great TV themes.


But there’s much more to Laurie Johnson than just The Avengers, case in point being his very fine score for First Men in the Moon.  As the film moves from Victoriana to the weirdness of life insider the moon’s caverns, the music grows increasingly strange.  In this first clip, the Selenites are introduced with a blast of dissonance which drops into a syncopation at the 26 second mark, effectively suggesting the movement of the Selenites along the cave passageways.  Then a piercing high-pitched Selenite theme abruptly appears, eerily meshing keyboard with strings.  Staccato brass echo the melody.  From this point, whenever the Selenites approach, the theme returns.


Surprisingly, First Men in the Moon only contains one traditional Harryhausen monster scene.  The giant mooncalf provides this one opportunity for a chase and attack.  Naturally, the mooncalf gets his own theme, both ponderous and relentless, echoing the beast’s size and threat.


In one of the film’s most visually opulent scenes, designed by Harryhausen to suggest the magnificent sets of She (1935) and A Matter of Life and Death (1945), the scientist Joseph Cavor mounts a seemingly endless staircase that leads upward toward the throne of the Selenite ruler, the Grand Lunar.  In this clip, Johnson’s staircase theme begins at 1:26, striking an almost religious note that appropriately reflects the look of awe on Cavor’s face.


Now 88 years old, Laurie Johnson is one of the few members of the First Men in the Moon crew still with us.  Over the years, he has scored more than 400 films and television episodes.  Classically trained, he enjoyed adding experimental new sounds (like the synthesized Selenite theme) to traditional orchestral arrangements.  You can hear his adventurousness in First Men in the Moon as he moves from Gustav Holst-style themes for Victorian England to a discreet background of electronica ever-murmuring behind the Selenites.  It’s a magnificent piece of work.


Part Two:  My Three Favorite Scores to Harryhausen Movies

Captain Nemo (Herbert Lom) at the organ in Mysterious Island (1961).

Considering how the Charles Schneer/Ray Harryhausen movies tend to coast on second-tier directors and actors, I’m always amazed that they so often invested in the very finest music composers.  In return, Schneer and Harryhausen received scores that amplified the production values and technical effects, making the evocation of their fantasy worlds both more believable and dramatic.  A great score helps a lot!

For my three favorites scores to Harryhausen movies, it may appear that I’m picking one score apiece from three composers in order to avoid simply picking three Bernard Herrmann scores.  After all, Herrmann’s musical reputation is stellar and ever-growing, and I have four excellent Herrmann scores to choose from (The Seventh Voyage of Sinbad, The Three Worlds of Gulliver, Mysterious Island, and Jason and the Argonauts).  Also, I could be criticized for leaving out a fourth major composer—Miklos Rosza—who worked on the Harryhausen movie The Golden Voyage of Sinbad.  But my selections really are my personal three favorites—the other Herrmann-scored movies would be in fourth through sixth place and, as for the Rosza score, I think it’s far from his best.

My favorite of the Bernard Herrmann scores is his wonderfully varied work on Mysterious Island.  It’s got swirling hurricane-evoking action music to launch the adventure, a set of moody quiet themes for the mysterious island, and quirky set pieces for each of the monsters.  This selection—Elena/The Shadow/The Bird—begins with a delicate character piece for the young heroine, followed by some very Vertigo-esque forebodings, then (best of all) simultaneously comic and threatening music to accompany the attack of a giant flightless bird.


The film composer Jerome Moross is justifiably most famous for his classic western score to The Big Country (1958).  But—perhaps because I heard it first—my heart belongs to his music for The Valley of Gwangi, Harryhausen’s grand dino-western.  This clip begins with introductory themes and then hits its stride at the 1:20 mark with one of the finest of all expansive western melodies.  It’s everything I want a western score to be.


And third favorite?  Why that’s First Men in the Moon, of course!  Composer Laurie Johnson, a friend and occasional assistant to Bernard Herrmann, seized the opportunity to do his own variation on a Herrmann-type score and he did the master proud.




Reference Sources
Into the Unknown: The Fantastic Life of Nigel Kneale by Andy Murray
Film Fantasy Scrapbook by Ray Harryhausen
Ray Harryhausen: An Animated Life by Ray Harryhausen and Tony Dalton

... and a special thank you to the hosts of For the Love of Film: The Film Preservation Blogathon: Ferdy on FilmsThis Island Rod, and Wonders in the Dark.

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© 2015 Lee Price



          First Men in the Moon: History Repeats      Cache   Translate Page      
21 Essays is a proud participant in
For the Love of Film: The Film Preservation Blogathon,
May 13-17, 2015
LET'S RAISE SOME MONEY!!!

If you like this blog...  
if you like science fiction...
if you support the cause of film preservation...
then please follow this link to make a donation to the National Film Preservation Foundation to support our effort to restore, score, and stream Cupid in Quarantine (1918), a one-reel silent comedy starring Elinor Field and Cullen Landis.

Through this year’s science-fiction-themed blogathon, we’re trying to raise $10,000 and it's going to take many generous small (and large!) donations to get there.  With great appreciation for your generosity, THANK YOU!

Selenite-blogging, 

essay 3 of 5 blog entries

Part One:  Titanic Similarities

A drawing is discovered in a safe deep below the ocean in Titanic (1997).

A team of scientific explorers discover a surprising artifact.  Who did it belong to?  Could the owner possibly still be alive?  “But (s)he’d be at least 90 years old now!”  However, the owner is alive.  And the owner has a tale to share.  Now listen closely.  “Once upon a time…”

Arnold Bedford examines the
British flag found on the moon
in First Men in the Moon (1964).
In First Men in the Moon (1964), explorers discover a British flag on the moon, along with a note claiming the moon in the name of Queen Victoria.  Old Arnold Bedford is discovered in a nursing home and he relates his tale of adventure and romance.

In Titanic (1997), explorers discover a drawing of a nude woman locked inside a safe inside the submerged wreck of the Titanic.  An elderly woman comes forward claiming that the picture is of her.  She relates her tale of adventure and romance.

Coincidence?  Well, it wouldn’t be the first time that writer-director James Cameron cribbed from established science fiction authors… or from Ray Harryhausen movies, for that matter.  Maybe I should let Cameron confess:

“The creations in my movies are really Ray’s illegitimate grandchildren.  The Terminator owes its roots to the skeleton fight in Jason and the Argonauts, which I saw when I was seven years old.  It blew my mind and I wanted to do that, whatever ‘that’ was.”
James Cameron
Testimonial from the book jacket of
Ray Harryhausen: An Animated Life

If Cameron was six for Jason, he would have been seven for First Men in the Moon and my guess is that he was already furiously scribbling notes for future screenplays.

In all fairness, Nigel Kneale’s flashback plot structure for First Men in the Moon IS ingenious and Cameron deserves credit for borrowing from the best.  The plot device works very well in Titanic.  And Cameron’s stripped-down Terminator T-800 Model 101 was a nice twist on Harryhausen’s fighting skeletons, too.

As the famous paraphrase of Isaac Newton states:

“If I have seen further it is by standing on the shoulders of giants.”

Old Bedford in First Men in the Moon and old Rose in Titanic
examine their documents.

Part Two:  The Unintended Metaphor

Bedford on the attack, swinging his gun, in First Men in the Moon.

I could play off James Cameron with this next observation, too, by suggesting that the plot of Cameron’s Avatar (2009) expands on a central metaphor in First Men in the Moon.  But I really don’t think that’s the case, not even subconsciously.

In fact, I don’t think the particular metaphor that I'd like to discuss was ever intentionally placed into First Men in the Moon.  It was just an unplanned accident of plot.  But once you see it, it’s hard to ignore.

Kate Calender (Martha Hyer) brings
a gun to the moon despite Cavor's
dismissal of the idea: "Madam,
the chances of bagging an elephant
on the moon are remote."  But the
gun is ultimately used by both Kate
and Arnold Beckford (Edward Judd)
as they threaten and shoot at
the moon's native inhabitants.
The movie First Men in the Moon functions as a frighteningly plausible metaphor for the European settlement of the Americas.  Arnold Bedford, well played by Edward Judd, represents the European explorer/soldier.  His ethics are highly suspect, he’s prone to violence, and his primary incentive to explore is the promise of gold.  Cavor, magnificently played by Lionel Jeffries, is the scientist/technician who unwittingly makes the invasion possible.

But there’s only one Bedford against a whole civilization of Selenites.  How can a single Bedford possibly win in this battle for empire?  Unfortunately, the answer is simple on both sides of the metaphor.  Carried from a distant land, disease wipes out the civilization.  The Europeans can now move in with relative ease, planting their flag of conquest.

The disease angle was not in the original H. G. Wells novel, and I seriously doubt that screenwriter Nigel Kneale considered the potential historic parallels when he borrowed the idea from Wells’ The War of the Worlds.  But it unexpectedly hooked into the existing imperialist satire that really was lying dormant in Wells’ novel The First Men in the Moon, accidentally creating a scenario that is eerily resonant.

Wells’ novel is surprisingly complex and nuanced.  As in the movie, the character of Bedford (who provides first-hand narration for most of the book) is presented as the typical adventure hero.  His acknowledged faults of avarice and violent temper are minimized and/or justified.  But then, in a very surprising twist late in the book, Cavor’s communications from the moon are presented intact and they paint a very different picture of Bedford:

“On the moon his (Bedford’s) character seemed to deteriorate.  He became impulsive, rash, and quarrelsome…

“We came to a difficult passage with them (the Selenites), and Bedford mistaking certain gestures of theirs… gave way to a panic violence.  He ran amuck, killed three, and perforce I had to flee with him after the outrage.”

Apparently, Bedford has been an unreliable narrator all along, suggesting that Wells’ novel was never intended as a simple science romance for boys.  We’ve received the heroic adventure story from the viewpoint of the villain.

Cavor's cry of despair as he realizes that Bedford
is indiscriminately killing Selenites in
First Men in the Moon.
The screenplay—sometimes jarringly—retains the nastier elements of Bedford’s personality.  Under the veneer of Victorian charm, we see Cavor’s ever-increasing distress at Bedford’s actions, with Cavor finally screaming in despair that Bedford is ruining everything.  Personally, I think the resulting dissonance between the promise of a light-hearted space romp and Cavor’s heartfelt pain may have been behind the movie’s financial failure.  Ultimately, First Men in the Moon doesn’t deliver on the feel-good vibe that’s promised.

When Wells’ theme of European imperialism collides with the disease subplot, the resulting implications are depressingly familiar.  The Selenites are the Native Americans.  Just sixty years after the first ship arrives, their world is in ruins.  As Bedford says at the close of the movie, “Poor Cavor!  He did have such a terrible cold.”  The flag has been planted and the moon will now belong to the Earth.  The aliens have invaded.

The British flag on the moon in First Men in the Moon.

Reference Sources
Into the Unknown: The Fantastic Life of Nigel Kneale by Andy Murray
Film Fantasy Scrapbook by Ray Harryhausen
Ray Harryhausen: An Animated Life by Ray Harryhausen and Tony Dalton

... and a special thank you to the hosts of For the Love of Film: The Film Preservation Blogathon: Ferdy on FilmsThis Island Rod, and Wonders in the Dark.

WarOfTheWorldsBannerPortrait01A

© 2015 Lee Price

          Selenites and Skeletons      Cache   Translate Page      

21 Essays is a proud participant in
For the Love of Film: The Film Preservation Blogathon,
May 13-17, 2015
LET'S RAISE SOME MONEY!!!

If you like this blog...  
if you like science fiction...
if you support the cause of film preservation...
then please follow this link to make a donation to the National Film Preservation Foundation to support our effort to restore, score, and stream Cupid in Quarantine (1918), a one-reel silent comedy starring Elinor Field and Cullen Landis.

Through this year’s science-fiction-themed blogathon, we’re trying to raise $10,000 and it's going to take many generous small (and large!) donations to get there.  With great appreciation for your generosity, THANK YOU!

Selenite-blogging, 

essay 2 of 5 blog entries

Part One:  Insectoids Everywhere!

“The moon is, indeed, a sort of vast ant-hill…”
The First Men in the Moon
By H. G. Wells

In his 1901 science fiction novel The First Men in the Moon, H. G. Wells repeatedly describes the moon’s Selenite inhabitants as insect-like:
“He (the Selenite) presented himself, therefore, as a compact, bristling creature, having much the quality of a complicated insect…”

For his 1964 movie of First Men in the Moon, visual effects master Ray Harryhausen designed remarkable models of insect-like Selenites to bring to life through his inimitable stop motion animation.  While departing from Wells in some particulars, they retain the weird half-human/half-arthropod weirdness in Wells’ descriptions:
“The neck on which the head was poised was jointed in three places, almost like the short joints in the leg of a crab.”

A Selenite Gallery:  Profile, rear (with termite wings), and full frontal.

Inspecting the insectoid
alien remains from
Quatermass and the Pit.
Both Ray Harryhausen and screenwriter Nigel Kneale were fans of the science fiction novels of H. G. Wells.  The concept of upright insectoids in The First Men in the Moon appears to have particularly appealed to them.  Several years before First Men in the Moon, Kneale placed an eerie insectoid alien invasion at the center of the plot of his TV series classic Quatermass and the Pit, first broadcast in 1958.

Near the end of his career, Harryhausen cribbed from his Selenite design to create a trio of insectoid ghouls, complete with little horns reminiscent of the demon insects of Quatermass and the Pit.  Designed for Sinbad and the Eye of the Tiger (1977), the ghouls are skeletal rather than segmented, but the faces possess a familiar creepy insect-like impassivity, like animated mantises.

The insectoid ghouls from Harryhausen's
Sinbad and the Eye of the Tiger.

Intelligent alien insects remain a popular subject in science fiction, turning up everywhere from Star Trek to Starship Troopers.  H. G. Wells basically invented the trope, as he also appears to have been the first to play with an alien hive concept, where intelligence is centralized in a highly ordered society.  This probably relates in some way to the socialism that Wells later advocated, but as of 1901, it’s easier to see the lunar society as a satire of political ideas rather than either a utopia or a dystopia.  The scientist Cavor is content to live in the moon’s great ant-hill but the prospect appears to have much less appeal to the other two humans along for the trip.

Cavor (Lionel Jeffries) surrounded by Selenites in First Men in the Moon.

Part Two:  The Resurrected Skeleton

Here’s Martha Hyer as Kate Callender receiving a full body scan from Lunar Homeland Security.

Martha Hyer gets x-rayed in First Men in the Moon.

Martha Hyer.
For this First Men in the Moon scene, Hyer’s body double was a warrior skeleton model left over from Jason and the Argonauts, pulled off the shelf by master animator Ray Harryhausen.  The shot opens with Hyer fully exposed in naked skeleton mode, making demands to her interrogators as they study her bones.  Then she leaves the scanner area and emerges screen left with her skin and clothes neatly in place.

Whoever would have guessed that Martha Hyer had the frame of a Greek warrior?

And… retroactively applying logic… wouldn’t this suggest that we can see Hyer—that ever-dependable chameleon of an actress—among the skeleton defenders of the Golden Fleece?

Why, I’d recognize that skeleton anywhere!

I think that's Hyer's skeletal frame second from left.

Hyer gracefully parries a sword thrust.

She's a little more graceful than the other skeletons, don't you think?
Personally, I'm rooting for Hyer.

This is how Greek tragedy inevitably ends. 

It just goes to show that we’re all the same under the skin.

Enjoy the video!



Reference Sources
Into the Unknown: The Fantastic Life of Nigel Kneale by Andy Murray
Film Fantasy Scrapbook by Ray Harryhausen
Ray Harryhausen: An Animated Life by Ray Harryhausen and Tony Dalton

... and a special thank you to the hosts of For the Love of Film: The Film Preservation Blogathon: Ferdy on FilmsThis Island Rod, and Wonders in the Dark.

WarOfTheWorldsBannerPortrait01A

© 2015 Lee Price



          First Men in the Moon: Cavor in Quarantine      Cache   Translate Page      

21 Essays is a proud participant in
For the Love of Film: The Film Preservation Blogathon,
May 13-17, 2015
LET'S RAISE SOME MONEY!!!

If you like this blog...  
if you like science fiction...
if you support the cause of film preservation...
then please follow this link to make a donation to the National Film Preservation Foundation to support our effort to restore, score, and stream Cupid in Quarantine (1918), a one-reel silent comedy starring Elinor Field and Cullen Landis.

Through this year’s science-fiction-themed blogathon, we’re trying to raise $10,000 and it's going to take many generous small (and large!) donations to get there.  With great appreciation for your generosity, THANK YOU!

Selenite-blogging, 

essay 1 of 5 blog entries

Part One: A Person Can Develop a Cold

Cullen Landis on left in
Cupid in Quarantine (1918).
Because Cupid in Quarantine (1918) is a comedy based on turn-of-the-century scientific ideas concerning disease, the For the Love of Filmleaders (Ferdy on Films, This Island Rod, and Wonders in the Dark) have adopted a science fiction theme for this blogathon.

And my choice for blogging subject is First Men in the Moon (1964), a delightful science fiction film from 1964 that cleverly incorporates a disease subplot.  In the film, the brilliant scientist Joseph Cavor is plagued by a cold andas any War of the Worlds fan can tell youaliens are very sensitive to Earth viruses.

As the 1953 version of The War of the Worlds explained:

“After all that men could do had failed, the Martians were destroyed and humanity was saved by the littlest things, which God, in His wisdom, had put upon this earth.”

An alien succumbs to Earth viruses in The War of the Worlds (1953).

Absent from the original H. G. Wells science fiction novel, the viral subplot in First Men in the Moon was added by the script’s co-author Nigel Kneale (1922-2006).  Kneale was one of the most intelligent screenwriters to ever contribute to the cinema of the fantastic.  As President John F. Kennedy had vowed that America would land a man on the moon before the end of the decade, Kneale decided that he needed a Wells-ian plot twist to wipe out the moon’s alien civilization before the official astronauts arrived.  He borrowed the virus from The War of the World and released it on the moon.

In addition to the disease angle, I also liked that First Men in the Moon was a period movie, taking place in England in 1899, a mere 19 years before Cupid in Quarantine was filmed in Hollywood. Movies were still in their infancy in 1899—there’s a good chance that the two male protagonists of First Men in the Moon, Arnold Bedford and Joseph Cavor, have never even seen a movie.  But Bedford lives to see the world’s first moon landing and so in his lifetime he would have witnessed the development of movies from early single reelers (like Cupid in Quarantine!) to the age of cinemascope, color, and Dynamation!

The monster kids who work at Pixar
paid homage to Ray Harryhausen in
Monsters, Inc. (2001).
Dynamation was the term coined for the animation work of brilliant special effects technician Ray Harryhausen (1920-2013), who brought dinosaurs and mythical creatures to life in movies like The Beast from 20,000 Fathoms, The Seventh Voyage of Sinbad, Jason and the Argonauts, and One Million Years B.C.  In addition to leading the visual effects team on First Men in the Moon, Harryhausen served as Associate Producer.  Ray Harryhausen is revered by monster kids like me who grew up in the 1960s.  It’s an honor to pay tribute to one of his best movies.

Part Two: The Lost Films of Nigel Kneale

Nigel Kneale's credit on The Quatermass Experiment (1953).

Every lost film is a reminder of the fragility of our film culture.

As with early film, the vast majority of the shows produced in television’s first years have been lost.  Nigel Kneale, co-screenwriter of First Men in the Moon, was an enormously important and influential writer in the new medium of dramatic television in the 1950s.  Unfortunately, much of his work has not survived.  

A giant phantasmagoric alien demon looms over
London in the climax of the film version of
Quatermass and the Pit (1967).
Perhaps most famous for his Quatermass science fiction series (the third of which was the remarkable Quatermass and the Pit), Nigel Kneale joined BBC Television in 1951, becoming one of the station’s first writers.

When the BBC faced a shortage of new material in summer 1953, Kneale offered to write a science fiction serial.  The result, The Quatermass Experiment, galvanized England and racked up extremely impressive ratings.  Neale became pegged as a master of the offbeat and macabre. For the following thirty years, he moved back and forth between TV and the movies, venturing into numerous genres while always remaining true to his own quirky interests and obsessions.

But even nationwide acclaim was not enough to guarantee that his work would be saved for posterity in those early throw-away days of television.  Here are just a few of the many lost works of Nigel Kneale.

Arrow to the Heart (1951):  Kneale’s first dramatic adaptation for the BBC, it was broadcast live and never recorded.

Curtain Down (1953):  Years before launching his successful film direction career, Tony Richardson spent an unhappy apprenticeship directing TV shows for the BBC.  The one person he did like and respect at the studio was Kneale.  They collaborated on this now-lost adaptation of an Anton Chekhov story.  Later Richardson would pull Kneale away from his TV work to write the scripts for Look Back in Anger (1959) and The Entertainer (1960).

The Quatermass Experiment (1953):  The first two episodes of Kneale’s influential TV science fiction hit were recorded, but the network declined to preserve the subsequent four episodes.

Orwell's famous slogan of the future
from Nineteen Eighty-Four (1954).
Nineteen Eighty-Four (1954):  Starring a young Peter Cushing, Kneale’s 1954 adaptation of the George Orwell novel divided the critics but riveted the nation.  The live performance was repeated later in the same week, and the second broadcast was recorded and saved.  But, according to contemporary accounts, the first performance was the better of the two and it wasn’t preserved.

The Creature (1955):  Later remade by Hammer Films as The Abominable Snowman (1957), the original TV broadcast of this thoughtful drama of gentle, telepathic Yeti in the Himalayas was presented live and never recorded for posterity.

The Road (1963):  Acclaimed at its broadcast for its innovative mixing of science fiction and the paranormal, The Road appears to be a lost film.

The psychedelic visuals of The Year of the
Sex Olympics
(1968) cry out for color.
The Year of the Sex Olympics (1968):  A black-and-white recording of this science fiction serial exists, but it’s considered to be a pale shadow of the original color version (which—granted—would have mainly played on black-and-white TV sets at the time).

The Chopper (1971):  Kneale played with the idea of inanimate objects becoming possessed by spirits long before Stephen King drove the idea to mass popularity.  In the now-lost The Chopper, a motorcycle harbors the ghost.

THIS IS SO DISCOURAGING!  ENOUGH LOST FILMS!!!

Now grab this opportunity to save a film by contributing to our effort to restore Cupid in Quarantine (1918)!


Reference Sources
Into the Unknown: The Fantastic Life of Nigel Kneale by Andy Murray
Film Fantasy Scrapbook by Ray Harryhausen
Ray Harryhausen: An Animated Life by Ray Harryhausen and Tony Dalton

... and a special thank you to the hosts of For the Love of Film: The Film Preservation Blogathon: Ferdy on FilmsThis Island Rod, and Wonders in the Dark.

WarOfTheWorldsBannerPortrait01A

© 2015 Lee Price

          Thomas Merton, William Blake, and I Contemplate Eternity      Cache   Translate Page      


Trappist Blogging
in Honor of Thomas Merton's
100th Birthday:
Essay 6 of 6 on
"Fire Watch, July 4, 1952,"
the epilogue of 
The Sign of Jonas



My son Terry overlooking the Grand Canyon.

The things of Time are in connivance with eternity.
“Fire Watch, July 4, 1952”
Thomas Merton

I turn a corner on the path and suddenly the Grand Canyon is before me.  In that moment, the bottom drops out of my experience of time.  Personal insignificance and timeless significance coincide.  People on the rim are just grains of sand arbitrarily blowing across the uppermost layer of strata.  A glance over the edge is a plunge into eternity.

While it sounds right and looks awesome, I don’t think this is what Thomas Merton is referring to in the sentence highlighted above—which happens to be my personal favorite sentence in “Fire Watch, July 4, 1952,” Merton’s sublime epilogue to his book The Sign of Jonas.  The Grand Canyon experience is powerful, a true contender for supreme iconic image of eternity colliding with time.  But I think Merton was referencing something on an altogether different scale, available to everyone on a daily basis without the investment in a Southwest vacation.

Merton prefaces this sentence with a paragraph that resonates with the poetry of William Blake:

But there is a greater comfort in the substance of silence than in the answer to a question.  Eternity is in the present.  Eternity is in the palm of the hand.  Eternity is a seed of fire, whose sudden roots break barriers that keep my heart from being an abyss.

The things of Time are in connivance with eternity…
“Fire Watch, July 4, 1952”
Thomas Merton

The Grand Canyon.
Having written his Master’s thesis at Columbia University on William Blake (“Nature and Art in William Blake; A Essay in Interpretation”), Merton very intentionally echoes the famous first four lines of Blake’s poem “Auguries of Innocence”:

To see a World in a Grain of Sand
And a Heaven in a Wild Flower 
Hold Infinity in the palm of your hand 
And Eternity in an hour…
“Auguries of Innocence”
by William Blake

Merton knows that God must be met in the present moment, which he has learned from Blake is a doorway opening to eternity.  But what sounds simple is difficult because the awareness of passing time is a barrier to the experience of the moment of time.  It is a problem unique to mankind.  As Merton writes, “Only man makes himself illuminations he conceives to be solid and eternal.”  The things of time tease us with intimations of eternity, while leading us away from an experience of the spirit.

Merton steps through the door of the tower, onto the monastery’s roof, open to an experience of God in the night and in the moment.  The “things of time” sentence opens a paragraph that relegates the created world to shadows.

The things of Time are in connivance with eternity.  The shadows serve You.  The beasts sing to You before they pass away.  The solid hills shall vanish like a worn-out garment.  All things change, and die and disappear.  Questions arrive, assume their actuality, and also disappear.  In this hour I shall cease to ask them, and silence shall be my answer.  The world that Your love created, that the heat has distorted, and that my mind is always misinterpreting, shall cease to interfere with our voices.
“Fire Watch, July 4, 1952”
Thomas Merton

So while my view of the Grand Canyonis profoundly felt on one level, its very majesty connives to hide its ephemerality.  It, too, will “vanish like a worn-out garment,” a faith belief entirely in line with geological understanding.  Like the beasts in Merton, the view sings of eternity.  It blindsides us.  And then the mind pitches in and begins misinterpreting it.

Detail, Children's Games (1559-1560)
by Pieter Bruegel the Elder (c. 1525-1569)
oil on wood.
Kunsthistorisches Museum, Vienna.
My most profound experience of eternity was not at the Grand Canyon or any of the National Parks, much as I love them.  It took place nearly thirty years ago when I was playing on a swing set.  At the time, I was working as an assistant at a home for five women with severe mental retardation.  One afternoon, I remember sitting on a two-person swing set in the home’s backyard.  I was on one swing and Carol, a young woman with Down syndrome, was on the swing next to me.  And we were simply swaying in the fall breeze, both of us content for the moment.  She had a beautiful smile and I was happy that she was happy.  Then the particulars vanished in the knowledge that everything was good, that there was no need to worry, that there was endless love emanating from anywhere and everywhere in the world and we were both loved.

You’re sitting on a swing and the bottom unexpectedly drops out of your normal experience of time ticking by.  The second hand on the watch stops.  A moment expands into eternity.

And then it contracts, as the second hand inevitably starts circling again.  The things of time fall back into place.  I recall the impossible-to-capture experience but not how it ended.  Perhaps it was like this:

There are drops of dew that show like sapphires in the grass as soon as the great sun appears, and leaves stir behind the hushed flight of an escaping dove.
“Fire Watch, July 4, 1952”
Thomas Merton

Those are the concluding words of “Fire Watch,” coming after God speaks in Paradise, conveying a message that everything is blessed. (“No more lay hold on time, Jonas, My son, lest the rivers bear you away.”)  In Merton’s case, his job on the Fire Watch ends as the sun rises.  He returns to the mundane tasks of being a monk while the Holy Spirit departs like a dove.

The Grand Canyon.

Reference Source
The Sign of Jonas by Thomas Merton

Click here for the entire six-part Fire Watch series.

© 2015 Lee Price


          Thomas Merton and a Hedgehog on the Hero's Journey      Cache   Translate Page      

Trappist Blogging
in Honor of Thomas Merton's
100th Birthday:
Essay 5 of 6 on
"Fire Watch, July 4, 1952,"
the epilogue of 
The Sign of Jonas




Part One:  Fear of the Dark
In Yuri Norstein's enchanting animated short
Hedgehog in the Fog (1975), our hero ventures
into the fog drawn by a beautiful vision.  It is
a classic hero story, where the hero embarks
on a quest that leads to deeper self-knowledge.
Hedgehog in the Fog shares much in common
with Thomas Merton's "Fire Watch," where
Merton's solitary trek through the monastery
 leads to revelation.

Defying traditional expectations, Thomas Merton depicts the dark as spiritually good.  This is in the nature of a paradigm shift—and it’s not easy to cause a shift in anything as hidebound as a 2,000- year-old religion anchored to a set of ancient sacred texts.

In the very first paragraph of “Fire Watch, July 4, 1952,” Merton writes:

“You (God) have seen the morning and the night, and the night was better.”

Merton’s God blesses the darkness.  This is a concept that would seem to fly in the face of much scripture:

The hero's journey continues.
Top frame: The hedgehog sees a beautiful
vision of a white horse in the fog.  Middle
frame:  Unseen by the hedgehog, the horse
sniffs a leaf that that the hedgehog has
dropped.  Bottom frame:  Safely home, the
hedgehog is haunted by the vision of
the horse.  In "Fire Watch," Merton
pursues an unattainable intimacy,
yearning to receive answers from God
to his existential questions.
“And God said, ‘Let there be light’; and there was light.  And God saw that the light was good; and God separated the light from the darkness.”  (Note:  Light good, dark bad.)
Genesis 1:3-4

“So Moses stretched out his hand toward heaven, and there was thick darkness in all the landof Egypt three days… but all the people of Israelhad light where they dwelt.”  (Note:  Light good, dark bad.)
Exodus 10:22-23

“The people who walked in darkness have seen a great light; those who dwelt in a land of deep darkness, on them has light shined.”  (Note:  Light good, dark bad.)
Isaiah 9:2

“The light shines in the darkness, and the darkness has not overcome it.”  (Note:  Light good, dark bad.)
John 1:5

“Let us then cast off the works of darkness and put on the armor of light.”  (Note:  Light good, dark bad.)
Romans 13:12

While positive passages about darkness exist in the Bible, they are few and far between.  Negative views of darkness overwhelmingly predominate.

The hero's journey continues.
Wandering lost in the fog, hoping to see the
horse again, the hedgehog is frightened by
mysterious beasts of the night:  an owl, a
bat, and an elephant, dimly seen.  As he
wanders through the monastery at night,
Merton evokes a haunted house:  "Shadows
move everywhere... There are faint sounds
in the darkness, the empty choirstalls creak
and hidden boards mysteriously sigh."
But Merton saw through this darkness surrounding darkness to realize that the light-dark dichotomy was always intended as metaphor, and that sometimes metaphors must change with the times.  Darkness served as a favorite image in ancient times because it was universally known and feared.  Our contemporary fears of darkness are much milder by comparison.  If fear begins to seize us, we can simply flick on a light switch, performing our own, “Let there be light.”

When the books of the Bible were written, intense anxieties about the night, the darkness, and the wilderness were very real and reasonable. Communities banded close together to protect themselves from the dangers that lurked outside.  Assurances of safety dissolved when the sun sank below the horizon. The civilized space contracted.  People gathered together within known, familiar spaces... and they barred the doors.  The wilderness outside the city walls, home to dangerous animals and bandits, advanced closer in the darkness.  Any venture out into the dark carried considerable risk.  Better to wait inside for the night to pass and a new day to dawn.

A twentieth century man living in the first full century of electric illumination, Thomas Merton was open to finding new metaphors to express the old truths.  For him, the night was simply an unexplored space—like the terra incognita at the edge of an old map.  With less to fear, he was more aware that God was fully present in the dark, blessing the night just as he blessed the day.

At the close of “Fire Watch,” Merton prophetically speaks for God:

The Voice of God is heard in Paradise:
“What was vile has become precious.  What is now precious was never vile.  I have always known the vile as precious for what is vile I know not at all.”
“Fire Watch, July 4, 1952”
Thomas Merton

In the new metaphor, there’s nothing to fear in the dark.  The night assumes a new dignity, now recognized as precious before God.

The hero's journey continues.
Despite his fears, the hedgehog ultimately finds only kindness and
compassion in the fog.  Left: A dog (with very scary jaws) returns the
hedgehog's lost bag to him.  Right: When the hedgehog falls into a
stream, a fish offers him a ride back to safety.  In "Fire Watch,"
Merton writes that the animals in the wilderness outside the monastery
are misunderstood.  "That is why some people act as if the night and the
forest and the heat and the animals had in them something of contagion,
whereas the heat is holy and the animals are the children of God..."

The hero's journey at its most sublime.
Perhaps the most beautiful of all the images in Hedgehog in the Fog,
the hedgehog uses a firefly to light his way as he moves forward
through a cathedral of trees.  The world appears sacred.  In "Fire Watch,"
Thomas Merton writes:  "Now the huge chorus of living beings rises up
out of the world beneath my feet:  life singing in the watercourses,
throbbing in the creeks and the fields and the trees, choirs of millions
and millions of jumping and flying and creeping things.  And far above
me the cool sky opens upon the frozen distance of the stars."





Watch Hedgehog in the Fog...
Purchase the The Complete Works of Yuri Norstein DVD at Amazon or other vendor.
Purchase Masters of Russian Animation 2 DVD at Amazon or Barnes & Noble.
Rent Masters of Russian Animation 2 at Netflix or other rental service.

Reference Source
The Sign of Jonas by Thomas Merton

Click here for the entire six-part Fire Watch series.

© 2015 Lee Price

          Thomas Merton and Vincent van Gogh Under the Stars      Cache   Translate Page      

Trappist Blogging
in Honor of Thomas Merton's
100th Birthday:
Essay 4 of 6 on
"Fire Watch, July 4, 1952,"
the epilogue of 
The Sign of Jonas




Thomas Merton’s spiritual embrace of the night sky in “Fire Watch, July 4, 1952,” the epilogue to his book The Sign of Jonas, puts me in mind of Vincent van Gogh’s celebrations of the night.

In the Gospel of Luke, Jesus tells his disciples that the Kingdom of God is in their midst.  I like to think that when Thomas Merton and Vincent van Gogh looked up at the night sky, they saw the Kingdom in their midst, encompassing and challenging them.


Starry Night Over the Rhone, 1888,
by Vincent van Gogh (1853-1890),
oil on canvas.
Musee d'Orsay.



Lane of Poplars at Sunset, 1884,
by Vincent van Gogh,
oil on canvas.
Kroller-Muller Museum.


The Old Tower at Dusk (1884)
by Vincent van Gogh (1853-1890),
oil on canvas.
Private Collection.


Country Road in Provence by Night (1890)
by Vincent van Gogh (1853-1890),
oil on canvas.
Kroller-Muller Museum.



Landscape with Wheat Sheaves and Rising Moon (1889)
by Vincent van Gogh (1853-1890),
oil on canvas.
Kroller-Muller Museum.



Cafe Terrace on the Place du Forum (1888)
by Vincent van Gogh (1853-1890),
oil on canvas.
Kroller-Muller Museum.
Vincent van Gogh ran into a problem when he decided he wanted to paint the night sky, so much more visible in the town of Arles than it had been in well-lit Paris.  His subject turned out to be uncooperative.  Desiring to paint Impressionist-style, en plein air, Van Gogh set up his easel on a sidewalk, positioning himself under a gas light so he could see his paints.  But, naturally, the artificial light masked a thousand stars above, defeating his intention.  As a result, his first great nocturnal scene from Arles, Café Terrace on the Place du Forum, does a fine job of capturing the personality of the cafe but left him unsatisfied with its depiction of a starry night.

He kept trying, driven by love of art, nature, and a spiritual impulse that he couldn’t deny.  He wrote, “I have a terrible need of—shall I say the word?—religion.  Then I go out at night to paint the stars.”

Van Gogh wanted to capture the colors of the night in a new way that would shatter conventional depictions of a black sky with pinprick white stars.  He wrote to his brother Theo, describing the sky as he saw it during a nighttime walk along the seashore:

“The deep blue sky was flecked with clouds of a blue deeper than the fundamental blue of intense cobalt, and others of a clearer blue, like the blue whiteness of the Milky Way.  In the blue depth the stars were sparkling, greenish, yellow, white, pink, more brilliant, more emeralds, lapis lazuli, rubies, sapphires.”

I think Thomas Merton and Vincent van Gogh were kindred spirits.  Both were seized by strong religious yearnings while young and felt themselves called to a religious life.  Although personally dedicated to the Trappist traditions, Merton found that he continued to need artistic outlets, expressing his insights through prose and poetry.  He viewed his religion through the eyes of an artist.  In contrast, Van Gogh never found a religious base to call home.  Rejected in his ministerial calling, Van Gogh sublimated his essential religious nature into his art.

Thomas Merton embraced the night in “Fire Watch, July 4, 1952,” praising it as a gift of freedom:  “You have seen the morning and the night, and the night was better.”

Vincent van Gogh marveled at the night sky, witnessed a vision of vibrant cosmic creativity that he felt compelled to share, and he painted Starry Night.

Starry Night (1889)
by Vincent van Gogh (1853-1890),
oil on canvas.
The Museum of Modern Art.

Reference Sources

Van Gogh: The Life by Steven Naifeh and Gregory White Smith
The Sign of Jonas by Thomas Merton

Click here for the entire six-part Fire Watch series.

© 2015 Lee Price

          Thomas Merton and Bob Dylan Riffing on Isaiah      Cache   Translate Page      

Trappist Blogging
in Honor of Thomas Merton's
100th Birthday:
Essay 3 of 6 on
"Fire Watch, July 4, 1952,"
the epilogue of 
The Sign of Jonas




Part One:  Isaiah, Dylan, and Merton

Kingdoms are poised to fall in the Book of Isaiah.  From a besieged city’s highest tower, the watchman will sound the alarm.

Upon a watchtower I stand, O Lord,
Continually by day,
And at my post I am stationed whole nights.
And, behold, here come riders, horsemen in pairs!
Isaiah 21:8-9

Watchman, what of the night?
Watchman, what of the night?
Isaiah 21:11

There must be something in these lines that resonates with genius because both Thomas Merton and Bob Dylan responded with some of their strongest work.  In “Fire Watch, July 4, 1952,” Merton’s epilogue to his book The Sign of Jonas, he opens with the line, “Watchman, what of the night?”  The 13 pages that follow are Merton’s response to Isaiah’s question.  Fifteen years after Merton wrote “Fire Watch,” Bob Dylan re-imagined Isaiah 21:8-9 in his famous song “All Along the Watchtower.”

Isaiah 21 is part of a section where the prophet issues a series of oracles prophesying the fall of cities.  Verses 1 through 10 address the impending fall of Babylon.  Destruction will come like “whirlwinds in the Negeb.”  Dylan takes this and hints at the storm to come: “The wind began to howl.”  The approach of the two riders, along with the wildcat growling and the wind howling, signals apocalypse.  The song ends just as the end of things begins.

The other Isaiah verse quoted above come from a second oracle.  Although it is addressed to Dumah (or Edom), a city located near Jerusalem, the subject still appears to be the fall of Babylon and its repercussions for Judah and Israel.  To the question “What of the night?” the watchman responds:

“Morning has come, and also night.  If you will request, request.  Return and come.”

According to the commentary of Rashi (1040-1105), the watchman’s response refers to the release of the Hebrew captives from Babylon (“morning has come”), a time that will be accompanied by judgment for some (“and also night”).  The exiles are urged to request permission of the conquering Persian army to return to the ancestral home (“If you will request, request.”).  And the passage ends with a call for all to return with appropriate humility and repentance (“Return and come.”).

The Fall of Babylon (1569), engraving by
Philips Galle (Netherlandish, 1537-1612)
after Maarten van Heemskerck.
The Metropolitan Museum of Art.
Employing considerable creative license, Merton assigns his opening Isaiah quote to God rather than Isaiah’s unnamed speaker.  In “Fire Watch,” the first line, “Watchman, what of the night?” is italicized.  Merton doesn’t return to italics until the penultimate three-paragraph section of the essay where “The Voice of God is Heard in Paradise.”  In this construction, God opens the essay with a question and concludes with a strong (if ambiguous) statement.  In between, Merton ventures his own tentative responses to the question, “What of the night?”

Merton differs from both Isaiah and Dylan in his gentle treatment of the wilderness.  In Isaiah, the animals of the countryside will surely kill you:  “And the birds of prey will summer upon them (the people who flee the city)/and all the beasts of the earth will winter upon them.”  (Isaiah 18:6.)  Dylan is similarly ominous, with a wildcat’s growl announcing the impending destruction.  In contrast, Merton finds peace in the sounds of the Kentucky wilderness outside the monastery:

The world of this night resounds from heaven to hell with animal eloquence, with the savage innocence of a million unknown creatures.  While the earth eases and cools off like a huge wet living thing, the enormous vitality of their music pounds and rings and throbs and echoes until it gets into everything, and swamps the whole world in its neutral madness which never becomes an orgy because all things are innocent, all things are pure….  The heat is holy and the animals are the children of God and the night was never made to hide sin, but only to open infinite distances to charity and send our souls to play beyond the stars.
“Fire Watch, July 4, 1952”
Thomas Merton

Merton turns from the violent overthrows of Isaiah and Dylan to find a different kind of apocalypse in the night.

Vanitas (1661)
by N. L. Peschier (Netherlandish, active 1659-1661),
oil on canvas.
Philadelphia Museum of Art.

Part Two:  The Apocalypse of Thomas Merton

Lord, God, the whole world tonight seems to be made out of paper.  The most substantial things are ready to crumble or tear apart and blow away.
“Fire Watch, July 4, 1952”
Thomas Merton

Scratch the surface of the Abbey of Gethsemaneand a void opens.  Merton roams the silent halls on his fire watch, where everything is ostensibly quiet and peaceful, but his thoughts keep slipping toward premonitions of destruction and oblivion.

Burning of Old South Church,
Bath, Maine
, detail, c. 1854,
John Hilling (British, 1822-1894),
oil on canvas.
National Gallery of Art.
The monastery is solid as rock by day.  But, in Merton’s essay, everything appears different at night.  The night watchman’s job—keeping everyone safe from danger—is doomed to ultimate failure.  In the essay’s second paragraph, Merton sets out on his rounds “in the house that will one day perish.”  In this context, the word “house” operates poetically.  In Merton’s very Christian understanding, it is not just the monastery but the world as we know it that will perish.

From cellar to tower, Merton’s prescribed route through the monastery is a search for portents of disaster.  He checks a fuse box, fully aware that a single observation per night is insufficient to ensure any real safety.  “I am satisfied that there is no fire in this tower which would flare like a great torch and take the whole abbey up with it in twenty minutes…”

As he ascends the winding stairs of the monastery’s tower, Merton foresees his own non-existence, along with the passing of everything he loves in the material world.  “The beasts sing to you before they pass away.  The solid hills shall vanish like a worn-out garment.  All things change, and die and disappear.  Questions arise, assume their actuality, and also disappear.  In this hour I shall cease to ask them, and silence shall be my answer.”

This is Merton’s mystic apocalypse, blessing the world while acknowledging its ultimate ephemerality.  Creation fades into darkness.

One by one I shall forget the names of individual things.
“Fire Watch, July 4, 1952”
Thomas Merton

Thomas Merton's grave at the Abbey of Gethsemane.
Detail of a photo by Erik Eckel.  Wikimedia Commons.

The door swings out upon a vast sea of darkness and of prayer.
“Fire Watch, July 4, 1952”
Thomas Merton

Even from the highest tower, all that can be seen is a vast sea of darkness.  This is our future—a night that can be faced with either hope or despair.

Reference Source
The Sign of Jonas by Thomas Merton

Click here for the entire six-part Fire Watch series.

© 2015 Lee Price

          Anesthesia Physician - Locums Coverage - Georgia      Cache   Translate Page      
Posted on: 2019-03-12

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          Learning to Walk in the Dark with Thomas Merton      Cache   Translate Page      

Trappist Blogging
in Honor of Thomas Merton's
100th Birthday:
Essay 2 of 6 on
"Fire Watch, July 4, 1952,"
the epilogue of 
The Sign of Jonas




Part 1:  Valuing the Darkness

The Monk by the Sea by Caspar David Friedrich,
1808 or 1810, oil on canvas.
Alte Nationalgalerie

The fire watch is an examination of conscience in which your task as watchman suddenly appears in its true light:  a pretext devised by God to isolate you, and to search your soul with lamps and questions, in the heart of darkness.
“Fire Watch, July 4, 1952”
Thomas Merton

The world’s evil forms a current that swirls down a vortex into unspeakable horror, presided over by a Mr. Kurtz somewhere on the Congo River.  That’s the standard image of the heart of darkness, courtesy of Joseph Conrad.  In horror novels and movies, the climactic action inevitably seems to move toward either an ascent or a descent into a heart of darkness.  Monsters await there.  Biblical references to darkness tend to be equally negative:  “whoever follows me will never walk in darkness” and “the sons of the kingdom will be thrown into the outer darkness; there men will weep and gnash their teeth.”

Enjoying the Moon: Landscape in the
Manner of Wang Meng

by Gu Yide (active ca. 1620-1630),
China, dated 1628,
hanging scroll.
The Metropolitan Museum of Art
Nevertheless, the journey described in Thomas Merton’s “Fire Watch, July 4, 1952,” the epilogue to his book The Sign of Jonas, is one that takes place entirely in the night and is resolutely affirming of the darkness.  Merton’s role as a night watchman, pursuing a solitary nocturnal trek through the monastery of Gethsemane, offers opportunities to him that are unavailable during the day.  He eagerly moves toward the call of the darkness, the silence, and the night.  If you want to follow in Merton’s steps, they lead into the night.

In preparation for writing this series, I read Barbara Brown Taylor’s excellent recent book Learning to Walk in the Dark.  Taylor and Merton are Christians who—despite the myriad Biblical quotes that praise the light and condemn the dark—hear something deeply spiritual beckoning to them in the night.  In their own ways, each of them finds God in the darkness, and each finds the experience radically different than worship in the glare of the sun.

Taylor’s book is engaging and practical.  It’s encouraged me to enjoy the night more—to venture out more fearlessly.  She cites many inspiring examples of spiritual growth via passage through darkness and talks of her own experiences in caves, in a blindness-simulation exhibition, and under the night sky.  By contrast, Merton’s “Fire Watch” essay is a window onto a soul crying for spiritual nourishment.  He breaks off from the pack (his fellow monks) to search for God alone and in the dark.

Although Merton feels the presence of God more strongly at night than during the day, it is a presence that offers few consolations and no personally satisfying answers to his questions.  His spiritual experience of God in the dark renders him simultaneously overwhelmed and frustrated.

“…in the nighttime You have confronted me, scattering thought and reason.”

and

“…You have descended upon me, with great gentleness, with most forbearing silence, in this inexplicable night, dispersing light, defeating all desire.”

Merton uses the silent hours of the night to meditate upon his own calling and God’s intentions for him.  As he silently moves from room to room, from the monastery’s basement to the top of the highest tower, he hungrily petitions God to come closer and to reveal more.

He acknowledges that he asks similar questions in the day but he expects no answers then.  His one hope of clear communication is the night.  Even in a monastery, surrounded by vows of silence, Merton experiences the day as full of the noise of human rationalizations and empty talk.  He turns to the silence of the night for truth.

The Lonely Tower, detail
by Samuel Palmer (1805-1881),
British, 1879, etching in black on laid paper.
National Gallery of Art
With the aid of Taylor’s book, I can identify at least three kinds of exterior darkness.  There are: 
1) Pitch black:  The utter darkness of a cave, where you can’t even see your hand held in front of your face.  In the ocean, it is the darkness at the bottom of the deepest trenches.  In space, it is the unfathomable void between stars.
2)  Night darkness:  Light exists, but it is pale and the shadows are deep.  As our eyes adjust to the night, we become aware of moonlight, starlight, and all sorts of stirring life around us.
3)  The darkness of fog:  Light is deceptively dispersed through a seemingly opaque vapor, with the density of the fog obscuring even close objects from view.

The darkness discussed by Merton in his “Fire Watch” essay falls under categories 2 and 3, the night and the fog.  The darkness he describes is mainly a night darkness, full of life and open to the appreciation of attentive eyes.  But it is also like a fog.  One of Taylor’s key insights is that Moses meets God within a night-like cloud that descends upon Mount Sinai.  Merton directly refers to the same Biblical image as he steps out into the night at the top of Gethsemane’s highest tower:

With you there is no dialogue unless You choose a mountain and circle it with cloud and print Your words in fire upon the mind of Moses.
“Fire Watch, July 4, 1952”
Thomas Merton

Like Moses, Merton encounters God within the darkness of fog.

Moses receives the tablets
from God in the cloud.

Illuminated manuscript,
Central Italy (Florence),
last quarter of the 15th century.
British Library
I was introduced to the idea of Summer Christians and Winter Christians through Richard Beck’s great Experimental Theology blog.  Originally proposed by Martin Marty, the suggestion is that most Christians naturally fall into either one or the other type of spirituality: summer or winter.  Summer Christians embrace the positive, anticipating or experiencing happiness in God.  Winter Christians are comfortable with engaging with God through complaint.  In Learning to Walk in the Dark, Taylor speaks of some churches that she says engage in a full solar spirituality:  “Members strive to be positive in attitude, firm in conviction, helpful in relationship, and unwavering in faith…  Who would not like to dwell in God’s light 24/7?”  These are the churches of the Summer Christians.

The two types are complementary, neither better than the other, and the world needs both.  It’s just a matter of temperament.  Winter Christians must arm themselves with flashlights and move through the night in a search for God that they fully realize may be futile.  They do it because they have to.  Thomas Merton, Barbara Brown Taylor, and I don’t have much choice in the matter.

The darkness beckons.


Part Two:  Christmas Eve

Winter Moonlight (also known as Christmas Eve), 1866,
by George Inness (1825-1894),
oil on canvas.
Montclair Art Museum

While passing through the choir novitiate during his rounds as night watchman, Thomas Merton smells the frozen straw and it triggers a memory:

…the freezing tough winter when I first received the habit and always had a cold, the smell of frozen straw in the dormitory under the chapel, and the deep unexpected ecstasy of Christmas—that first Christmas when you have nothing left in the world but God!
“Fire Watch, July 4, 1952”
Thomas Merton

Winter Moonlight, detail,
by George Inness (1825-1894)
Montclair Art Museum
Although this doesn’t sound like any Christmas I’ve ever known (where are the decorations, the presents, and the Christmas cookies?), it’s an enchanting reminiscence.  I might trade the decorations and the presents for a deep unexpected ecstasy.  Maybe not the snickerdoodles, but I’m willing to barter the rest.

Merton’s Christmas memory reminds me of this beautiful early painting by George Inness.  Originally called Winter Moonlight, the painting seems to have picked up the very appropriate name Christmas Eve about a century ago.  It resonates with the power of a silent night.  The clouds break in the middle to frame the resplendent moon, but its light is insufficient to remove the dark shadows that dominate the painting.  The figure in the middle, like a shepherd or king, follows the light even as it leads him toward the shadows.

As Merton wrote near the conclusion of “Fire Watch”:

Lord God of this great night:  do You see the woods?  Do you hear the rumor of their loneliness?  Do You behold their secrecy?  Do You remember their solitudes?
“Fire Watch, July 4, 1952”
Thomas Merton

These seem appropriate questions to ponder, while silently appreciating this beautiful painting in the collection of the Montclair Art Museumin New Jersey.

Reference Source
The Sign of Jonas by Thomas Merton

Click here for the entire six-part Fire Watch series.

© 2015 Lee Price

          Thomas Merton and I Share a Fire Watch      Cache   Translate Page      

Trappist Blogging
in Honor of Thomas Merton's
100th Birthday:
Essay 1 of 6 on
"Fire Watch, July 4, 1952,"
the epilogue of 
The Sign of Jonas




Part One:  Thomas Merton, Writer

Thomas Merton would have turned 100 this coming Saturday (January 31, 2015).  I’d like to think he would have celebrated it in silence at his beloved monastery Gethsemane near Bardstown, Kentucky.  Maybe he would have ascended Gethsemane’s tower to look out again upon the world, as he described in this passage from the “Fire Watch” epilogue to his book The Sign of Jonas:

And now my whole being breathes the wind which blows through the belfry, and my hand is on the door through which I see the heavens.  The door swings out upon a vast sea of darkness and of prayer.  Will it come like this, the moment of my death?  Will You open a door upon the great forest and set my feet upon a ladder under the moon, and take me out among the stars?
“Fire Watch, July 4, 1952”
Thomas Merton

Unexpectedly, the door swung open for Merton just 16 years after he wrote “Fire Watch,” accidentally electrocuted while attending an interfaith conference in Bangkok, Thailand in 1968.

Two decades after his death, I began a slow yet steady exploration of his vast legacy of writings.  Most nights, there’s a Merton book by my bed.  In my better moments, I attempt to model my life on him.

Not that I’ve taken vows or adopted a habit of silence!  Celibacy’s not for me and I generally prefer to rise after the sun, not at 4 a.m. for prayers and hymns.  I don’t wear a robe to work.

Eadmer of Canterbury Writing,
Unknown, Flemish, Belgium,
about 1140-1150, tempera colors
gold paint, and ink on parchment,
7 x 4 1/2 in.,
Ms. Ludwig XI 6, fol. 44v
The J. Paul Getty Museum
But after more than twenty-five years of intermittent immersion in Merton’s often profound writings, I’ve become convinced that his central vocation was not being a monk, but being a writer.  He cultivated a writer’s curiosity, always probing and questioning and looking for deeper levels.  While initial spiritual experiences may have taken place while on his knees in monastic prayer (or on his knees in monastic housekeeping), his insights became clarified in recollection afterward, as he religiously wrote in his journal or pecked away on his typewriter.  He sought for a difficult balance, striving to be simultaneously fully awake to the material world while remaining ever conscious of a spiritual dimension behind the veil.  He valued both.  This is the Merton that I hope, in my better moments, to emulate.

I don’t remember why I picked up a biography of Merton in 1986, eighteen years after his tragic accidental death.  I must have heard something that nudged me in his direction.  In any case, I read the biography and it didn’t impress me much.

I don’t remember why I persevered, moving on to The Seven Storey Mountain, Merton’s best-selling autobiographical account of his spiritual awakening, but I do remember the jolt I felt when Merton suddenly connected with me.  Despite all the biographies, reminiscences, critical analyses, and blog entries written about him, an understanding of Merton is inseparable from wrestling with his own words.  He probably wasn’t a saint, but he was an extraordinary writer.

This is why Merton’s experience on the fire watch—a solitary walk through his monastery one night in 1952—opens out onto the universal.  Merton the artist consciously and intentionally shaped a short prose masterpiece out of an experience which is ultimately beyond words.  Through his artistry, “Fire Watch” is a spiritual journey that’s not restricted to Trappist monks on vows of poverty, but accessible to people everywhere.

Part Two:  My Fire Watch, January 24, 2015

The Crescent Moon, detail, by Samuel Palmer (1805-1881),
pen and sepia ink and graphite on wove paper,
Yale Center for British Art, Paul Mellon Collection.

My attempt at a fire watch:

I rise after everyone is asleep.  That’s no easy task as my wife’s a night owl…  It’s much, much later than Merton’s fire watch rounds which began with the monk’s 8 p.m. bedtime.  My wife typically stays up until 2:30 (as, somewhere in Kentucky, the monks are entering their last hour of sleep before their first prayers and hymns of the morning!).

As with Merton’s rounds, a fire watch in my house naturally begins in the basement.  Given our situation, it’s therefore initially more of a water watch than a fire watch.  Opening the basement door, my biggest fear is to see a rising tide of water at the bottom of the stairs (unfortunately, this is an anxiety stemming from experience).  Even with Merton, the term fire watch only captures part of his responsibility.  Fires were frequent in that part of Kentuckyso they were the greatest concern, but the watchman is really called to be on alert for signs of all manner of disaster.  If Merton found a flood in the basement, he’d have to raise the alarm.  He’s the watchman, after all.

So I furtively turn on the basement lights and, with relief, see only dust and shadows below.  I descend the stairs, then check the furnace and the outlets.  I check for any signs of water pooling near the walls.  Nothing to report.

Moonlit Landscape
with Bridge
, detail,
by Aert van der Neer
(1603/1604 - 1677),
probably 1648/1650,
oil on panel.
National Gallery
of Art
I return back up the stairs, entering the kitchen.  I check the oven and the coffee maker, then sniff the air for smoke.  Everything’s off.  Everything’s safe.  I cross into the dining room and notice I should change the table cloth.  But that’s not a fire watch job; it can wait.  And so it goes as I move along a sort of oval path through our living room, the foyer, the family room (passing the curious dog), the laundry room, the powder room, and back to the kitchen.  The watchman sees no cause for alarm.

At this point in his duties, Merton enters into the silence and contemplates the deeper call of his work.  The silent nighttime patrol isn’t really about safety at all:

The fire watch is an examination of conscience in which your task as watchman suddenly appears in its true light:  a pretext devised by God to isolate you, and to search your soul with lamps and questions, in the heart of darkness.
“Fire Watch, July 4, 1952”
Thomas Merton

Alone on the first floor, with my wife and daughter asleep above me on the second, I pause to think.  My outward responsibility as watchman is to protect.  But, according to Merton, my equally important inward task is to embrace this opportunity to be with God in the darkness, “in the house that will one day perish.”  So I settle into the silence.

The furnace rattles on.  The dog looks up.  I feel distracted.

The next stage of the fire watch beckons.  I ascend the stairs to the second floor, flashlight in hand.  Everything looks as it should.  As with Merton, “the flashlight creates a little alert tennis ball upon the walls and floors.”  I shouldn’t wake them.  We watchmen must keep our vows of silence.

I have a wife and a daughter living at home, and a son away at college in Maine.  I feel my job should be to protect them all.  The watchman must be ever vigilant.  But in the silence and darkness, knowing my Merton-assigned task is to simply be with God, it becomes obvious that this house’s watchman is helpless.  My wife is wrapped in a solitary silence.  My daughter is sound asleep.  Six hundred miles away, my son is alone in his dorm room.  And the watchman is alone in the hall, solitary and powerless to keep anyone truly safe.

Moonlight (Mondschein), 1895
by Edvard Munch (1863-1944),
etching and Aquatint.
National Gallery of Art
In our shared helplessness, I share something in common with Thomas Merton, on July 4, 1952, wandering alone through the monastery, enduring an examination of conscience, isolated in the heart of darkness.

Between the silence of God and the silence of my own soul, stands the silence of the souls entrusted to me.  Immersed in these three silences, I realize that the questions I ask myself about them are perhaps no more than a surmise.  And perhaps the most urgent and practical renunciation is the renunciation of all questions.
“Fire Watch, July 4, 1952”
Thomas Merton

There’s little I can do—of practical value anyway—so I head back to bed.  

In Kentucky, in a monastery near Bardstown, Merton’s brothers are waking up as I fall back to sleep.

Reference Source
The Sign of Jonas by Thomas Merton

Click here for the entire six-part Fire Watch series.

© 2015 Lee Price

          Permanent Cardiologists needed in Northern Georgia      Cache   Translate Page      
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They were supposed to be together forever. That was the plan, but through a cruel twist of fate the night before their three-year anniversary, Tex Davis lost the one man he would ever love, Memphis King. A year has passed and he still hasn’t been able to move on. Everyone tells him it’s time, but what do they know? Memphis was his partner in love and life. Losing him, broke Tex.

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Tagline:
Two broken hearts, one wandering soul.

Maria Vickers currently lives in St. Louis, MO with her pug, Spencer Tracy. She has always had a passion for writing and after she became disabled in 2010, she decided to use writing as her escape. She believes that life is about what you make of it. You have to live it to the fullest no matter the circumstances.

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          Harrell y Williams han demostrado buena química para Clippers en camino a playoffs.      Cache   Translate Page      

El dúo dinámico de Lou Williams y Montrezl Harrell, que lleva a los Clippers a los playoffs, nació durante los veranos abrasadores en Georgia mientras jugaban en el Atlanta Entertainment Basketball League.

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