Childhood Sweetheart Research Articles

Sentence Structure Translation Issues in Japanese Literary Works

Japanese is an SOV-type (i.e. subject-object-verb) language and Chinese is an SVO-type (i.e. subject-verb-object) language. When translating Japanese literary works, we should put aside the habit of using native Chinese according to the SVO-type structure, and instead, according to the contextual background of the original text, take the sentence as the smallest unit, and appropriately adjust the sentence structure of the translation in order to achieve the more desirable translation effect. This paper tries to compare four versions of the translation of the Japanese literary work "Childhood Sweetheart", attempting to discuss the adjustment of sentence structure in translation.

Summer with the Enemy

Summer with the Enemy is a novel written in the Arabic language by the Syrian writer Shahla Ujaili and translated to English by Michelle Hartman. It follows the life stories and complex relations of three women Lamees, her mother Najwa, and her grandmother Karma. It describes the evolution of societies and political milieu in Syria from the 1920s till the Syrian civil war around the 2010s. The novel starts in the present time, when Lamees, a young Syrian woman, having fled the ISIS siege on her hometown Raqqa, seeks asylum in Germany, Cologne, and reunites with Abboud, her childhood sweetheart. In a series of flashbacks, Lamees, the narrator, recollects episodes from her life in Syria, giving a vivid, nuanced description of the Syrian culture in Raqqa before and during the war. The value of this novel stems from its honest depiction of women's lives within various class systems, marital relations, changing historical and political circumstances, and their adaptability to change within and outside their homeland.

Richard Anthony Hayes

Richard Anthony Hayes was born at home in Kingswood, Bristol, delivered by his family GP, John Ridgeway, who influenced his later life. He attended Kingswood Grammar School, where, at the...

Ronald West Strachan

Ronald West Strachan (“Ronnie”) was born in Aberdeen, attended Aberdeen Grammar School, and in 1947 started studying medicine at Aberdeen University. He spent two years of national service in the...

The Last Voyage of Poe Blythe by Ally Condie

Reviewed by: The Last Voyage of Poe Blythe by Ally Condie Kate Quealy-Gainer, Assistant Editor Condie, Ally The Last Voyage of Poe Blythe. Dutton, 2019 [336p] Trade ed. ISBN 978-0-525-42645-5 $18.99 E-book ed. ISBN 978-0-698-13561-1 $10.99 Reviewed from galleys Ad Gr. 7-10 In the two years since raiders killed her beloved, seventeen-year-old Poe Blythe has established herself as the architect of the Outpost’s last mining ship, suiting it with armor that will literally crush any interloper as it lazily makes its way downriver, churning up and collecting precious gold. This latest journey, however, goes further into enemy territory than the dredge has gone before, and Poe is understandably jumpy; it turns out she’s right to worry after a traitor among the crew figures out a way to bring raiders onboard, and she is forced to jump ship. Now she and just a few members of her original team (including a handsome soldier) have to figure [End Page 251] out a way to take back the boat and get the gold to the Outpost. Neither the world nor characters are fully developed here, and while readers see the murder of Poe’s childhood sweetheart, Poe’s grief feels more like a plot device to spur her vengeance than an authentic emotion. The pace, however, moves at a satisfyingly fast clip, and the action—facing off with raiders, nearly drowning, creeping into hostile settlements, planning a daring escape/rescue/escape, and having that plan utterly blown to pieces—makes for some solid diversion. Readers unconcerned with Poe’s motives and more appreciative of her risk taking may find her audacity and her journey worth sticking around for. Copyright © 2019 The Board of Trustees of the University of Illinois

From One Medium to the Next: How Comic Books Create Richer Storylines

From One Medium to the Next: How Comic Books Create Richer Storylines

Slumdog Millionaire and the Knowledge-Based Economy: Poverty as Ontology

Slumdog Millionaire and the Knowledge-Based EconomyPoverty as Ontology Georgia Christinidis (bio) The problem is therefore moved from political philosophy to first philosophy (or, if one likes, politics is returned to its ontological position). —Agamben, Homo Sacer “IT COULD BE YOU”: IN THE BRAVE NEW WORLD OF THE KNOWLEDGE-BASED ECONOMY Danny Boyle’s Slumdog Millionaire (2008) is a prototypically neoliberal narrative of the entrepreneurial individual who succeeds by capitalizing on their knowledge; it excludes the possibility of collective and political responses to the poverty it represents. In valorizing Western knowledges over Indian knowledges and assigning an important function to tacit knowledge as a determinant of success, Slumdog Millionaire is symptomatic of the structural inequalities that both shape the knowledge-based economy and are perpetuated by it. The film’s claim that Jamal’s success is his destiny, which is reinforced by the narrative structure, turns poverty from a political problem into an ontological one, thus removing it from the realm of history and agency. Slumdog Millionaire’s weak conception of agency is typical of Boyle’s oeuvre, where the trope of the game show conceptualizes human life as ambiguously poised between determinism and contingency but, in either case, inaccessible to transformative agency. The ineffectuality of agency is partly a product of the atomism of Boyle’s films, which is only disrupted by sparsely sketched romantic relationships that do not provide any ground for transformative practices. Relationships beyond that of the romantic couple are dismissed as [End Page 38] subject to betrayal, failure, and abuse, so that they, too, are eliminated as the basis of transformation. The opening scenes of Slumdog Millionaire are set in a police station. The protagonist, Jamal Malik, is being questioned because he “is one question away from winning twenty million rupees” on Kaun Banega Crorepati, the Indian version of the British game show Who Wants to Be a Millionaire? An extradiegetic question asks the viewer to decide how this could have happened. Like the questions on the show itself, it has four possible answers, only one of which is correct: Jamal may have been lucky, he may be a genius, he may have cheated, or “It is written” that he will succeed. The police assume Jamal must have cheated, as it is inconceivable that a “slumdog,” employed as a chai wallah in a call center, could advance by honest means where “doctors, lawyers, and general-knowledge wallahs” have failed. They torture him in their efforts to extract a confession. Jamal insists that he knew the answers, and the inspector eventually asks him to explain. As they watch the previous evening’s show on video, Jamal tells the inspector the story behind each answer. The stories behind the answers turn into a story of his life, told in a series of flashbacks. The drama of Jamal’s struggle against apparently insurmountable odds is emphasized by the film’s pace as well as by Boyle’s use of the canted camera (Koehler, 76). Once Jamal has accounted for his success, he is cleared, and the police drive him to the studio in time for the show’s second installment. At the studio, Jamal correctly guesses the answer to the show’s final question, wins twenty million rupees, and is reunited with his childhood sweetheart and true love, Latika. Meanwhile, “It is written” is revealed to be the correct answer to the opening question. Criticism of Slumdog Millionaire has hitherto mainly focused on the film’s portrayal of India. The film itself, as well as its enthusiastic reception by reviewers and audiences, engenders or at least perpetuates the metonymic reduction of India to slums and Bollywood (Desai, 75; Gehlawat, 6; Koehler). Nevertheless, the film’s representation of poverty both understates its real extent and impact1 and sensationalises, romanticises, and depoliticizes it (Sengupta, 603). The portrayal of India in Slumdog Millionaire is, therefore, profoundly orientalist (Desai, 76–77; Gehlawat; Sengupta). The film’s overt message is upbeat: “It could be you,” the first advertising slogan of the UK National Lottery, could also serve as a tagline for Slumdog Millionaire. [End Page 39] For if even a so-called slumdog can win a game show like Who Wants...

The One by K. Cass

Cass, Kiera. The One. New York: Harper Teen/Harper Collins Publisher, 2014. Print.Book Three in The Selection seriesThe One is the third instalment of Kiera Cass’ Selection series. The first book, The Selection, begins with thirty-five girls who are chosen across the country to vie for the prince’s heart to become the next queen of Illéa. For most girls, this would be a dream come true. For America Singer, one of the selected, she could not care less. She does not want to leave her family or her childhood sweetheart behind. Soon swept into a world so different from her own, she begins to see not everything is perfect at the castle or as simple as it seems.The Elite, book two, picks up right after one of the eliminations and begins with the final six girls (the elite). There is more turmoil as America battles with her feelings for her childhood sweetheart, Aspen, who is a guard at the palace, and Maxon, the prince, who has more aspects to him than she originally thought. Tension rises when the rebels attack the castle and the girls are under siege. While America struggles with her feelings, she decides that she does, in fact, want to be there and will now try for Maxon’s heart, if she still has a chance.The One, book three, begins with the castle under attack. We have learned secrets about the king at the end of book two and are beginning to understand the rebels’ motives. Competition is also fierce as it is now down to the top four girls and each girl is desperately trying to win Maxon’s heart. America feels strongly for the prince, but how can she know if she loves him when he still has three other girls that he is dating? Does he love her or one of the other girls more? Can she really turn away from Aspen, her first true love? Full of action, suspense and heartache, you will want to know how this book ends. The story is a mix between The Hunger Games, The Bachelor and Cinderella. This series is sure to thrill teenage audiences looking for adventure and romance.Highly Recommended: 4 out of 4 starsReviewed by: Shawna ManchakowskyShawna Manchakowsky recently completed her MLIS at the University of Alberta. When she is not working at Rutherford Library as a Public Service Assistant, she can be found with her husband parenting her two young girls; avoiding any kind of cooking; and reading for her two book clubs. In between book club titles, she tries to read as much teen fiction as she can get away with.

Childhood Sweetheart vs Late Suitor: CaV Channel Regulation by Auxiliary Beta and Alpha2Delta Subunits

High-voltage-activated calcium (CaV) channels link electrical signals to the inflow of Ca2+ ions that trigger biological responses in excitable cells. CaV channels are macromolecular complexes containing pore-forming alpha1 proteins minimally assembled with auxiliary beta and alpha2delta subunits. Both CaVbeta and alpha2delta subunits augment CaV channel currents by enhancing alpha1 trafficking to the cell surface. Whereas CaVbeta (the childhood sweetheart) associates early with alpha1 in the endoplasmic reticulum and promotes forward trafficking, alpha2delta (the late suitor) enhances CaV surface density by stabilizing mature channels at the plasma membrane. Beyond their direct regulatory effects on CaV channels, CaVbeta and alpha2delta are the physical targets for powerful channel modulation by small monomeric G-proteins (RGK) and the anti-epileptic drug, gabapentin, respectively. I will discuss our findings on the different determinants and mechanisms underlying CaV channel regulation by CaVbeta and alpha2delta subunits, and implications of the work for physiological and therapeutic modulation of CaV channels.

Super Market

Super Market Minsoo Kang (bio) I Ro Jintek and his wife Ri Sunja were both children of the Arduous March, the great North Korean famine of the 1990s. The horrors they had witnessed at the time revisited them again and again in their adulthood. There were nights when one of them would wake with a helpless cry, the mind recoiling from visions of ashen landscapes covered with piles of decaying corpses. In the fearful hours that followed, they silently held onto each other tightly until the warmth of their intimacy loosened the necromantic grip of their unwanted memories. Jintek came from the insignificant town of Woldong, in the northernmost province of Hamgyeong, but he was able to attend Kim Ilsung University in Pyongyang as his late great-grandfather had been a hero of the 1950 war and his father was a third-generation party member with a solid position as an official in the provincial People’s Committee. At the end of his third year as a law student, he made the long trip back home to make arrangements to marry his childhood sweetheart Sunja following graduation. Soon after he returned to Pyongyang, however, all of his plans for the future became lost in the unexpected intrusion of history that changed the entire world around him. A series of dramatic movements in international politics unfolded with breathtaking [End Page 123] speed, resulting in the sudden end of all of hostilities between the two Koreas and an agreement for their reunification. II The uncertain and precarious situation in the peninsula that had lasted well over half a century could have easily ended in catastrophe for millions, so the achievement of a peaceful and orderly reunification came as a surprise to everyone, even to those who had been waiting all their lives for the event. The new nation’s government impressed the entire world with the efficiency and sound judgment with which it oversaw a smooth transition into the new era. A quickly negotiated treaty with the United States, China, and Russia affirmed that the country would be free of nuclear weapons and that no American troops would be stationed north of the 38th Parallel, with a schedule for complete withdrawal. The border area of what used to be the Demilitarized Zone (which would be turned into a nature preserve after the removal of landmines) was kept firmly closed for the time being by divisions of the military to stop the flooding of hundreds of thousands of destitute refugees to the South. With the help of the UN and other international organizations, extensive camp sites were built on the north side to shelter and feed the migrants. The chaebol corporations of the South went up and quickly initiated massive construction projects, building roads, power plants, and factories, especially in the more economically stricken rural areas. The government opened occupational training facilities in virtually every city and town, and at the refugee camps, where people were taught skills that they could use in the new economy. A special effort was made to recruit younger people whose work habits had not yet been corrupted by the demoralized laziness engendered by the previous Stalinist system. People in the South, especially recent college graduates, were encouraged to go up to teach or just help out at the camps (with time-served credit for military service), while many Korean-Americans and other [End Page 124] foreign residents were recruited as English teachers. In less than two years, as a steady number of healthy and newly skilled people began to leave the camps to take up many available jobs in the great reconstruction of the North, the foreign press was already speaking of the second Korean miracle, the first having been the South’s economic rise in the 1970s and 80s. For the average citizens of the North, however, this was a time of great anxiety as well as hope. They were relieved, first and foremost, that there would be no war, no invasion by the monstrous Americans on a genocidal campaign that the previous regime had warned them of all their lives. The poorest people gratefully received aid packets full of strange-tasting but filling food from...

SMALL HARD THINGS

7 1 R S M A L L H A R D T H I N G S B R U C E F L E M I N G When my brother was alive, which is exactly as many years ago as my daughter is old – twenty in 2012 – he lived in a house behind Union Station in Washington, D.C. Keith died in February; Alexandra was born in July. Keith had been ill with the e√ects of AIDS, o√ and on, for two years, and toward the end was very ill and hallucinating. I’m not sure he ever registered that I was to have a child, my first, or whether, if he did, he cared. There’s not a lot left of my brother in material terms: some photographs in my house, the best of the lot framed and hung on the wall; some diplomas in my mother’s house; and odd things like T-shirts that I kept which I now occasionally pull from the bottom of my drawer when I dig deeper than usual in the pile, or a pen I’ll grab to write something and then remember him holding. The person has become a collection of smaller, more durable stand-in things, fragments of memories like bits and pieces saved from the wreck now that the larger, transient entity of the person himself is gone. The block between his house and Union Station used to be a parking lot, which I would walk across on my way to the Mall when I was visiting him. At the time I had no family and could 7 2 F L E M I N G Y come for the night: this was before so many things – before my first wife, before my daughter (the marriage, to my childhood sweetheart, was a disaster; the divorce, meant to be a no-fault divorce that would allow us to raise Alexandra amicably, turned into a slug-fest orchestrated by my wife’s lawyer; and Alexandra herself turned out to be autistic), before my second wife, and before my two boys, the people whose doings compose the fabric of my life. The National Mall in Washington is lined with museums, which are one way of preserving the fragments of dead people and bygone eras. My memories of Keith are another way of preserving the past. All of them are versions of the storehouses of small hard things we keep because they are both small and hard: we can’t hoard large things, and only hard things survive. Each of us is like a hamster or a magpie, with a store of seeds or bright shiny things. The small hard things stand in for the much larger chunks of the world we can’t preserve. So we have our hoards: our museums, public or private. It’s our way of holding on to the dead. But the thing is, our way is the way of the living: when we in turn are dead these bits and pieces of the past will be reorganized; some will be reclassified as junk and thrown away. If something is saved it may be for reasons other than those for which we saved it: when we’re dead, the things lose the meaning we assigned to them and take on the meaning given them by other people. As I walk by the new National Gallery, so many years after Keith’s death, I think about its current exhibit of treasures from Afghanistan’s recently destroyed National Museum (the catalogue shows it as a bombed-out shell), now on loan to the United States. The imperial power gets to show o√ the treasures of its vassal state, for which its sons and daughters shed their blood; the treasures get a home while their building is (at least in theory) being rebuilt. Yesterday I went to see the exhibit. The film that accompanies it shows the kind of attitude Americans are trying to foster in Afghanistan: the cosmopolitan curators who hid its treasures and, when the all-clear was given, unpacked them again are contrasted with the Taliban, who were busy blowing up a giant...

For Darkness Shows the Stars (review)

Reviewed by: For Darkness Shows the Stars Claire Gross Peterfreund, Diana . For Darkness Shows the Stars. Balzer + Bray, 2012. [416p]. Trade ed. ISBN 978-0-06-200614-1 $17.99 E-book ed. ISBN 978-0-06-211437-2 $9.99 Reviewed from galleys R Gr. 9-12. In a futuristic Britain, genetic enhancement gone too far has produced a rigid new feudalist society. The childlike Reduced are a labor force with no civil rights, beholden to the unscathed, landed Luddites, who have forsaken technology wholesale. Now that the Reduced are having children with the same cognitive faculties as the Luddites but none of the rights, these Post-Reductionists threaten the social order. At the center of this upheaval is Elliot, a Luddite aristocrat who is fiercely protective of her father's subjects, and Kai, the Post-Reductionist who was Elliot's childhood sweetheart, now an esteemed ship's captain. The account of their fraught reunion is intercut with letters they wrote during their youthful friendship, which fill in the blanks in their rocky history and help introduce the main philosophical debates dividing Luddite-ruled society. Meanwhile, there's some inheritance drama, a prodigal cousin with seedy secrets, and a whole lot of biotech intrigue that should spark some lively debates on the danger and promise of science. Peterfreund (author of Rampant, BCCB 10/09) creatively draws on, of all unexpected things, Austen's Persuasion both in the plot—socially inferior lost love returns with success, fortune, and something of a grudge—and in a romance navigated through politely innocuous social exchanges secretly loaded with longing. The genres of mannered romance and post-apocalyptic drama work surprisingly well together, with the focus on interpersonal microdrama allowing Peterfreund to engage in detailed world-building without having to pause the plot. Add in the perennial appeal of an upstairs/downstairs love story, and you have an easy sell to fans of Oliver's Delirium (BCCB 2/11) and Revis' Across the Universe (BCCB 1/11) alike. Copyright © 2012 The Board of Trustees of the University of Illinois

“It Was His Fairness That Caught Wrigley’s Eye”: William L. Veeck’s Journalism Career and His Hiring by the Chicago Cubs

“It Was His Fairness That Caught Wrigley’s Eye”William L. Veeck’s Journalism Career and His Hiring by the Chicago Cubs Jack Bales (bio) It was fourteen years ago that [William L.] Veeck, then a sports writer for the Chicago Evening American, was made president of the Cubs. He severely criticized the management of the team until the late owner, William Wrigley, jr., called him into his office. “If you think you can do a better job of running my ball club, why go ahead,” Wrigley told him. Washington Post, October 3, 1933, 17 Did William L. Veeck “severely criticize” Chicago Cubs management in his newspaper columns? Did William Wrigley Jr., upon reading Veeck’s supposedly inflammatory articles, summon him to his office and offer him a position with the team? Baseball historians have long known of Veeck’s contributions to the Chicago Evening American. They realize, for instance, that for a number of years he wrote for the newspaper under the pen name “Bill Bailey.” They are also aware that in December 1918 he left the Chicago Evening American at Wrigley’s request to join the Chicago Cubs as vice president and treasurer (becoming president in July the following year). They know all this and more about Veeck’s life. But when historians attempt to flesh out the details concerning Wrigley’s job offer, the biographical waters get a bit muddied. Tales of Veeck’s hyper-critical commentaries and Wrigley’s seemingly off-the-cuff proposal make good copy and have been trotted out by authors of books and articles from the early 1930s to the present day.1 Even Mike Veeck, while talking to a college history class a few years ago about his family’s longtime relationship with professional baseball, remarked that “my grandfather wrote under the byline of Bill Bailey and every single day he devoted his column, and his life actually, to attacking the Wrigley family and [End Page 1] how inept they were running the Cubs.”2 William L. Veeck’s numerous articles in the Chicago Evening American, as well as other contemporary sources, however, not only prove the unreliability of anecdotal stories, but they also provide fascinating details about the early life of a man generally more respected for his baseball acumen than for his flair with a pen and typewriter. Born in 1877, William Louis Veeck began his journalism career while still a teenager, working as a pressroom helper and printer’s apprentice for his hometown paper in Boonville, Indiana. After six years on the Boonville (IN) Standard and a brief stint as a traveling photographer, he moved to Louisville, Kentucky, where he landed a reporter’s position on the Louisville Courier-Journal. He married his childhood sweetheart, Grace DeForest, on October 17, 1900, and two years later they left Louisville for Chicago.3 Veeck joined the staff of the Chicago Inter Ocean newspaper and then the Chicago Chronicle. Many years later, Ed W. Smith, a retired sports editor of several Chicago newspapers, recalled that he met Veeck when they both worked on the Chicago Chronicle. Smith added that his friend applied for a job at the perfect time, as the paper needed a reporter to replace Drury Underwood, a well-known figure in both newspaper and acting circles, who was “just then going on the road with a big Henry Savage theatrical production.” The timing also worked out well for a baseball fan like Veeck, said Smith, as this was the era of the Tinker-to-Evers-to-Chance dynasty, as well as “the 1906 days of the hitless White Sox wonders, days of murderous N. Y. Giants, poisonous Pirates, deadly Athletics.” Smith reminisced that his colleague thoroughly enjoyed working for the newspaper. “It was Bill’s life,” Smith said, “and did he live! He wouldn’t have traded jobs with the President.”4 Smith and Veeck probably would have stayed at the Chicago Chronicle if not for it ceasing publication on May 31, 1907. According to that day’s Chicago Daily Tribune, the paper “had not been a paying investment at any time,” and a suspension or change in ownership had been “a matter of frequent rumor and prophecy...

Quantum man: Richard Feynman's life in science

Perhaps the greatest physicist of the second half of the twentieth century, Richard Feynman changed the way we think about quantum mechanics, the most perplexing of all physical theories. Here Lawrence M. Krauss, himself a theoretical physicist and a best-selling author, offers a unique scientific biography: a rollicking narrative coupled with clear and novel expositions of science at the limits. From the death of Feynman's childhood sweetheart during the Manhattan Project to his reluctant rise as a scientific icon, we see Feynman's life through his science, providing a new understanding of the legacy of a man who has fascinated millions.

Cannes Castoffs? The 62nd Edinburgh International Film Festival

‘Everyone's entitled to their own opinion, right?’ ‘Wrong.’ ‘He or she is entitled to their informed opinion.’ Five minutes into Dreams With Sharp Teeth , Erik Nelson's documentary profile of author, screenwriter, and critic Harlan Ellison, my black little heart swelled as America's most curmudgeonly man of letters articulated just why I do what I do. You see, like most critics, I'm a bit of a git; a smug know-it-all. I'm always right. And everyone who doesn't agree with me is wrong. Always. If you don't believe me, watch this year's Edinburgh International Film Festival's opening night film, John Maybury's The Edge Of Love , then try and tell me that Keira Knightley and Sienna Miller are actresses and not Thunderbird puppets. Go on, try. They may be exquisitely sculpted, but be honest; Gerry Anderson has more to do with their acting technique than Stanislavski or Strasberg. And the only thing worse than Keira's singing as Vera, '40s nightclub chanteuse and childhood sweetheart of Dylan Thomas, is Miller's horrendous Oirish accent as Dylan's wife Caitlin; more Bengal than Ballymeena. Had it been made in the '70s by Ken Russell, Maybury's po-faced account of the tangled love life of the Welsh poet could've been a delirious camp classic in the style of Russell's other gloriously over-the-top tales of artists' lives The Music Lovers or Lisztomania . And in Russell's hands the scene where Miller and Knightley share a bath would have been worth the price of admission alone. Unfortunately it's not the '70s and that's 104 minutes of my life that John Maybury has stolen from me. While The Edge Of Love may have been thinner and less tasty than Keira and Sienna's bathwater, at least it kicked off the 62nd Edinburgh International Film Festival, its 1st in its new June …

Glenn Lowell Brudvig, 1931–2007

Glenn Lowell Brudvig, 1931–2007

Dorothea Koffman (née Herrmann)

The daughter of a well-known singing teacher, Dorothea Koffman grew up in Berlin between the world wars. She was determined to study medicine but was unable to secure admission to...

Loss of a Syncretic Theatrical Form

The folk theatre called Bhand Pather is probably the oldest theatre in the subcontinent if not in the world. Though the history of its evolution has not been comprehensively documented yet one can find references to it in some of the extant manuscripts. In this paper, the author attempts a complex explo- ration of this endangered form as a key component of tradition and its interface with modernity not merely through direct confrontation with the products like television, but also in the ideological domain. Bhand Pather lends itself for a study of the shifting landscape of the inter- communal relationships. It is one of the unique sites on which the nuances and complexities of Kashmiriyat can be easily worked out. It has been nourished both by Hindu Shaivism and Sufi mysticism. The presence of secular characters is an eminent feature of this form. The most significant feature of this art rich with the antique flavor is the way it presents us a non-idealized version of Kashmiriyat. Nothing defines the limits and promises of Kashmiriyat better than the Bhand Pather. Bhand Pather is an amalgam, an agglomeration or a repository of diverse rhythms. These rhythms stemming from multiple sources, some far- off and some very close. In his most recent novel Shalimar the Clown, Rushdie towards the end of this rather painful narrative bemoaning the loss of a cherished paradise on earth, depicts a very poignant scene. A Bhand Pather performance is underway in the Srinagar auditorium. Outside the auditorium, people are frenetically shouting slogans heralding the birth of a new valley or as Rushdie would have it dawn of an age of fury (Rushdie 2005: 45). Inside, excepting a Sikh, no one is watching the 'jashn' of the once celebrated Bhands. Not many years before, Pachigam, the fictional village - a metaphor for Kashmiriyat - played host to the best troupe of traveling players or Bhands. With the near total extinction of Pachigam under the impact of a complex set of forces, the popular art of Bhands also meets its sad end. Shalimar, the tightrope walker and son of the village sarpanch, with hair as a 'mountain stream' (Rushdie 2005: 11) ends up decapitating his childhood sweetheart, Boonyi. Soon after this he himself is also mortally wounded by another character with an arrow while he is in Los Angeles baying for the blood of ex-ambassador Max Ophuls.

Coming to Terms

SUMMARY A long-term gay-identified man recalls early negative sexual experiences with bi-identified men, only to reexamine decades later during a health crisis his latent desires for women. When he confesses his attraction to a childhood sweetheart, she reacts insightfully, “That opens up a whole new world of possibilities.” He discusses his self-discovery as a late-blooming bisexual while entering a primary relationship with another man.

IN MEMORIAM: OLIN SEWALL PETTINGILL, JR., 1907–2001

Olin Pettingill, Jr., died peacefully in his sleep in Bedford, Texas, 11 December 2001, at the age of 94, after a long and distinguished career in American ornithology. Sewall Pettingill, as he preferred to be called, was an exceptional college professor, lecturer, photographer, filmmaker, and writer about bird life. Pettingill was born in Belgrade, Maine, on 30 October 1907, the only child of Dr. Olin Pettingill and Marion Groves. His father hoped young would follow in his footsteps and seek a career in medicine. Throughout childhood, really was not sure what he wanted to be. He had developed an interest in the chickens on his grandfather's farm, and at one time considered being a poultryman. In his own words he performed marginally well in school; his grades upon high school graduation in 1925 were not sufficient for admission into Bowdoin College-the only college he would consider. willingly attended a preparatory school, Kents Hill, in nearby Readfield, for one year, and was admitted into Bowdoin College in fall of 1926. One thing knew for certain as a youngster, however, was his love for his childhood sweetheart, Eleanor, whom he met in 1921 in the 8th grade. He dated and courted Eleanor for 11 years, and married her on New Year's Eve, 1932. She was intimately involved in all of Sewall's ornithological endeavors, and even wrote her own book, A Penguin Summer (1960), a story of their adventures filming penguins and other birds in the Falkland Islands in 1953-1954. He published his version of that story in National Geographic Magazine in 1956. At Bowdoin College, developed his interests in ornithology, mostly through his interactions with eminent zoology professor Alfred 0. Gross. As a reporter for the college newspaper, interviewed Dr. Gross on his Ruffed Grouse investigations in Maine, and also his census work of the Heath Hen at Martha's Vineyard. One of his most memorable trips was on 5 April 1927, when he accompanied Dr. Gross, along with famed childrens' author Thornton W. Burgess, on a trip to Martha's Vineyard to observe, photograph, and take motion pictures of the three remaining male heath hens who did their courting dance in vain-the last female had already died. photographed one of the males, and later published his first article, The Passing of the Heath Hen, in Forest & Stream in 1929. developed his skills in photography and motion pictures as tools for documenting bird life. In the summer of 1928, he enrolled at the University of Michigan Biological Station to undertake a course in field ornithology taught by Dr. Gross. This ultimately became his benchmark summer, as he studied and photographed nesting Hermit Thrushes, and later published the results in the inaugural volume of BirdBanding (1930). At that point, graduate school loomed clearly on his horizon. arrived in Ithaca in fall of 1930 to attend Cornell University and commenced a study of the American Woodcock for his Ph.D. dissertation under renowned ornithologist Dr. Arthur A. Allen. His fellow graduate students included George Miksch Sutton, John T. Emlen, and George B. Saunders. As a photographer and ornithologist, accompanied Sutton on expeditions to Hudson Bay in 1931 and Mexico in 1941. received his Ph.D. in 1933 and spent the next three years in various teaching positions with the New Hampshire Nature Camp, Westbrook Junior College, and Bowdoin College. He obtained a 12-gauge shotgun with plenty of shells and dust shot, and began preparing bird study skins for his teaching col-