So thank you very much to the organizers for having me and for sorting out all of our technical problems So as as was just said, my name is Nicole I'm a designer and a web developer. I am Australian as mentioned, but I do live here in Scotland I live in Perth, which is a beautiful part of the country. It's about an hour north of here us here in Edinburgh And just to make things slightly more complicated. I actually work for a French company So I lead the UX and UI team at PeopleDoc We're actually a sponsor of URI Python this year and we're hiring. So if you're looking for a position Come and talk to me But that's not why I'm here today to speak to you. I'm here instead to talk about my experience working on warehouse, which is The project that currently powers pi PI not pi pi pi PI. We have to make that distinction for obvious reasons So I've been working on the user experience user interface HTML and CSS code base on warehouse for about three years now and Via warehouse. I am a member of the Python packaging authority. So that's a group of developers who are Generally focused on improving the state of the Python packaging world now a fun fact that I found out whilst researching doing some research for this presentation the pi PA One of the original proposed names was the Ministry of installation, which I really love that I'm quite disappointed that they didn't choose that in the end, but it so aptly describes really what what the pi PA is about it's about installing stuff basically on your computer and Also via warehouse. I'm a member of the Python packaging working group. So the working group is an organization that's a sub body of the Python Software Foundation and our Our goal is to raise money to try and improve the state of Python packaging So the long-term vision is to be able to fund both PI PA projects so the official projects things like PI PI and PIP and virtual and but also to be able to have funds that are available to the community to be able to fund Different projects that are emerging in the packaging space So as described I'm here today to tell you a little bit about the Python package index its story Look at its history and also ask some questions about where It will go in the future So Basics first a quick introduction for newcomers. What is the Python package index? So this is my definition. I didn't get it off Wikipedia or anything like that. So it's the place For Python programmers to publicly share their code so that other people can use their code So when I say I've deliberately highlighted the because it's the place that's supported by the PSF and recommended by PI PA tools and Publicly because there's obviously lots of other ways that you can share your code But this is the place where the community has chosen to invest so it's built for the community by the community and You've probably even if you don't really know what it is You've probably already used it because when you type PIP install my favorite project What's actually happening is you're getting the file off off the PI PI servers and It's mostly via PIP that The index last month served 11.2 billion HTTP requests and if we extrapolate that out over a 12 month period It means that we're serving about a hundred and thirty four billion four hundred million HTTP requests a year That's probably a conservative estimate because that's going up every month. So this is basically what we're handling And the other side other than obviously being able to access it by PIP install is we have a web interface at PI PI org and That's the place where you can go and you can search for for different packages to install and you can find out the information about packages and On PI PI org last month. We had one point three million unique visitors from two hundred and twenty eight different countries And if you start to break that down by region We can see that the largest group of users is actually located in Asia followed by the Americas So that's north and south America bundled together Followed by Europe then Africa which has got a growing Python community and Oceana If we break that down by country, you can see that the US is just ahead of China China's rapidly catching up with the US followed by India And then in terms of the European community in the top 10 We've got Germany the UK Japan and Russia. Sorry, not Japan France and Russia. I just relocated Japan So All of these costs a lot of money. So it costs this is a back of the envelope Calculation costs about a hundred and eighteen thousand US dollars a month to run PI PI in terms of servers CDN monitoring paying for search that kind of thing and all of those services are currently donated by sponsors So again, if we extrapolate that out to over a 12 month period It costs about one point four million dollars a year to run the index So all of that to say that the index is big and it's important So I joined Python packaging about three years ago I'm quite quite a new face on the scene But I found it really interesting to take a look into the history of PI PI to see it How we actually got to this kind of mammoth project. So this is what I found So I want you to cast your mind back to the early 2000s if you can I realized there will be some people in this room who were, you know, very young infants at the time perhaps not even born It was a time of Tamagotchi. I remember these at my school amazing double denim Hotmail was the most popular email service because Gmail didn't actually exist at that time Google did exist, but it looked like this, but you might have been using AskGeeves anyway if anyone remembers AskGeeves And despite Python being released for 10 years the Python Software Foundation wasn't actually founded until March the 6th 2001 So at that time several developers had independently recognized the issue of distributing packages and Several independent Indexes had popped up. This is the vaults of Parnassus, which I think is the most amazing example of early web design And this is an absolutely it was probably the most popular Independent index at the time in 2002 so about a year after the establishment of The PSF Richard Jones proposed PEP Python enhancement proposal for those of you that don't know PEP 301 which basically proposed a central index server So something that was going to be hosted on the Python.org domain that's the PSF official property that had an error of legitimacy So the idea to be able to combine all of those are previously sort of scattered approaches to establishing an index and That's basically what happened. So in we know that Pi PI was launched in very late 2002 because we have record of four projects registered So my bet is like late December someone hacking after Christmas or something But in 2003 that's where when the project really took off So we had 273 projects uploaded in 2003 at this stage there was no data actually hosted on the index So basically it was just a list of projects. You couldn't really even search it You could find things by Trove classifier. So kind of like tags And the workflow for people was to go to the index find Project that they're looking for click through to the read me And be able to download our files directly off the read me which were hosted on Somebody's server somewhere on the internet or you could also go to the home page of the project and then find the files that way So a very manual process To give you some context around what was happening in the Python community at that time So in 2002 there was the first Euro Python with 240 attendees and in 2003 the first Picon in the US was hosted with 200 attendees So really the Python community in its infancy into starting to grow and starting to contribute to the index So 2004 comes along and we have easy install so that project was kicked off in March 2000 and fought for and Basically, it tried to automate the process that people were doing manually So it would go to pi pi I basically crawl around and try and find links of things to download onto your computer Or it would follow links to try and find things to download on somebody's website somewhere on the internet In 2005 Filing file uploads were added to pi pi. So people didn't need to host their own files. It could actually be hosted on the index So this is what the index was by 2007 in 2007 we had 1249 packages uploaded so quite a substantial growth Compared to that a few years before and more and more of those Projects were actually hosted on the servers rather than being hosted in somebody's server in their cupboard and this is what the The index looked like and I think many of you will recognize this because from a web UI perspective nothing Really changed very significantly in the in the next 10 years. It still looked pretty much like this by 2017 But meanwhile in the background whilst nothing was happening at the front the popularity of Python as a language really skyrocketed and as a result the popularity of pi PI also Also grew so this graph that graph Shows the growth in the number of packages added to the index year on year So that's not the cumulative number of packages on the index simply showing the growth Obviously cumulative would be a much steeper curve and This obviously put a lot of pressure on the index in terms of its infrastructure So behind the scenes developers were working really hard to put out fires and scale the system For the legitimate use of the the the index from the community, but also as the index became more popular there was obviously there was more Militious attacks malicious packages and spam that needed to be dealt with as well So I haven't a picture or a rare footage of a core dev at that time trying to work on on the code base Basically there was a lot of firefighting because by this stage you're they're working on a code base that was you know if you look at 20 well 10 Growing in age. Let's say it's growing in age and and sort of not designed for the kind of scale that it was handling So in terms of scaling, this is a very brief overview of What happened? So the original code base assumed That PI PI was hosted on a single server and that's exactly what happened So it was hosted on a server called Dinsdale Which was located in the Netherlands With a company called XS for all so just just sort of standard hosting in Early 20 sorry late 2012 or 2013. I couldn't quite get the date for this the infrastructure was moved to the Oregon State University open source lab and DRDB was put in place. So that basically created mirrors for disaster recovery in 2013 fastly, which is a CDN was added, which is basically Caching on steroids. They can contact me for that catchphrase later And in January 2014 Probably the most significant change in terms of the Architecture was that the code base was moved across to rack space using Gluster FS So if you are like me and you're not an infrastructure person and you don't know what Gluster S is basically the very very high-level summary is that it's a clustered file system And it means that PI PI was running on many servers that our team could access as though it was a single unit so it gave the team the Opportunity to be able to spin up and and retire shut down more resources as and when the project needed it At the same time, I should say there were several peps also proposed to help try and improve the consistency of The Python package index So even though we'd sort of scaled the index there are still problems that remained First of all PI PI predates almost everything on PI PI So I think I said 243 packages in the first year It was built really before we knew how to build great web applications with Python So we didn't have any modern web frameworks to work off So the the code base is using custom custom code which means that it's really difficult to maintain and and I think I never personally maintained it but the sort of horror stories that I've heard certainly Certainly indicate this Because it's built in it was built in a technology. That's not that well known Or not a popular sort of web framework. It was really difficult to attract new contributors to the project Also, it was really difficult to set up. So Donald who I work with on PI PI told me that he has to Comment he used to have to comment out certain parts of the code base just to get it to run locally on his computer So kind of a real nightmare for for attracting new contributors And because of that there was really no I think no is a bit harsh So no significant new feature development, which means that in terms of features it kind of stagnant stagnated Also because it was difficult to attract new contributors We had poor bus factor, which is a rather brutal term for saying What would happen to your project if one of your core core team members were to be hit by a bus? My preferred version of that is that they leave on a bus. But anyway, we're very poor back at bus factor So you had really a handful of people who knew how to Fix problems on PI PI when problems inevitably occurred So here enters our hero at least one of our heroes in the story of PI PI and that's Donald's stuff to have great deal of Respect for so Donald saw PI PI and saw the problems with PI PI and decided to Have a go at doing something different so in 2011 he created crate which was an alternative service to PI PI that was using the data on the PI PI service and I'm actually gonna directly quote him here. He said it was a bit hacky, but it was popular Shortly after he started making commits directly to the real PI PI code base and in 2014 he decided to shut down crate because he was sort of duplicating his effort across Across two projects at the same time He was constantly thinking about how could he rewrite the PI PI code base to make it easier to maintain and to Contribute to so he did a number of proof of concepts during this this time and in 2015 Something stuck so the version of warehouse, which is the project that I work on was established in early 2015 using the pyramid web framework And that's where I come in so in June 2015 Donald posts an issue basically saying I'm really bad at design I need some help with this and through a good friend of mine I find out about this and that's when I start to become involved in in Python packaging So warehouse, what is it? So as I said, it's it's using pyramid so it's using modern tech stack So we're using pyramid. We've got elastic for search and sequel alchemy as our ORM We've got really modern tooling as well. So it runs on Docker. It's really easy to set up with Docker compose We've also got continuous deployment, which is really fun now that it's being launched because if you make a change on the Codebase you can see it live on this massive website within about 15 minutes It's more stable and and more secure. I Hope it's got an improved user experience. Otherwise, I haven't done my job very well And it's easier to contribute to so as a project we work really hard to support new contributors to warehouse We've done a lot of work on our documentation We try to support people through the pull request process and one of the things that I'm really proud about On on the index is that we've had a number of people who've made their first open source pull request on The warehouse project so many people might think it's a big big project I couldn't possibly contribute to something like that, but actually you can and we really want you to So throughout the development of warehouse, I've always been I think everyone's always been really optimistic about when it would go live This is a story rather crushed because of the VGA port Store it. This is a picture of me presenting at Picon France in October 2016 and you can see in the corner there It says what it actually says is good news. We're almost ready to release So that was optimistic And I think that kind of optimism went through the project for a long time But in reality we had some problems with trying to get the warehouse code base live So first of all the speed of development was slow because we were relying on community contributions and everyone was kind of stretched Working on other things There were many major features that had not yet been started So for example the area you log into to administrate a package hadn't hadn't even begun And I think I completely underestimated how much work that was going to be. We didn't have a release date inside we had no real project management around the project and To top it all off the old code base people were still firefighting on that which was taking away resources from being able to get warehouse live So in 2017 the Python packaging working group another hero of our story applies for and receives a 170,000 US dollar grant from Mozilla. So that's the Mozilla open source Support award and that was awarded under the foundation of technology track So actually I'd like to give Mozilla a round of applause for that if we can I really I think the whole team really appreciates the The the support that we've got from Mozilla to be able to work on on the project So this award was specifically to fund the development team to bring warehouse up to feature parity with the old code base And to release warehouse and to shut down legacy Pi PI through the grant We funded myself to developers project manager and her assistant as well as our PSF liaison So we had basically a team of what's half six six and a half people working on on the project And we achieved a lot with that money and within the five months that we spent that money So we worked on authentication workflows Account administration, you know, you can you can reset your password, which is a good thing The management of projects releases and files We've solved a lot of UI problems lots of bug fixes We added a lot to the documentation So one of the things that I'm really really proud of on the new warehouse is that we have a great help section We linked through to the help section. We link through to a lot of documentation. We found that really important Because we want people who are new to the Python community We know Python is being used in teaching a lot To be able to understand what the Python package index is because it might be the first time they've actually used any kind of index and We did an infrastructure overhaul. So that was to support kubernetes based continuous deployment and to end encryption and secrets management During this time we we worked really hard to build the community So we merged 425 pull requests. We closed 302 issues We supported 26 new contributors within that five month period and of the 425 pull requests 149 came from the community, which is about 35 percent Obviously excluding bots Unusually for a software project we came in both on time and within budget which I think is really a credit. Thank you I really have to credit Sumina from change set consulting who is our project manager who did an amazing job of Herding herding everyone towards that outcome So in March 26 we released our beta. We didn't have too many problems So by April 16th, we went live with the new code base and by April 30th We turned off the old code base and there was much celebration Donald had actually stockpiled a whole number of animated gifts to post-on slack for the very occasion. So it's just celebration everywhere and I think the new code base and the new Website is awesome. That's my humble opinion. I might be biased So this is what it looks like. So that's my work and for our users. It's got a lot of really great new features So we've got markdown support So what you can do is if you're wanting to enable markdown support on your project read me You can search markdown description On pi pi and it will come up with an example project And that has all of the instructions on how you can get markdown support, which has been a very heavily Requested feature for a long time. You can get that now on your read means It's got vastly improved a search with from elastic At the moment we're not doing anything too fancy But because we're using elastic search it means that we can really extend the search capabilities of the index Which is really important It's fully responsive. So if you want to check out packages whilst you're using your mobile phone You can and you can also do all the administration tasks on your mobile as well Lots of help resources as I said, it was a really important part of the design for us And we've also got a chronological release history really easy to see in terms of your the history of an individual package So that's what we've got for you But for us we've got some pretty important things too for our own sanity moving forward It is scalable. It is extendable learnable and maintainable So it's got those four things that are really really essential towards the health of the of the project ongoing And we've got great ideas about how we could extend the index so one thing that I would really like to do is to make the user interface more accessible the Python community as we all know is really welcoming to different people and My opinion is that we should not restrict people who have disabilities from being able to fully Experience the Python package index. So we really want to make some accessibility improvements on the front-end code We've had an audit on that and there's a few points. In fact, we can talk about those at the sprints As you saw earlier most well the largest group of our users are actually based in Asia So it would kind of make sense to be able to localize and internationalize the index I Personally would like to do a lot more design research and UX improvements on the index So right now we know it's not perfect But it's hard to make decisions on how to improve it because it's difficult to know what people want So recently I did some design research where I asked people to rate What's most important to them on the project detail page that data was really really interesting and it's linked to in my slides And I'd like to continue to do that kind of work to really understand what people want and what people need from the index So that we can improve the design in line with with those needs We'd like to add two-factor authentication There's currently a specification in project in progress for this and we'd also like to improve our audit trails So right now we know about so we have a project journal basically so we can say what happened on an individual project So someone was added as a collaborator or there was a new release made or You know a release was deleted for example And we were collecting things like IP address and date and that's about it And what we'd really like to do is to collect more information on sessions, etc third parties that maybe you're interacting on PIPI and to be able to If something goes wrong on the index for our own safe to be able to see what happened But also to expose that information to the users so you can keep an eye on your PIPI account to see if anything fishy is going on But my question is how we're going to get there And I've got a few questions to propose to the community about that So the first is do we as a community value the service provided by PIPI and how much So would we be able to fill the 1.2 million dollar gap if our sponsors were no longer able to provide? infrastructure donations Do we care enough about the project to actually pay people to contribute to it as? Python continues to grow is it can stay sustainable to rely on a handful of people to maintain and improve PIPI now I'm not underestimating the number of people who Who contribute to the project but at its core there's a handful of people who are steering PIPI in its future direction Now that the Mozilla open source Support grant is over we saw the miss the time allocated to project management community engagement and feature development And we had we have had actually on the project a hundred and twenty three amazing contributors But it takes work to support all of those people How should PIPI evolve to meet the changing needs of our community? So Obviously the Python community is growing Growing in its size in its complexity the different ways that people are using Python Also computer science is evolving as his web development people expect different things from their services So no doubt people are going to start to expect different things from the Python packaging dex Are we actually equipped to deal with this? And if not, are we prepared to allow commercial interests to fill that gap? So how can you help this is my call to action? First off, can you please verify your email address? I don't know if you know about this But basically at the moment we're sending to a lot of email to unverified email addresses Which means that our email address can be classified as spam. So that's not a great situation to be in So if you've got an account on PIPI, please go and verify it takes two minutes You can engage with us. So this detail it deals SIG. That's the mailing list We've got an IRC channel PIPA. That's on free node and you can engage with us on our issue trackers So it's not a really scary world. We really want to hear from you. We really want you to engage with what we're doing You can contribute to warehouse on github. That's the address there And you can sprint this weekend. I'm running a PIPI sprint At the Euro Python sprints. So I'd really really love you to join me there We've got a whole number of issues that have been specifically tagged with ready for the for the for the sprint So I'd love to have your contribution You can donate or you can ask your company to donate a donate dot PIPI dot org So we've recently added support for recurring donations and any recurring donation would be most welcome because that would allow us to actually make Plans in the long term about how we can allocate resources to to not only PIPI but other packaging projects and You can thank our sponsors. So obviously we mentioned Missila earlier that paid us a hundred and seventy thousand US dollars Which is great. We've also got all these infrastructure Sponsors so maybe if you're in charge of Choosing who you're going to use in your organization. Have a look on our sponsors page It's linked to in the footer and and see who is actually supporting the Python community So that's it for me. Thank you


Hello everyone. Welcome to another live. Just going to wait a moment for more people to come in. Just moved into a new apartment. So today we're going to be talking about the aging narcissist, which is something that I have talked about a few times already, and I think it's time to talk about this topic again. So the aging narcissist, what happens as they get older? Narcissists are driven by their need for supply. All they care about is supply. Attention, admiration. This is what narcissists live for. And when they're young, many of them do get a lot of attention. They are admired by a lot of people because when they're young, they are physically attractive. They're charming. They may not have much responsibility, much stress. So when they're young, it's a lot easier for them to get supply. But what happens as they age, as their looks begin to fade away, as they're no longer as mentally sharp, they're no longer witty. What happens then? Well, as the narcissist ages, it does become more and more difficult for them to get supply. And as we know, a narcissist without supply is a very dangerous person to be around, because they've got to get supply somehow. And if they can't get positive attention and admiration, then they're going to settle for negative attention. They're going to provoke people so that they can get some form of reaction, because as long as they can make people feel something, it's better than nothing. At least they can still feel like they matter as though they've caused something, as though there's something significant to someone, even if it's just because they've hurt them. It's better than them feeling like they don't exist, like people don't even notice them. So as they get older, that's what they will become. They will go from being sexually provocative to being provocative in other ways, irritating people, going out of their way to cause problems for other people. And they will find great joy in doing that because they can't be happy, and the older they get, the more bitter and resentful they become, especially to those who are younger than them, because they look at people who are younger than them. And it reminds them how they weren't happy when they were that age. They didn't have things together. They didn't have what they have.  They can't fix things in the past. It's too late. And instead of trying to make themselves feel better by helping people and then maybe living vicariously through them, which is something they can't really do because they lack empathy, so they can't fully share another person's experience as their own anyway, so instead of doing that, they go out of their way to tear people down, to destroy their happiness and contentment. And by doing that, they just end up pushing people further and further away until they end up alone. Miserable. They have no one there for them. Or if they do have someone there for them, it's usually someone who they don't really like, someone that they don't really want to be with. But it's just a desperation pick. Because as they age, at that point in their lives, they're no longer physically attractive. They're no longer in good shape. They're very miserable people. Not someone that you'd want to be around so. They have to settle for less than what they really want. As they age, they begin to accept their fate. They're not out there looking for the best or the best anymore. But remember when they were younger, they always had to have the best. They always had to be with the wealthiest, most attractive, powerful person. And it had to be someone that they could manipulate and control. Someone who's under their thumb. But as they get older, anything will do. Even if they're not physically attracted to the person, even if they're the ones who have to pay out to help this person, they will do it. Even if their supply is not an empath, they will even be another narcissist. And that's how you will often see with older narcissists that although they hate each other, they can still coexist. They can just about put up with each other. Because they know that it's either that or they're going to be alone. Because at that point, they're probably not going to find someone else. I mean, remember, these are narcissists that we're talking about. For the rest of us as we age, I mean, a lot of people don't like to age. And that's understandable. It can seem scary for many of us. But we work on ourselves on the inside. So we have many other qualities other than just superficial things that we can give to another person. So even as we age, we're going to be okay. I mean, we may not be able to attract people on a superficial level, but what kinds of people does that attract anyway? I've never heard of it attracting anyone good. So we may even find that as we age, we attract more and more high quality people. People who look past the surface and see what else we have to offer other than just looks, money or appearance. But for narcissists, that was really all that they had to offer. And once they don't have that anymore, it becomes clear who and what they really are. And it becomes difficult for them to deny the truth to themselves. They have to accept that they are nothing. They have nothing because their entire lives, they never worked on anything other than superficial things which were designed only to attract people, and not to keep them. You see, there's nothing wrong with looking good, having money. There's nothing wrong with having those things, but when that's all you have, it creates a problem. Because although that may attract people, it's not going to keep them. At some point, the money may run out, the sex may get boring. And then what are you going to do? And that's why narcissists are very good at attracting new supply, but they're not very good at keeping it. But yeah, as the narcissist ages, they become more bitter and resentful. They begin to hate everyone and everything, but they may become more covert, more manipulative. Because they have to. They can't just rely on external things anymore. They have to trick you into thinking or feeling something about them. Because there's really nothing else that they can use to pull you in. At that point, all they can use is their words. So they will become more manipulative. Many of them will age and then be alone. Some will even die alone, but narcissists do fear death. So they're going to try and do whatever they can to avoid having to experience that. As they age, their standards and expectations will drop. They may seem more humble and modest because they're forced to accept that they're not going to get the kind of supply that they used to. And that supply may be you.  So yeah, there isn't really anything for the narcissist to look forward to as they age because they haven't done the work on the inside. They haven't done the work on their relationships, which is really what supports us as we age. So I would say that the older they get, the more difficult things become for them because they value superficial things so much when really as we age, the older we get, we're meant to realize those things don't actually matter. We're meant to become wiser. It's our wisdom that gets us through the ageing process. But narcissists don't develop that wisdom. Let me know your thoughts on what I've said about the ageing narcissist. Do you agree with it? Let me know down below. I'd love to hear from you. As I said, I'm just at my new apartment here. I've got the Christmas tree. It's Christmas soon. I'd say everyone got planned for Christmas. Let me know down below. I think this year I will have to do a Christmas special. I didn't do one last year. But yeah, I highly recommend checking out those videos as well. Check out my Christmas videos. Also I did some for Halloween too. But I didn't do them last year. I believe it was the two years before that. But yeah, check those out. I would say that my newer videos are the most accurate. But there's definitely a lot of good truths in my older videos too. So definitely check out the older videos. If you haven't seen them yet, sometimes I like to go back and watch my earliest videos. And it surprised me how much I knew back then. I've been doing this now for over four years. And I have learned a lot since then. My research over the years has definitely changed my perspective in many ways. And I think it reflects that in my more recent videos. But yeah, I'm going to end it here. I'm going to get ready for sleep. Then I'm going to do some traveling tomorrow. And hopefully I will have time to do another live video as well. So yeah, you all have a good day. And I'll talk to you soon.


everybody, Jeff Frick here with theCUBE. We are live at Moscone Center at the RSA convention. 40,000 security professionals are here. Talking about security, this thing grows every single year. We're happy to be here and excited for our next guest. Ajay Gupta, he's the Global Director, Product Marketing and Management from Huawei. Welcome. Thank you, Jeff. Pleasure to be here. Thanks for your time. Absolutely.  Oh, it's been ages. You can look at me and you can imagine. You've got all the hair still dark. Oh, come on. You've been too nice to me. So what's really changed as you've been coming for years kind of at a global perspective? Yeah, yeah. I think we have seen the nature of security change and the nature of threats change. The different companies have changed actually over the years. The crowd has gone up. It's well like 40,000 you mentioned. So we really think the show has really become the gold standards for the trade shows when it comes to security. We weren't there at RSA but we, last few years, we have made it a point to be here every year to talk to the customers here. And you meet all the people from all over the world. That's the best part. Customer partners, everybody. It's interesting because a big part of the theme here is collaboration and ecosystem. And nobody can do it alone. Everyone covers different pieces of the puzzle. I know you guys are trying to grow your ecosystem. What does ecosystem mean to Huawei? Absolutely. I think we do believe from a security perspective, no single vendor can offer the best of the breed security to their customers. We really need these partners, the ecosystem. Huawei has something what we call being integrated. That means bringing the partners on board to offer different pieces of the puzzle. In fact, it's a good point to mention. We are announcing two announcements this morning, actually. The first one we're going to talk about is about Avira. It's the best AV engine company in Germany. Huawei really recognizes the importance of the AV. So we are bringing their AV engine on the Huawei's next generation firewall. It really brings two things, performance and the accuracy. That's what people need from an AV point of view. The second announcement we're going to make really is what's called the Huawei's USG9000V. It's a security gateway, actually. So as the cloud proliferation, as people are moving to the cloud, as people are using more and more SaaS applications, you're going to see a lot more security built in from the cloud perspective. Our USG9000V is actually the perfect gateway to combat the security threats in the cloud. So virtual data centers, the cloud data centers, some of the OTTs, we really bring all the different kinds of security in the USG9000V. The announcement we are making is really an upgraded version of the existing security appliance that we call 6000V. Again, it's a software security. Works with different VMs, whether it's KVM, whether it's Zen, whether it's NSX, Huawei's own virtual system, the Huawei's FusionSphere, the performance is in terabit. So you can actually go and read some of the specs from the Huawei's perspective. One of the best of the beat products for virtual security. Right, and the clouds changed everything, right? I mean, so many applications are delivered via the cloud now. And even if it's not cloud, and it's an internal cloud, people want the flexibility of cloud. They want the scalability of cloud. They really want the way the cloud works for them to deliver the applications to their customers and their employees. Definitely, so three things I'm going to mention here from a cloud perspective. What people are looking from a cloud perspective or cloud security perspective is on demand. How do you scale in, scale out as the demands of the bandwidth goes up? You got to make sure your network security is able to keep up with that demand. People are looking for visibility. You got this multitude of appliances, boxes, cloud boxes, cloud security all over the place. How do you make sense out of it? How do you really bring all of those thresholds, all of those alerts come together into the form of that CIO or CSO can really understand. And the last thing I'm going to make it easy to configure, plug and play, some of the automation feature. Automation, people are starting to move in the security, but you got to be careful when you bring automation from a security perspective. You need to automate tasks that are not that mission critical. But as we get more and more trust, you're going to see more security automation in the industry. Yeah, because on this cloud, it just needs to work, right? Everybody just expects I can add more capacity, I can spin it down, and it just needs to work, right? It's somebody else's problem. It's somebody else's data center. I don't know what's going on behind the scenes. I just know it works. I pick up my phone, it's connected. That's exactly the concept of security. But you got to be really careful when it comes to security because you got to make sure that when, suppose you're the positive threats and positive and negative threats actually, how do you compare and make sure you automate from a positive point of view and not from a negative point of view? But there's one thing that hasn't changed, cloud or node cloud. And they talked about it in the keynote, and the great line was every company has at least one person that will click on anything. Oh, I love it. I love it, actually. How do we get past, I mean, they're still getting the email from the African king who needs to sit down with him or Nigeria. So let me put it this way. I would say hackers are getting smarter and smarter. How do you keep up with the threats from the hackers who are one step ahead of it? How do you really combat threats, those unknown threats in the future? So I think things we have seen in 2016, the phishing attacks are back on the rise actually. Obviously you've seen ransomware. From the point of ransomware, I should mention there's something called popcorn time from a ransomware that I'm going to let you off the hook if you're in fact two other computers actually. I don't need the money from you. So hackers are coming with those innovations to really go and hack more people actually. You've seen what happened with the connected cars. Chrysler had a recall of 1.4 million vehicles in the past. You've seen what's happened with the cameras, the surveillance cameras. So I think two things we really need to watch out in 2017. One is ransomware and the number two thing which is extremely, extremely important is industrial IoT actually. Absolutely. As the sensors get deployed more and more around the world, you've got to make sure that those sensors are able to keep up with the threats. It's not easy. So what Huawei provides to the table is really end-to-end security. Two things in security, multi-layered security and security and difference. Those are the principles from the bottoms up, not from the top down. Right. It's funny. The funniest, it's not funny really, the ransomware story was fake ransomware. I didn't actually put ransomware on your machine. I just told you that I did. So go ahead and pay me anyway. And the other thought is really the ability for them to build a business because of Bitcoin as a way to collect anonymous money from people that enabled a rise in the escalation of ransomware. It's a complicated world. So I'm going to give you the last take as people drive away, leave RSA 2017. Really what should be the top of mind as they think about what's going to happen and what we'll be talking about when we come back a year from now? I think two things I would really suggest people to really take away from the RSA this year. First of all, what's happening in the industry, what's happening in the market, keep updated with the latest threats, see what vendors had a very comprehensive solution from an end-to-end perspective. Really go do their own research, making sure that security is not an afterthought. Security needs to be proactive. Security needs to be build up from ground up. Don't regard security as something secondary actually. As long as people put premium on the security, that's going to save their face to be rather than appearing on the Wall Street front page or have been hacked. I mean, they say there are two kinds of company. 50% claim that they have been hacked, 50% no, they just don't admit it, that's all. All right, very good. A.J., thanks for stopping by and congrats on a great show. My pleasure, thank you, thank you very much. You're A.J. Gupta, I'm Jeff Frick. You're watching theCUBE from RSA Conference in downtown San Francisco. Thanks for watching.


I'm going to talk about William Carlos Williams today. It may be that I end up carrying a little bit of Williams over to next time, to Marianne Moore, his friend contemporary and really close collaborator, in the New York scene of modernism in the teens, twenties, thirties, forties, and on into the fifties. This is the man as a young man, William Carlos Williams. If you open your anthologies to page 284, and the long headnote that and useful headnote that Jehan Ramazani provides you, there's this quotation from a letter in the middle of 284 that Williams wrote to Harriet Monroe, the editor of poetry who 13 years later Hart Crane would write to in defense of his poem at Melville's Tomb. And Williams says in this letter to Monroe, most current verse is dead from the point of view of art. It's dead. It's lifeless. And what Williams cares about is something he calls life. Now, life is above all things else at any moment subversive of life as it was the moment before. And I think that's how we know it in Williams' life is subverting whatever was a moment before. And subversive is probably an important and suggestive word there. Subversive of life as it was the moment before always new, irregular. He wants what is new, and what is new is going to be what is irregular, and what is irregular has in some sense subverted what was in place before. And he continues verse to be alive to have what pound I think would have called the impulse. For verse to be alive it must have infused into it something of the same order. It has to have life in it, or what he calls some tincture of disestablishment, something in the nature of an unstoppable revolution. In a ethereal reversal, let me say, I am speaking of modern verse. Like certain of our other poets, Williams is self-consciously modern. He's defining what modern means, and he's defining it as a quality of experience that has life, that has the quality of disrupting whatever was in existence before. And this is a quality and energy that he wants to have in his poetry itself. This is Williams a little bit older, Williams in 1924. When he has established himself through the poems in a volume called Spring and All as one of the major modern poets in America, he is the author of a poem, have you ever seen it, called The Red Wheelbarrow? And that might be a good place to begin. That's on 294-295. Of course, I'm joking. Probably that's the one poem everybody in this class has read before they came to this class. It is better known than the Negro Speaks of Rivers or Stopping by Woods on a Snowy Eve, even. It is also distinguished, I think, as being the second shortest modern poem after In a Station of the Metro, a poem that it's related to in certain ways. In fact, a link between Williams and Pound is important. It's relevant. Pound was a friend and rival for Williams throughout his career. Williams is sometimes seen in his early stages as a kind of imagist, or at any rate as a poet influenced by the imagist aesthetic. Imagism is, of course, a visual metaphor, and Williams is, above all, a visual poet, a poet of the eye.  Well, I think you have to see that poem to start to really be able to read it. I think it probably does involve some subtle vocal and auditory experience, but it's first of all a poem that meets you and challenges you through the eye as a visual object in some sense on the page. The kind of seeing that Williams' poems call for is we can think of as a way of reading that his poems themselves demand. In other words, there's a kind of link between how he sees the world and the success to read him. His poems model a kind of seeing. Unlike In A Station of the Metro, the red wheelbarrow, or let me call it instead so much depends, is a poem without a title. This title, the red wheelbarrow, was like the title this is just to say in the poem that is an equally famous poem. These are titles Williams added later to his work. In Spring and All, that volume, the first edition 1923, the poem appears simply as a text on the page. That's important. It's as important as the title is for In A Station of the Metro. Simply presenting the poem on the page to us as Williams does, doing without a title, Williams asks us to in some sense read and encounter this poem without a frame, without some kind of pre-established boundary or explanatory introduction or entry. That choice increases the immediacy of our experience. It's as if Williams were asking you to kind of press up close to the poem, face it, just as he is facing the thing he is writing about, or asks us to face, well, not the thing that he's writing about so much as his act of writing and seeing, his act of writing as it is of seeing. The poem has a suggestion that it requires as a poem the same kind of calm intensity of concentration that the poet's observation of the wheelbarrow exemplifies. Again, I think the kind of way that the poem does models a way of reading. Well, what is that way of reading? How does the poem embody in its construction, which it calls attention to, how does it embody in its construction a mode of perception, a way of seeing? Williams organized this language on the page by what principles? Looking at it, well, as I suggested before, it's not a poem I think that we begin by hearing, and we have to start reading it and seeing it before we can even think about how to really understand it. It is not a metrical poem. This is not Iambic pentameter. It is a free verse poem. In the prologue to Quora in Hell, which is the prose I asked you to read for today at the back of the book, there's a number of sentences and ideas that are important. I'll call attention to just a few. On 958, Williams says, Nothing is good, save the new. If a thing have novelty, it stands intrinsically beside every other work of artistic excellence, and if it doesn't, no loveliness or heroic proportion or grand manner will save it. He identifies here as elsewhere this property of novelty with a kind of verse that eschews Rhyman-Meter, a whole host of existing poetic conventions. Again, in the headnote to the Williams selection, there's a quotation from Williams on the subject of Meter on 285 from his prose statement, The Poem as a Field of Action. He says, I propose sweeping changes from top to bottom of the poetic structure. I say we are through with the Iambic pentameter as presently conceived, through with the measured quatrain, the staid concatenation of sounds and the usual stanza, the sonnet. So much for the silicon tent, heart crane, Wallace Stevens, et cetera. Williams is insisting that modern verse, the kind of verse he describes has to be, has to break with these models and has to proceed by a kind of, by patterns that it itself invents. Free verse is, in that sense, the Williams's chosen medium. Free verse, meaning a poem not patterned by metrical scheme or rhyme, or indeed some other, in a sense, pre-existing principle or pattern. Nonetheless, free verse does always have some kind of operative pattern, sometimes very strict and structuring ones, and this short poem is a good example. In fact, as you examine it, you see a series of four stanzas, four two-line groups, since Williams might not like the word stanza, four two-line groups, and the pattern is long, short, three or four syllables followed by two. And this is itself almost like a metrical or a rhyme scheme. In fact, you could say this poem is more strict than a sonnet, that it's more limited in the range of choices that it allows. It isn't, however, presented to us as sonnets of a received verse form that is, at least in its general pattern, invariant and, again, pre-existing. Instead, the poem presents itself as a kind of ad hoc arrangement, as a kind of structure that the poet has chosen to work within, reflecting the contingencies of this moment, the occasion, the poem's purpose. The poem's shape, and this is one reason it's hard to speak, it's hard to hear, organizes Williams's speech in a manner that disregards or disrupts normal, familiar syntax. It does so specifically through enjambment by carrying one line over to the next. Williams's enjambments have here, as throughout his poetry, the effect of breaking up language, breaking it up, forcing us to, in fact, slow down our reading, to stop taking languages sense-making for granted, and, in a sense, to get into the poem. The white space in a Williams poem is, you can think of it as a space for thought, a space where we are invited, required to think about choices, to ask ourselves about what possible connections can be made at a given moment. In this poem, Williams specifically breaks words up into their component parts, wheel, barrow, rain, water, without hyphens. As if what he was looking at, a red wheelbarrow, consisted of those three terms, redness, the wheel, the barrow. These are its component elements. He points out, in effect, in this device how, in this case, two nouns that are made of compounds, that are really compounds, represent things that are compounds, things that are made up of other things that have parts. As he establishes this pattern, so much depends upon a red wheelbarrow, glazed with rain, water, you want to carry it forward, don't you, now that we've learned what he's doing, into the next stanza, as if white chickens were the same kind of compound as rain water and red wheelbarrow. But they're not quite, and Williams is in a way teasing us. White chickens aren't made up of whiteness and chickenness in the same way that a wheelbarrow is made up of a wheel and a barrow. He's doing something a little different here. No sooner has he, in effect, established a certain pattern of cognition. It showed us how to read his engemments, then he breaks that pattern. He revises how it works. It's just been put in place, and now it's changed. In fact, it's over. It's done. The poem is done. If the first lines of the poem and the first stanzas are, in a sense, made to interrupt and disrupt and thereby freshen our habits of seeing, to make us see these things in some new way, this last stanza does away with the habit of seeing that the poem itself has just constructed, just introduced us to. Williams prevents us from settling into a convention of perception, even in a poem that is as small and as brief as this one. There's really only enough time in the poems, essentially, introduction and three parts following to establish a pattern and break it. What this brief moment of heightened perception allows us to see, to experience, is something small and large. What is it that depends on the red wheelbarrow? Williams only says so much, so much. The idea is, I think, the beautiful one that the world, when it's glazed with rainwater, a kind of aesthetic effect, an aesthetic effect that implies a light that does the glazing that's somewhere behind our shoulders and the poets, as he looks at these objects, that that light, which comes after rain and is a product of change, of the energy of the world as it transforms, this light suddenly allows this world to be seen in visible detail, apprehensible in its component parts, and the ordinary gestalt of perception is interrupted, freshened and reoriented. We see something ordinary, newly and freshly, it stands out, and what we see in miniature, in the limited space of the moment, or of the poem, is a world, well, what we see is the elements out of which the world is made, is ordinarily held in a kind of complex mutual dependency, a kind of complex of relations that we simply take for granted, in the words that we use, in the way that we see things, just as we put together wheel and barrow and rain and water without thinking about it. What the red wheelbarrow holds in that sense depends on it is something pretty heavy, and that is the sense of a whole world or better, the sense of the world in its wholeness, which is something affirmed in this attractively modest, momentary, poetic perception, so much for the red wheelbarrow. Spring and All, and there's that idea again in the title, Spring as a season of newness for Williams beginning his career, Spring registering his own beginnings, registering modernness, a vision of the world in its newness. Well, Spring and All is a beautiful book, and one I wish I could show you, but the last time I saw it at Beinecke it disappeared, and no one has seen it in a couple of years. They have a lot of paper over there. I guess it's easy to lose things. Maybe it's available. We'll look and see. It's a beautiful, plain book, Robin's Egg Blue for Spring, I suppose. It seems it's not large, it's small. It almost has no ornament. In all this it seems to exemplify the American virtues of plainness and directness and simplicity. Again, a long way from Heart Crane. And the book is really so American that it was published in Dijon. Williams is a polemically American poet, even more than Crane in certain ways, more than Frost even. Williams has a very important and vital relationship to European modernism and to French modernism in particular, and even more particularly to French painting. To understand how Williams is writing what he's trying to get at, it's helpful to remember what he was looking at. Here's a Brock, George Brock, 1908. It's on the way to Cubism. I think it's sort of helpfully on the way to Cubism because it looks back to a realist tradition with its, in a sense, conventional perspectival space that's yet being broken up into planes that allow us to register the painting as a painting that forces us to, really. And I suppose even more striking is this one of many great late Cezanne paintings of Le Mansin Victoire, where here, again, the perspectival space of the painting is being turned into almost a kind of abstract field of color patterns. Again, these are painters interested in foregrounding their action of seeing through the ways in which they foreground self-consciously the materiality of the medium in which they are working. The aim in post-impressionist painting, and then in Cubism really is to, again, break up that gestalt of perception that Williams is also opposing himself to, to break it up and grasp, in some sense, the dynamism in the world before us, precisely through acts of seeing that call attention to themselves and to the way in which that seeing is rendered. If you have read the Prologue to Quora in Hell, which starts on 958, you know that, excuse me, 954, Williams begins with an anecdote about Marcel Duchamp, part of the New York art world that Williams also participated in through his friend, the dealer and taste maker, Walter Aronsburg. Once when I was taking lunch with Walter Aronsburg, I asked him if he could state what the more modern painters were about, and then he gives several as examples, including Duchamp, all of whom were then in New York. Aronsburg replied by saying that the only way man differed from every other creature was in his ability to improvise and, since the pictorial artist was under discussion, anything in paint that is truly new, truly a fresh creation is good art. Thus, according to Duchamp, who was Aronsburg's champion at the time, a stained glass window that had fallen out and lay more or less together on the ground was a far greater interest than the thing conventionally composed in situ, which was an interesting model for what Williams himself might be seen as doing in poetry, that in some sense he's taking the stained glass window and seeing it laid out on the floor, maybe broken on the floor. Duchamp painted this famous picture nude descending a staircase, and it is clearly all about here rendering, in pictorial form, the kind of multi-frame vision that photography motion pictures allow us to see, to again here grasp in representation some sense of the movement and energy that compose the world that we see before us. The other dimension of the Duchamp anecdote that's nice in Williams' telling is that, well, a stained glass window that has fallen out is more or find, and Duchamp is, of course, most famous for his, let me turn to the next image, his ready-mades. This affects similarly, or that is another version of, his most famous ready-made fountain, a urinal, which he signed with the pseudonym R. Moot, 1917, and presented as a work of art. The art gallery has this work. This, too, is, as it were, a facsimile of the original, now lost, a snow shovel. Another ready-made, this one with the excellent title, In Advance of the Broken Arm. Duchamp takes post-impressionism to New York in the form of Dada, a movement with its importance for Williams, too, including, I think, Duchamp's mischievousness and his willingness to provoke, be subversive, to take Williams' word and to play with expectations about what constitutes art, as Williams, in certain ways, would play with our expectations about what could constitute a poem or poetic statement. In New York and elsewhere, Williams is in contact with a whole range of modernist American artists influenced by the European art I've just been talking about, but also working in distinctively American mode. This is a work by Charles de Muth, 1921. I'm sorry I'm behind on producing my image lists, but I have some ideas for you. Here's another, and again, here, an urban scene that is realist in its mode of representation, and yet the foregrounding of the lines created by the different shapes of the buildings, call attention to this as indeed a kind of constructed image that seems to be moving out of the realm of realist representation to something more symbolic and certainly avowedly created by the artist. De Muth goes further in the same direction in what is probably his best known work. This is called the Great Figure Number Five. If Williams was busy looking at these artists I've just been talking about, they also were looking at him. De Muth's painting is a tribute to Williams and a little homage, also I think a little joke about. Williams' own poem, also from Spring and All, that we know as the Great Figure on 291. This is, well I'll read this, again rain and light. Among the rain and lights I saw the figure five in gold on a red fire truck moving with weight and urgency, tense, unheated, to gong clang siren howls and wheels rumbling through the dark city. And this is De Muth's rendering of that moment that draws out the way in which the poem finds and makes an exalted symbol from this ordinary perception. It's got Bill up top and W.C.W. down in the bottom and Carlos underneath the five as part of this friendly tribute. The poem's interesting to look at next to the red wheelbarrow. Here's something else that's red, right? And again the poem is concerned with a moment of perception. Here the poem really tries to render the process by which perception takes place, or rather the kind of context in which it does, or the red wheelbarrow doesn't. The red wheelbarrow really kind of takes something seen, almost fragmented out of a continuum of perception that we can feel implied but isn't made explicit in the poem. In this case we're given the kind of context out of which a detail, something that arbitrary, contingent, ordinary springs out of the rush of things and catches the eye and the imagination and the intention of the poet. In a station of the Metro, this is a poem about metropolitan urban perception, so is this poem. Here, instead of a present moment that's briefly suspended, as in Pound's poem or as in So Much Depends, this poem is just as much about memory in the rush of ongoing experience of a kind of ongoing temporality of figured here by the firetruck moving. There's that participial word moving kind of ongoing action. In the midst of this something catches the poet's attention. He acts as a perceiver. He says, I saw, in that action, expressed in a verb in the past tense, intervenes in and cuts into this blurry perceptual participial flow of things that is the firetruck rushing by. It fixes on a figure, in this case a number, and carries that away and out of the experience. That five on the firetruck, it's something utterly ordinary like a wheelbarrow or a shovel, a snow shovel. It's a kind of found object. And yet here for Williams, he makes something of it or plays with the act of making something with it. It is something he calls, with some joking, some seriousness, the great figure, a great figure, a symbol, but a symbol of what? Of what exactly? Well, perhaps a symbol of the very capacity of the ordinary to arrest our attention and become significant, become objects of perception. Perhaps a symbol of the five senses themselves, what do you think? That seems possible too. The five senses whose powers are behind for Williams the way we create figurative language, the way we create figures and poems and discover symbols and discover meaning in the world around us. Now life is above all things else at any moment subversive of life as it was the moment before, always new, irregular. The poem that plays just after this anthology is one of Williams's greatest and it too, as it appears in the volume Spring and All, has no title but is given a title here, the title of the volume itself, but was known rather for a long time simply by its first line, by the road to the contagious hospital. The poem is about the continual newness that Williams calls life, something that's continually constructing the world around us, and the poet in this poem gets at it, like the post-impressionist painter, even perhaps like the dataist, by calling his and our attention to the act of constructing his poem, and in particularly as that construction is felt as it's kind of brought to our consciousness through enjambment. Williams's poetry, like the world he sees, is constantly enjammed, segmented, renewed by that act. Let's look at how enjambment works here. By the road to the contagious hospital under the surge of the blue-modeled clouds driven from the northeast, a cold wind, beyond the waste of broad, muddy fields, brown with dried weeds, standing and fallen, patches of standing water, the scattering of tall trees, all along the road the reddish-purplish-forked, upstanding twiggy stuff of trees, and small trees with dead brown leaves under them leafless vines, lifeless, again dead, in appearance, sluggish, dazed spring approaches. That is the first verb in the poem. They, he now says, suggesting all of these things, they enter the new world naked, cold, uncertain of all save that they enter, all about them, these things, the things of the world, the cold, familiar wind, now the grass, tomorrow the stiff curl of wild carrot leaf, one by one objects are defined, like a series of poems, it, now not they but it, which is, again, now here, a world felt in its wholeness, quickens, clarity, outline of leaf, but now the stark dignity of entrance, still the profound change has come upon them, rooted they grip down and begin to awaken. And enjambment is a key part of its energy. The first enjambment that is striking is bold, it's one of the really famous ones, in fact, in modern poetry, is that second line, under the surge of the blue. It invites us to read the blue as a noun, right, and to feel and hear that phrase, the surge of the blue, as a kind of conventional expression of lyric romantic exaltation, but we're wrong. Blue is an adjective and we learn this as the poem turns and the enjambment supplies the information that this blue, kind of exalted thing is actually mottled, marred or flawed even in some sense. And here the newness that the poem is going to celebrate is going to be something we might feel modeled that is called flawed, which is part of its history to be new, part of its claim to represent something really real, not to be found in previous books of poetry, but something to be found in living. So, at this moment it seems enjambment means disestablishment, that word of things is the subversion of life as it just was, a surprise of perception. But, as in the red wheelbarrow, if you think we've now learned what enjambment means in a given context, Williams is going to do something else. The next lines are also sharply enjammed, mottled clouds driven from the northeast, a cold wind beyond the waist of broad muddy fields. That is itself a bold thing to have done in poetry to break off a line at the definite article. I'm not sure that there's an example in poetry previously to align to these examples of lines ending in the. There may well be, but it's yet a novel and bold thing for Williams to do. But it works differently from the previous example where the blue invited us to read that phrase as a kind of noun expressive of romantic exaltation and then gave us the surprise that, no, it doesn't function that way and what you thought was pure and exalted is in fact mottled and messy. These enjambments don't have any kind of interpretive surprise like that. The lines are just broken that way. They don't change how we read the grammar of the phrases. They don't force us to recast our expectations. Together though, as a series of enjambments, these lines evoke a state in which the world is freshly taking shape, coming at us in forms that we have to confront that give us abrupt, insistent impressions, which are sometimes full of meaning and sometimes not. This is a poetic version, the way Williams is constructing this poem is a poetic version of the action that the poem is describing, the going forward into spring against the cold through which eventually one by one objects are defined, defined and organized and energized and animated as Williams sees it. As I say, the verb does not come in the form until we see that phrase spring approaches almost at the middle, slightly beyond the middle of the poem, and then that next sentence, they enter the new world naked, they being deliberately vague, evoking the things of the world, but in a humanized way, as we come to feel them and see them, they enter the world just as we do, naked, and we re-enter it naked with them, you could say. This is a poem about emergence that identifies modern poetry, modern verse, as Williams calls it in his letter to Monroe, identifies modern verse with the process by which the perceptual world takes shape, grips down, grips down, rooting itself in ordinary fact and things, and from which a kind of energy is drawn and we begin to awaken. This is probably a good place to end. I want to stress the importance and suggestiveness of Williams' investment in what is naked. It's a way of envisioning the world in its primary terms. It's also a way of calling forth a kind of human energy that is primary and, again, as Williams imagines it, modern. And here he is in the buff, I guess, skinny-dipping in New Jersey with a couple sticks to pretend he's pan. So, go enjoy the spring day and we'll keep your clothes on and we'll talk about maybe a little more Williams, but definitely marry in more ways.