Everybody, this is Dave Vellante of Wikibon.org and I'm here with Jeff Kelly also of Wikibon. This is theCUBE, SiliconANGLE's coverage of the Tableau Customer Conference. We're here in D.C., we're at the Gaylord Hotel, just an awesome setting as you can see behind us. We're looking at the Potomac and this is Tableau's Customer Conference, the big customer event. Tableau, for those of you who don't know, is an extremely hot, smoking hot visualization company. They just recently did an IPO. They've got a $4 billion market cap. We're talking about a $200 million company growing north of 70% annually. This company, Jeff, has really been on our radar since several years ago when our friend Abhi Meda introduced us to them at the Hadoop World Conference and it's all about capturing the power of big data and data through visualization. So it's not exclusively confined to Hadoop, but essentially there are organizations out there that are using spreadsheets or they're using traditional BI tools and either they're drowning in data and the Excel is just too cumbersome to use or they've got to go to the IT department through the traditional BI channels and basically ask, beg, borrow and steal the ability to get access to data and to reports. What Tableau does is they simplify that. They really, their mission was to put the data in the hands of the users through visualization. Visualization as we've talked about SiliconANGLE Wikibon is a critical component of big data and Jeff, we're here wall to wall to cover this. It's good to be working with you again. It's good to be working with you too, Dave. Yeah, so give me your take on visualization and its importance to the whole data and big data industry. Sure, well, for years, really data was not readily available in terms of easily analyzing it to business users.  You went to your IT department, you asked, beg, as you said, sometimes for them to build you a dashboard, some type of application to allow you to analyze that data. If you got a little frustrated with that, you might load data into your Excel spreadsheet and try to work with it that way. But really, it's been a difficult challenge for business users to make the most of their data and that's what Tableau's all about, to try to make it easier for business users, not data scientists necessarily, although data scientists also love some of the capabilities of Tableau's suite of software. But for business users, really, to very easily pull together their own visualizations to help them do their jobs on a day in, day out basis. And ultimately, we talk about, in the big data space, we talk a lot about some of the underlying infrastructure and the database world, things like Hadoop and NoSQL databases being able to scale to really, now we can store and process so much more data in any number of structures. But ultimately, to get the value from that data, you've got to unlock it and make it available to business people who are actually making the decisions on the ground every day. So that's really where Tableau comes in. Making it possible for business users to really get a better understanding of their data, find insights that they otherwise couldn't find and just really unlocking the power of data. So today, Jeff, is really customer day. We have got some guests from Tableau on, but major, major customer day. We've got GE coming on. They're coming on at the top of the hour, 10 o'clock Eastern time. LinkedIn will be on. Paychecks, Barclays Bank, Apple computers coming on. Excited to hear from those guys. Manpower. Manpower's a story that Tableau loves to share because of the impact that it had on the time it took to actually get to data and the resources that it took to get to data. Cisco's coming on. Ray Wang is here. He's at the conference. We just saw him on Twitter.  So really looking forward to that. And then tomorrow, Jeff, we've got more customers, but also more content from the Tableau executives, right? That's right. We're going to have Kristen Chebo's going to come on. The CEO, of course, rang the bell at the NASDAQ in May when the company went public. As you mentioned, Dave, they're having a fantastic run of it lately. Last quarter, around $50 million in revenue, up 71% year over year. Signed 1,500 new customers. They're up to 13,500 customers. So we'll talk to Kristen about kind of the momentum the company's seeing. We'll also talk to Alisa Fink will join us, the CMO, who's really running this conference, doing a great job. Had some time last night to visit with customers and attendees. Everyone really excited about the conference. So we'll talk to Alisa about that as well. And then of course we'll have even more customers and some partners as well. So as you said, I mean, recent IPO, and this thing is really smoking hot. I mean, talking about a $200 million company with a $4 billion market cap. So I mean, it's up there from an IPO standpoint with the likes of a work day or a service now. Smaller from a market cap perspective than those companies, but it's right out of the chute. I mean, they basically had one quarter of a million people unpacking some of that. Jeff, talk a little bit about the competition and then we'll cut to our next guess. But who does Tableau compete with in this space? Well, a couple different areas. So kind of in the same or similar vein, I should say of Tableau, there's a company called ClickTech. Tableau and Click often get compared because they take a somewhat similar approach in terms of providing self-service data visualization capabilities aimed at business users. But really even more than Click, I think what they're really competing against, Dave, are the incumbent business intelligence players, SAP Business Objects, IBM Cognos and others who really have a very strong foothold in the enterprise, but they take a much different approach. It's much more IT-led business intelligence that is the kind of the scenario we're talking about earlier, where an end user or a department might request certain types of applications and dashboards. They go to IT, make the request. IT builds them using- A cube? Yeah, build the cube. No pun intended. We're here at the cube. We love cubes, but you don't really necessarily love to get them through IT. Massaging the data, knowing the question ahead of time that you want to answer, the questions you're looking to monitor, putting that together, delivering maybe, you know, dashboard weeks later, maybe months later, only to find out if you're the end user. Well, this isn't exactly what I wanted and now you've got to go back to them. There's a traditional BI vector and then there's also the Excel users, right? That's what end users use. Well, what happens, yeah, what happens a lot is that the scenario I just described will obviously frustrate end users so they'll start doing things on their own in Excel. Basically, you'll end up with Excel spreadsheets all over the place.  It's still not the easiest tool to use and that's where, you know, Tableau really tries to fill that void, making it easy, even if you're using Excel, to put Tableau on top of that and really create some dynamic visualization. So you touched on it, but I want to follow up and get a little more color on this. So what in your view makes Tableau unique and different? Right, well, I think a couple of things. The ease, I constantly hear from customers is the ease of use. You know, I had one customer say to me last night, look, it's business intelligence data, so it's not necessarily easy, but Tableau is certainly the leader in terms of ease of use. If you're an end user, if you want to build your own visualizations. Basically, they take a very simple drag and drop GUI interface approach. You can drag data sources together. You can visualize them in any number of ways. You can ask a question, get a visualization. Maybe it's not what you expected. Quickly change that visualization to something else. So you can explore the data much more interactively than you can in a lot of other, using other tools like the traditional business intelligence applications. All right, so we're here all day today and tomorrow. Wall-to-wall coverage, this is theCUBE. We hope to have Nate Silver on tomorrow. You know theCUBE, our tagline since 2010 is we extract the signal from the noise, so we're going to ask Nate if he stole that line from us for his book, who knows. So today, big customer day. Philip Kim is coming up next from GE. We're going to talk to him about what GE is doing with data, what he's doing with data, what the Tableau factor is there. So keep it right here. This is theCUBE. We'll be right back. Oh, I should mention, definitely tweet us. I'm Matt DeValante. He's at Jeffrey F. Kelly, pound theCUBE and pound TCC 13 is the hashtag for this conference. Right, and don't forget, we'll be streaming the CEO, Christian Chabot's keynote, 1.15 this afternoon. So tune in to SiliconANGLE. Christian Chabot was the founder and visionary. So keep it right there. We'll be right back after this brief word.


From being here, the events that I've already attended, new frontiers, and the really big emphasis on integrating with Māori culture and really trying to understand that somehow has really given me a hunch that understanding or let's say healing the world's problems, I think doing that or trying to do that without indigenous knowledge will not be possible. And I think that's one of the main reasons why I actually decided to join the program because this is sort of the only place I've seen that really happening very intentionally and I think that if we don't include that perspective, we're not going to go very far.


Hello everyone and welcome to the Forum Flash. In today's episode of the Forum Flash, we're going to be discussing forum tags. Forum tags have been a part of the freedom forums since the very beginning. However, the forum theme and I realized we weren't utilizing them to their potential. So over the last few days, we've taken the time to revamp the forum tags. What this means for you as the community is navigating the freedom forums is now easier than ever, and if you aren't using our forum, we hope this is a huge incentive to use our forums. The reason why is these tags have made it easier than ever to find collaborations within the freedom bandwidth. If you click the link in the description below, you'll be redirected to the Freedom Collaboration section on our forums. Here, you can easily find new collaborations with a brand new tag. If you look beside me, you will see that we have all the new tags, which are PC collaboration, Xbox collaboration, PlayStation collaboration, and Nintendo collaboration. Say you're into gaming, however, we realize that not everyone on the freedom forums and in the freedom family does gaming, so we also have entertainment collaboration, music collaboration, graphics collaboration, and if none of those work, we also have other collaborations so you can tell us what kind of collaboration you're looking for. Now, with the tags, if you click on a tag, let's say for example, PC collaboration, it will, if you look here, display only the PC collaborations on our forums, making it so much easier to find the type of collaboration you're looking for on our forums. If you go to any of the other sections, you'll also see the brand new tags in use. I'll post a link below to post explaining forum tags, and you can see all of them in work. We hope you enjoy this update on the forums, and we hope it's easier than ever to find a collaboration. Let us know what you think of the brand new update on forum tags. We're really curious to what you have to say in the comments below. Thank you all so much for watching. Thank you all so much for your time. We hope to see you on our forums, and we hope you have a great day.


National Chinggong University in Taiwan. In this talk, I'm going to talk about Empower, Embedded Computing with VESC, Rescribe, and Free Autos. In fact, this is the course project in my last semester. And so I'm going to go through how to use this combination. So here is the agenda of this talk. So basically I will go through the motivation of this project and why I choose VESC, Rescribe, and Free Autos as my hardware and software choice of this project. And then we will talk about briefly explain how to port Free Autos to VESC, Rescribe. And the last, I was talking about some difficulty I encountered during the development. So the first topic is the motivation of this project. It's the fact that we are going to enhance the computational power of our devices. It's like the cell phone you use, we try to add more CPU cores or add more RAM, add more GPU to enhance the execution efficiency or the speed. But the fact is that the system must note that you have add the cores or some rinse or the GPU to fully enhance the computational power that your hardware has. And let this come into the fact that we should fully understand the computer system we have so we can enhance or fully utilize the system we use. But what if the limitation is due to the hardware we have? For example, I have Rescribe here and this Rescribe is for 4 cores and 4GB RAN. And due to this limitation, it is impossible to do something like to run 8 tasks simultaneously on this hardware. So it is the limitation of this hardware. So to advance the, enhance the computational power, we have no choice but to customize our hardware. Yes, we have to customize our hardware. So that comes to the best Rescribe. It is the RV32 INC CPU implementation. To this, AI comes to integer and N comes to multiplication, division and modular instruction. And C comes to a compact instruction. And the whole implementation is written with spinal HDL, which is hardware description libraries. And with these libraries, we can design our hardware with several components. So we can combine those components and build our own computer system. And for this project, it also integrates a variator, which is a hardware simulation tool. So we can simulate the CPU we designed and we can use extra tools like Open, OCD and JTAG to connect to our hardware and build the software system of this. And it is, it is interesting that we use spinal HDL to write this CPU implementation. So it is like we have a more high level view instead of some very low or other hardware description language. And with the spinal HDL, we can generate more FPGA friendly code and change the design of our CPU more easily. And let's introduce to the actual hardware design of this project. It is called BE SOC, which is the best respite implementation. We all know that we cannot run our system only on the CPU. So this SOC is trying to provide some basic components like UART timer and some like SD-RAN chip-RAN and also they have VGA control components. And the most important thing is that the author give us some basic sample codes for utilize this hardware. So we will not have to search the documents all the day, try to look into the source code of the implementation. We can first look into the example they provide. So let's go to the software part. After we have the hardware and we should also decide to some operating system so we can develop some other application on top of the system. So I pick up two candidates of our operating system. The first is Linux kernel. But unfortunately, Linux kernel require more components which the Vestgres 5 doesn't support, which is an A extension. The A denotes atomic instruction which is used to influence the synchronization tools. And the second reason is the virtual memory. We all know that Linux kernel try to isolate process and threads with the address space. But it occurs more time on porting into a new hardware with virtual memory mapping. So to focusing on the porting or to make the system run on the hardware we write. So I choose the second one, which is free articles. Free articles is a real time operating system maintained by AWS. This system use physical memory directly. Which means that we can use MAIO to directly configure the peripheral configuration. Because this RGOS is like a minimum operating system. So they try to drop some fancy things like ELF loaders and other components to make this operating system thing and simple. So it is relatively easy for new hardware to porting. So after choosing the hardware and software that's going to try to combine these two components. So it is simple to do this for porting the free articles onto the pre-SOC. The first part is the boot loader. Since we have our own hardware. So it means that the system may not load its image by itself. So we need to have a boot loader to load the free articles image into the range of the SOC. Which is the responsibility of the boot loader. But in this project I try not to focus on the development of boot loader. So we use the JTAG pin of this implementation. This JTAG pin can connect with the open OCD. And we can use some general tools like GDB to debug our systems. And the second thing is the address map. Which is related to the linker script. And this is relatively simple because the example we shown before. So this will not take too much time to revise. And the third part is the peripheral setup for operating system to verify the system is working. At least we should have some text on my show sound text on my screen. So we can know that our system is alive or not dead. So we should set up the UART parts for the bug grades and the pins and so on. And another way is to use the GPIOP to make some LED to blink. And that is another way strategy to verify it. And for the fourth part it is an interesting config in free articles. It is like the dot config in Linux kernel. It can try to enable or disable some features of the free articles by modifying this header file. And I have captured some contents in this header file. You can see that we try to enable the results with this code from 72 to 74. And we are trying to use some timers which is enabled by the code in 81. And with this config file we can try to enable and disable the code without actually looking into the source code. So that's talking about some difficulty during the development. For the first part which is the exceptions. Exception is like something you are trying to mess up the operating system. So the hardware is trying to protect the operating system from doing the wrong thing. So like some classical exception is like H4. And other exception may be illegal instruction. So in this case the free articles. Because free articles relies on the instruction equal which is environment code to trigger the context switch. But the free SOC will not be built with the support of equal instruction by default. So every time when the free articles trying to use equal to do task switching and the system will stream like no the instruction is not in my instruction list. So the system will not do not know how to perform the task with these instructions. So the solution for this problem is to go back to the last five source file and turn on the eco generation during the CPU generation. And this is also the benefit of using the spinal HDL with this high level view of the CPU. Instead of the very low codes we can solve this problem like simple and easily. And the second problem is the lack of machine timer. The machine timer is the it's like the main timer in the risk five spec. It is it is defined in the expectation that machine timer is to trigger the system ticks. And without the system tick the system will not know the time is. What time is in. Something like that. So, but the problem is that the spec says the machine timer must be implements as a peripheral and. Let's record the black diagram we shown before. There is no that such machine timer on the black diagram. So, the three SLC would cannot use the instruction. Provide by machine timer and cannot generate the system tick with machine timer. But we have some basic timer. We can say we can see the timer is here and we don't have the machine timer. So, my strategy is to make use of this timer in the peripheral block. And the next problem is the tick frequency. As we know, the CPU has the frequency. And this frequency can be used to decide the the tick frequency of the operating system. In the in our simulation, it is unlikely to decide the frequency because we are you, we are running the simulator so the frequency of the simulator is something like unstable. So, during this problem, we cannot set up the proper CPU frequency in the free articles configurations. And for the project. Right now I just try to. Pre define some values to make the tick. It works, but it is not that precise. So. Feel free to try this best fast response by three SLC and three articles on your own Linux computer. I use the. In the last example. And the code I write can be found on key hub with this link. And the instruction will be to copy the this directory and the. Specific extension into the free articles directory. So you can use a good new make to build the extent executable and then you can. Start up the simulation and connect with your GDP so you can test this free articles on your own computer. So this is the demonstration of this project. We can see I try to connect the simulator. On the left and the GDP on the right. And. We pass the operating system image into the simulator. And use the GDP config. GDP command. Continue to run the code. And we can see the transmitter and the receiver. Is doing. The task switching. Although this demonstration is only includes. Message passing and some basic. Multi-tasking. Technology or skills. But I think it is. The first step and important step. To fully customize the. Computer system we have. And that is the sound reference I found in the during the below. So I think. It is the end of this talk. Thank you.


What's up gamers? In this video, I'm going to be showing you how to get the Master Sword, but I dressed for this video, with only four hearts and the fastest way I could find on how to do it as soon as possible. In Tears of the Kingdom, you don't have to have a lot of hearts in order to get the Master Sword. However, you need to have two full bars of stamina in order to pull this off. Good thing the link comes with one full one already. The first step you need to do is complete 20 shrines. Trust me, it's not as long as you think. There's literally a bunch of them in eyesight that you can mark up on your map. The four Sky Islands do not count as that was already used to get you your first heart in the game.  I went down to the underground shelter in Lookout Landing and got a stamina upgrade. Remember, four lights of blessing equals one-fifth of a stamina bar filling up. Repeat this four more times until you have a second bar completely filled up. Now this part is optional if you feel like you are not that powerful while you're fighting, or if you aren't an esports level Zelda player and you need some gear and items to help you out for the upcoming fight. What you want to do is head over to Gerudo Desert and farm some Gibdos. They are everywhere until you clear the Lightning Temple. Gibdos actually have an OP drop called Gibdo Bone that does 40 fuse attack power that break easily, so we'll be using them on arrow attachments. Gibdos are extremely easy to kill if you hit them with any elemental attack and some of them roam around with arrows in them so you can just grab some arrows off of them as well.  Just be careful of the Malduga while we're heading towards the sinking sand area. Head over to this exact circle here and sink down below. When you drop down, open up that chest and there will be phantom greaves in there that will give you attack up. Another thing that you can do before we head over to our next destination is scan some amiibos so you can get some goodies from them. If you have the amiibos, I just got a bow from the Twilight Princess Smash Zelda and I got a fierce deity armor top from my Majora's Mask Link amiibo. If you don't have any amiibos, don't worry, there's plenty of weapons in the game that you can look around and search for and they'll probably be on my channel in a different video. If you have any rubies or tow passes from Rare Rocks that you found in Little Caves, make sure to bring that along with you because that is going to help out a lot. Now once you're all prepared for this fight, we're going to be heading towards Korok Forest, but as you have noticed or if you have tried, you can't really get in. If you try to walk into it, it's going to reset you back to the front. If you try to paraglide or even dive into it, it'll also return you back to the entry of it. So to get here, we're going to have to go underground. You want to teleport from Ikochu Shrine over here, which is north of the Woodland stable on the map over here. You want to keep going through the Minchi Forest. Get ready to dive down into the underground here. So just dive straight down. Use those lights as a reference.  Really interesting here. Once you're down here, you're going to do this nice trick, which is called panning up your map so you can see the surface one and whatever map you leave your game on on the Pura Pad, it's going to stay like that on your mini map. So what we're going to do is we're basically going to follow this pathway that leads us into the Korok Forest. So now that we have the mini map of the above surface there, we're just going to follow that pathway. But make sure to light up the area just a bit. It's just lighting it up so I don't make any mistakes here. There we go. Now that it's all lit up, I'm just going to follow this pathway.  For some reason, your mini map switches back to the underground. You can't see anything. You can pan it back to the top so you can get it back so you're looking at the top part to see the reference to the underground. There you go. I just did that right there. Keep following this pathway. Okay, nice and quiet. Feels safe here. And then you notice that the Korok Forest is right over there. And that lines up with it pretty much. And that looks like a spot that you can also ascend. There you go. That looks like the one we got to go to. We're going to head right to the edge here. And this is the part where we just, you know, we just want to see because we're getting close to something that we weren't supposed to get into, right? So danger only can be here. Make sure to quickly run over the gloom. Otherwise, you're going to lose your heart and then run all the way. It should say Korok Grove. Perfect. Keep going.  That's terrifying. And the music's just going to, oh yeah, you're going to run. Run for your life here. We're not going to waste any resources or anything fighting this thing right now. Oh yeah. And if it grabs you, it just, yep. Once it gets you, it's pretty bad. It's pretty bad. Especially if you don't have all your stamina. Okay. After surviving that, I'm now heading toward my final destination up here. So go ahead and just climb up over here. Again, this is in reference completely to the surface map. So if you're lost, just use a surface map, but you're heading to the spot that does have a send. Before you ascend up, make sure to quickly just tap this light root over here just to reveal the area. So you don't have to come back and do this again. And the reason why this light root is here is because there's a shrine right above it. Then these light roots are actually connected to the shrines. Their names are literally just the backwards version of the shrine above. All right. Now just go ahead and ascend up right through this. It takes a bit. Don't worry. Your game's not broken. All right. Once you get to the top, you realize that you actually made it into the Korok Forest. And you notice it's not looking too nice in here. It looks like some craziness is going on here. Once we're here, you're going to want to head over to the shrine over there. Tap it so you can have a fast teleport to this area so you don't ever have to go through that hell that is down below. We don't want to go through that again. Once you're done with that, you're just going to go ahead and walk up into this area wherever you see this malice, this gloom, this calamity coming from. That's where we're going to go. While we're falling down this chasm, you should hit that subscribe button so Link can get all the way to 500K and beat Ganondorf. Seriously, subscribe. We're posting a lot of Tears of the Kingdom content. So once you make your way down into the belly of the tree or the bottom of the tree, you're then going to have these hand spawns. So I get ready by taking out some Topaz arrows because it's the whole group of them, right? So I do an AOE effect. I hit them with that. I then go ahead and use a ruby for an explosion here. Boom, another AOE. So it's doing massive damage. And then I'm like, hey, let me just cool them down here. That's it. And they are pretty much down. So that's phase one. And then you're going to get a Phantom Ganon that spawns just based on the title there. I was terrified my first time, but it does show up. And I missed my first one. Complete waste.  It doesn't really do anything at all. He can teleport behind you and completely wax you. At this point, I try to get some distance away from Phantom Ganon. And remember what I told us to farm before? Well, we're going to be using those Gibdo bones here. And I want you to see, oh, he came back again. Okay, like I was saying, we're going to use those Gibdo bones on him. And you can see the crit, how much damage it's doing. So headshot, stop him from his charge, usually. Look at that. Look how much damage they're doing. There we go. It's just, it's just eating Phantom Ganon's health. Do a little dodge there. Look at me. So cool shield surfing underground. We go with another shot. Boom on the face. He's coming at me again. And he's going to get the hit. Got to waste some raw materials because I did not cook enough. So just eat that real fast. I'm going to get back up here. And you don't want to step in these puddles. You stay in there long. You're going to lose hearts. And they're not going to be able to be recovered down here because this is technically underground in the depths. So here he comes. I'm trying again. I'm not the best archer, but getting the shots and doing massive damage with Gibdo bones. Just imagine if you had a Lionel bow that did like three arrows a piece. All right. He waxed you down here. You're just consuming more raw materials. At this point, I think I want to be cool and take out a weapon to try to fight him after this next shot. There we go. He's almost done. Then just go for the final shot and he's down. And you're going to see all the gloom disappear from underneath the tree, which is basically going to be fixing Korok Forest. So these guys are corrupting the area. That's going to go away. You're going to find some dark clumps, which you can use to make gloom resistance, the demon King's bow, and you'll be picking up the gloom sword, which is 41 attack. So pretty good stuff here. Good upgrades, especially for your weapons in the game. And also these hands and these phantom cannons will just ramly appear wherever you fight the hands. So it's always the phase two when you kill those big five hands, just to let you guys know in case you bump into them again. Hey, once you're done down here, just teleport back to the shrine right above in the Korok Forest. Now go ahead and climb over to the Great Deku Tree and talk to him to proceed on with this quest. You're then going to unlock a memory, but I'm not going to show anything of that on the screen. After that, the Great Deku Tree tells you that it senses the Master Sword in the air. And the only thing to me that constantly moves around the world at all times is a dragon. So that's pretty much what we're going to get. The Master Sword is in a dragon. By saving the Korok Forest from the gloom, this is the only quest that will allow you to properly track the exact location of the Master Sword. So I looked at my map and saw that the dragon that had the Master Sword was heading towards a certain direction. So I teleported over to the Tori Mountain Skyview Tower. And right after I unlocked it, the most beautiful scene I've ever seen happen. Look below! The dragon is right there with the Master Sword. I see something glowing below me and that's exactly where the dot is. It's like the most perfectly timed scene ever. So remember when I told you that you needed to get your stamina up to two bars? This is where it's going to matter. And now you're just going to hold this thing and you're going to see your stamina bar start to deplete.  Now that you've got the Master Sword, you're also going to need to get something else. You should click on this video because it's going to help you out a lot.


Family Theatre presents Jeanette Macdonald and Ward Bond. Cooperation with Family Theatre presents Ward Bond in Bret Hart's classic, The Outcasts of Poker Flat. To introduce the drama, your hostess, Miss Jeanette Macdonald. Thank you, Charles Arlington. The purpose of Family Theatre is to bring to your attention a practice that must become an important part of our lives. If we are to win the peace for ourselves, peace for our families, and peace for the world. Family Theatre urges you to pray. Pray together as a family. Bret Hart came to California when still a young man, and to earn a living engaged in a number of trades, finally finding his ditch as a contemporary of Mark Twain in writing for newspapers and magazines. Hart's varied experiences and journeys furnished inspiration and material for his tales of the frontier. And at the time of the gold rush, he was hailed as the new prophet of American letters. Hart's writings of the days of 49 became classics, not only in America but abroad, for his tales introduced characters and locales that were completely new. It is with real pleasure that we present Ward Bond as ocherst and Howard Culver as Tom Simpson. In Bret Hart's, The Outcasts of Poker Flat. My name's Tom Simpson. Innocent Tom Simpson, they called me because, well, a friend of mine gave me that name. I got a story I want to tell you about some people. Some people that I... that I love to heap. I reckon you could say the whole thing started about a month ago. November 23rd, 1850. I'll never forget that date. I'm sick and tired of talk. Let's run the black sheep out of poker flat. John Ochers won $1,000 from me over the poker table last night. And Ochers ain't even a local man. Come clean from Roaring Camp to take our money. Him and his fine manners. And while we're cleaning the house, what about that dance hall singer at the gold nugget, the Duchess? A shooting freak has started over her and the only dentist in 300 miles was killed. Ben's shop had two good horses, Russell, from him only last week. All this lawlessness today just ain't moral. We'll hang that gambler. No, there's been considerable hanging, Jim. Besides, I won a little from Ochers. Let's just run him out of town, him and a few others. Well, if you ship the Duchess, kick out Omar Shepton too.  Yeah, that Uncle Billy, that drunken old sluice robber had gone a long time ago.  We'll take Ochers last. Oh, and be careful. That gambler's a desperate man when the chips are down. Right after that, John Ochers stepped out onto the main street and was right busy trying to keep the flying red dust off in his boots. And all of a sudden, he noticed there was something mighty different about poker flat. Hmm, peculiar. Quiet as Sunday morning. And here it is only Saturday. Groups of the boys standing around, talking. Good morning, gentlemen. Think so, Ochers. Hmm. And here comes what looks like a posse. Reckon thereafter, somebody, likely it's me. Well, they've got Mother Shepton, Uncle Billy, and the Duchess on mules. And they're leading my five-spot horse. Yeah, Reckon, it's me they want. We're inviting you to get out of poker flat. Invite, he says. Get that gambler. They invite you with guns.  I wasn't planning on riding out this morning, but it's plain to see you gentlemen hold the winning cards. All right, five-spot. Oh, easy boy. Let's ride. Riding hard and riding fast, you might make Sandy Hook by night, which is real unfortunate for Sandy Hook.  You gave us no supplies, Wheeler. You got whiskey. You got a gun. That's more than any of you deserve. You think I ain't glad to see the last of you? There's not a man among you to stand, though, cursed alone. All right, Duchess, that'll be all. Get out and stay out. First one that tries to come back to poker flat gets shot on sight. That understood? Understood. Come on, boys. Ma Shepton, everything's been said. Come on, we'd better make tracks if we hope to make Sandy Hook by night. That's how the outcasts left poker flat. Reckon only John O'Cursed knew the stakes in the game he was playing, because he knew about the Sierra range that lay between them and Sandy Hook. It wasn't long before they'd ridden out of the warm foothill weather and was riding high up on a mountain trail. Then they come to water, broken down log cabin, and the Duchess give up. I can't ride no farther, Campbell. I just gotta rest a while. You gotta rest. What about me? I say let's get off and give the women a chance to rest like they want. Don't throw up your hands now before the game's played out. I'm played out. We're only halfway to Sandy Hook. The worst of the ride is still to come. Well, go on, then. Without me, I'm staying here till I feel better. You ain't no cowboy. The Duchess a cowboy? Stay here for a little while. But only a little while. Water the mules over there. Don't let them drink too much. Better tell them. Better tell them to come to be to you. Here's Ma Shepton and Billy have much more whiskey. I won't be able to get them up in their saddles. Hold on a minute, Gantler. Why? Oh, I was just gonna ask you if you'd join me in a drink. No thanks. You and my business don't go together, Duchess. But you ain't in business now. Where are you? Am I what? Can't you ever forget the cards, Gantler? Do you always have to keep a cool head? The stakes are pretty high in this game, Duchess. We mean. We're going to get pretty cold. Pretty hungry if we don't reach Sandy Hook by night. Sandy Hook, Sandy Hook. Is that all you can say? Oh, come on. Have a drink. We'll be riding pretty soon. You never did give me a tumble, but I watched you. Ever since you come to Poker Flat, Gantler? Different from the rest you was. Real quiet-like, polite and clean.  Better save some of that whiskey, Duchess. You may need it later. You know good trap. The best years. The best years of my life are gift to Poker Flat. And what happens? Kicked out I am. Kicked out like a manger and a dog. Kicked by men I know like they was my own sons.  Mother Shipton. Let me alone. Men.  Uncle Billy, we've got to ride now. Hey, you down there. John Ocherst. Is that you? Who is it? It's me, Tom Simpson. Don't you remember? Simpson? The innocent? Well, of course. You sat in on the game with me last time I was in Sandy Hooker. That's right. I haven't lost every nickel I had to you. $40. But you give it back to me after. You can't gamble with a cent, Tommy. I hope you haven't tried it since. No, sir. I've got responsibilities now. It's funny me running into you up here, Sierra Way. Funny. It depends on your point of view. But how is it you're traveling to Poker Flat alone? I ain't alone, Mr. Ocherst. Hey, Piney. It's all right. Come on in. Bring the pack mule. All right, Tom. Why, why not your female voice? You remember Piney Woods, Mr. Ocherst? Oh, boring. To tell the truth, I don't. She used to wait table at Temperance House. Oh, I see. I love her. We've been engaged a long time, but her pa don't like me, so we're running away to Poker Flat to get married. Married? No, ain't that romantic? Here I am, Tom. Here, let me help you down, darling. Now, Piney, I might be proud to have you meet up with Mr. John Ocherst. Miss Woods, it's a pleasure. Mr. Ocherst? Why, I feel like I know you already, Mr. Ocherst. Tom told me how he gambled at cards with you, how he lost, and how you gave his loosens back to him. Ocherst! Hand it back! I was wondering, ma'am, if it wasn't for Mr. Ocherst, Tom and me wouldn't be all open now. They wouldn't have had the money. Well, Luke who's coming to the party? Who's she? Duchess, this is Piney Woods and her fiancee, Tommy Simpson. They're going to get married in Poker Flat, you think? And we couldn't have met up with you folks at a better time. How's that? Well, Piney was getting pretty tired, and here we find a good camp and you folks, Mrs. Ocherst. Mrs. Ocherst? The Duchess? Quiet, Billy. You'd better ride on, Tommy. This isn't a proper camp. We have no provisions. Oh, my pack mules loaded with grub, Mr. Ocherst. Yeah, and we can throw some pinebows over that old cabin for a roof to shelter the ladies, and us men can shift for ourselves around the fire outside. It's little enough to offer, Mr. Ocherst, after what you've done for Tom. Well... Ah, stay on, Ocherst. My poor old bones is aching worse than ever. It'll be real pleasant to shop around the bridal couple. What do you say, Duchess? What difference does it make where we stay? Oh, you will stay? Yes, Tommy, but only for tonight. We'll leave in the morning. You've got to travel a far different trail than you. You and your piney. So, me and my darling piney camped with Mr. Ocherst and the others. We made a snug camp in the rocks, ate a good supper, and I got out my accordine and we sat around the fire, watching the night roll in over the big pine trees standing tall around us. Stars winked down at us between blowin' clouds and a breeze moaned high in the trees. But around the campfire, it was warm and good. I aim to make a real comfortable home for Tom when we're married, Mrs. Ocherst. I'll make some curtains and crochet some doilies for the chairs and tables and maybe plant a garden for fresh vegetables. Oh, it's wonderful being married, ain't it, Mrs. Ocherst? Ah, I guess it'll be pretty wonderful for you, piney. That music's awful sweet, young man. Ain't hearin' music like that for must be a thousand years. Thanks, Mrs. Shipton. My Tom plays something wonderful. Don't you think so, Mr. Ocherst? Mr. Ocherst? Huh? Oh, I'm sorry, piney. I must've been wool-gathering. Must've been mighty important, wool. What were you thinkin' about, gambler? Oh, how sometimes a small bet pays off big. Like how? Like the time Tom says I helped him. It's payin' back big now. It's giving us all, Mars Shipton, Uncle Billy, you, Duchess, something we never had before. A few hours of rest, a few hours of peace. Talk like that and give us me the shakes. And speakin' of old devils. Where is Uncle Billy? I was just beginning to wonder. Innocent, strike up something lively. You bet, Mrs. Ocherst. He's takin' the mules. And my five-spot horse. Snowed in. There's no use breaking the news to the others till daylight. Might just as well let them sleep peaceful while they can. Uncle Billy didn't come back that day. Nor the next. The storm roared around us, and we was hard put to keep the fire goin'. The snow piled deep around the rocks and cabin. But Mr. Ocherst was calm as could be. And Piney made plenty of good hot stew, so we made out. But on the fourth night, we got feelin' kind of low. The storm died, sky cleared, but, well, even so it was bad. Nobody even felt like tellin' stories. It was then that Piney said... Tom, why don't you play our song for the folks? I... I don't know if they'd like it, honey. I think they would. You two youngins, tie on to some special kind of song for yourselves. It's a special kind of song for all of us, Mrs. Shipton. Tom. Well... All right, darlin'. Feel good, don't they? Find me any hymn, Duchess? I'll try anything once, gambler. This day come along. We'd had more snow drifts all around. Our food was runnin' terrible low. Mrs. Shipton was failin'. And then, that afternoon, she disappeared. Mr. Oakhurst went lookin' for her. Down the little trail, we'd kept clear to the canyon for a lookout. Marshipton. Mother Shipton. May all of you never rest. May your bones bleach in summer and freeze in winter. May the past torment you and the future failure. Mother Shipton. Oh, it's you, Oakhurst. What are you doing out here? Cussin' poker flat. Look at it down there in the valley. Calm, peaceful. Smoke horizon from the chimneys. They're warm down there, Oakhurst. Come on back to camp, Ma. I had a lot more cussin' to do. It'll keep. It's funny, ain't it? How calm and pretty a mornin' can look around here and be so dreadful. The snow can't last forever. We'll get out. No, no, we won't. We're prisoners here. It's no prisoners. We'll get out, Ma. It's no good, Oakhurst. It's no earthly good. Ma, Shipton. Carry me. I got you. Inside the cabin. Oh, what's happened? He's found her, but... Oh. You stay out here with Tom, Piney.  Come on, Gamble, come on, Piney. Now, you lay down here, Ma. Now, real easy. Safe in your own bed. Here, put my coat around you. I'm a goon, Oakhurst. Oh, no, no, you're not. Don't tell Ma Shipton what to do. Don't tell the kids, neither. Listen to me, Mother. You're gonna be all right. Do you hear? Check the bundle. How do my bed roll? Bundle? Yeah, let's open it. Food. Mother Shipton, it's your share of rations for a week. Give it... Give it to the child. You starved yourself. That's what they call it. I call it guts. Early Duchess. I couldn't sleep. Cold, I guess. Sit down. Doose of diamonds on Trey Club. You playing solitaire? Yes. Isn't that kind of unusual for a poker player? Ace of spades, up. Sometimes solitaire is the only game left for a gambler. All these days and nights, the storm and all that, just wanted to tell you, you've been swell.  Me? Mr. Ockhurst, it's daylight. You didn't wake me up from my watch. I had work to do, Tommy. I'll go in the cabin and see how Piney's feeling. We'll be out to fix breakfast for you, boss. Tom? Yes, sir? I've got something here I want to show you. Snow shoes? But how? I made them from your old pack saddle last night. Now listen carefully, Tom. There's one chance in a hundred to save you a Piney yet. It's back there in poker flat. But you and down hill trail all the way. Even with snow, you should make it in two days. If you do, Piney will be safe. But you, I'll stay here. Morning, Tom, Mr. Ockhurst. Darling. Yes? I'm going for help. In all them high drifts, you'll never make it. Yes, I will. Mr. Ockhurst made some snow shoes. Take my coat, Tommy. What about you? I won't need it. I'll help you on with it, Tom. Button it. Every button was my love, honey. To keep you warm. To keep you safe. Oh, Piney. Darling. Young buck like him will be safe enough, Piney. I'd bet on that. Gambler, you going too? Only as far as the canyon look out. Piney. Oh, Tom. Duchess. Yeah, Gambler, what? Come on, Tommy, let's go. Kiss me. But he never would before. I know he'll come back. I know my Tom will come back safe. Mrs. Ockhurst, you're crying. Detect one another. If only Tom gets through, why doesn't the gambler come back? Piney. Yes, ma'am. Can you pray? Not like a preacher. But if love and Tom is like praying. Knowing friends like you and Mr. Ockhurst. Yes, ma'am. I reckon I know what praying is. Oh, if that's it. If love is enough, Piney. Then I can pray too. The storm died like it had never been at all. The moon was shining through broken clouds when I came back with help. Too late. We found them in one another's arms. Piney. Mrs. Ockhurst. We brushed the snow from their faces. And you couldn't tell who was youngest. And it looked so peaceful. So happy. Next we looked for Mr. Ockhurst. I'd left him at the rim of the canyon. Snow was lots deeper now. We couldn't find him anywhere. And then, all of a sudden, I saw a pin to a tall pine tree with a bowie knife. The deuce of clubs. Beneath this tree lies the body of John Ockhurst, who struck a streak of bad luck on the 23rd of November, 1850, and handed in his checks on the 7th of December, 1850. Hey, I was thinking about the way it sometimes happens that everything seems to go wrong.  Well, in families, it happens that way too. Homes break up, families separate. No one plans it that way because no one plans unhappiness. But happiness can be all of ours for the making. We need God's help. Yes, all of us need God's help, and we can have it simply by asking. Ask, and ye shall receive. That's the power of prayer. That's the wonderful help that every home can have through family prayer. Daily family prayer means God is there in your home. It means the joy of sharing your happiness with others. It means God's blessing on your home. And with God's blessing, the family that prays together stays together.  Has brought you Ward Bond and Howard Culver in the outcasts of Poker Flat with Jeanette MacDonald as your hostess. Others in our cast were Gloria Blondel, Martha Wentworth, Wally Mayer, Jane Webb, Tyler McVeigh, and Robert Bruce. Bret Hart's great American classic was adapted by Virginia Cook with music composed and conducted by Harry Zimmerman and was directed for family theater by Jaime DelVeig. This series of family theater productions is made possible by the thousands of you who felt the need for this type of program, by the mutual network which has responded to this need, and by the hundreds of stars of stage, screen, and radio who have so unselfishly given of their time and talent to appear on our family theater stage.  This is Charles Arlington expressing the wish of family theater that the blessings of God may be upon you and your home. And inviting you to join us next week at this time when family theater will present Martha Toran and Perry Kilburn in Treasure Island. Join us, won't you? Family theater is released throughout the world and originates in the Hollywood studios of the world's largest network, the Mutual Broadcasting System.


The question says if the focus of the parabola y-k square is equal to 4 times x-h always lies between the lines x plus 1 is equal to 1 and x plus y equal to 3 Then which of the following options are correct Now friends when we start solving this problem One thing is for sure that we need to know the location of the focus of this parabola, right? So we need to know where does the focus of this parabola lie So under the roadmap, I would need to find the focus of the parabola second thing I would need to know is The relative position of this focus with respect to these two lines correct, so the second thing that we need to work on is the relative position of The focus With respect to the given lines Right, so with this roadmap in our mind will start solving this problem. All right, so When we talk about this parabola clearly, it's the case of a Shifted vertex Correct here It is not a case of standard parabola a standard parabola looks like y square is equal to 4x or y square is equal to minus 4ax or x square is equal to 4 a y or x square is equal to minus 4 a y in this case It is a case of shifted parabola now when you see this y minus k and h x minus h it should be clear in your mind that they are talking about the position of the vertex at h comma k Correct, so let us catch this first So, let's say this is my y-axis This is my x-axis okay, and We have a parabola of This nature I'm assuming my h and k both to be positive. So vertex is lying at h comma k Vertex is lying at h comma k Now we all know that This is called the axis of the parabola And focus is located at a distance of a from the axis of the parabola correct Now a here is one. This is your a correct So it's clear that your focus Let me call it as s We lie on or we lie at the point h plus 1 comma k Correct, so now the position of the focus is known to us Next is we are going to talk about the relative position of the focus with respect to the given lines So, let me do one more thing. Let me sketch these two lines quickly So let's say this is my y-axis. This is my x-axis Okay, and let's assume that this line is my line x plus y equal to 1 and this line is my line x plus y equal to 3 Okay, so let me name these lines This is my line x plus y equal to 1 or we can say x plus y minus 1 equal to 0 and This line is x plus y minus 3 equal to 0 Now our focus s lies somewhere in between these two lines Now for this we have to recall the concept of relative position of Two points with respect to a line. Now you would say where is the second point? We only have the focus s So we can take the second point as our origin Right, so origin could be taken as our second point Okay, so now we clearly can see that origin and s are located on Opposite sides of the line x plus y equal to 1 That means when you substitute x plus y minus 1 with the point zero zero Whatever number you should get the sign of that number should be opposite to what you should get when you substitute the point s Remember your s is h plus 1 comma k Right, so what I'm trying to say here is that when you substitute Origin in this right so put origin that is 0 comma 0 You realize you will get 0 plus 0 minus 1 which is a Negative 1 correct now when you substitute h plus 1 comma k So let's put h plus 1 comma k.  So this and this must be of the opposite sign So if minus 1 is negative h plus 1 should be positive. Let's say this is our first conclusion In a similar way friends You would realize that Origin and s lie on the same side of the line x plus y minus 3 equal to 0 Okay, so we'll repeat the process once again for this line. So let's say this is line L 1 Okay, so line L 2 will repeat the same process x plus y minus 3 So first we'll put Origin when we put origin we get 0 plus 0 minus 3 which is negative and Then when we put h plus 1 comma k Will get h plus 1 Plus k minus 3 which is nothing but h plus k minus 2 now since since 00 and H plus 1 comma k lie on same side Same side of the line x plus y minus 3 equal to 0 it means if this is negative Then this must also be negative Which implies?


Career Online High School is a program that we sponsor here through the library. It is a free online program for adult students to return to school to complete their high school diploma. I'm graduating, take my high school diploma and a career. Sometimes I'll be up till like 2 a.m. just like putting in hours getting the homework done. It was it was pretty tough. Yeah, it was worth it. You know, even with my children they were my you know my guidance so they open up like hey mom you know we can do this we can conquer this and go for your dream that what you always wanted to do. The Long Beach Public Library's free career online high school is for adults who live in Long Beach have a library card and are aged 19 or older. After a one-time in-person interview online self-assessment and a prerequisite course students are paired with an academic coach to guide them through the 18 month program. It is fully accredited. They can use this to go to college. It's a very flexible program. It's completely online. I'm so very proud of each and every one of you this morning but I want to let you know that this is not the end this is just the beginning. I want to encourage you to continue to learn and to grow and let the Long Beach Public Library be a part of that process. It's so impressive for students to finish an online education because it is a little emotional for me to see you up here in the front row and have your beautiful families and children sitting back there and knowing that the next generation is going to be impacted because of your hard work because of your leadership. I have two little boys and I I'm the first one for my family and sisters to finish so I just wanted to send my family as an example. With this diploma it access me to a whole new life. It gives me so many possibilities. All right graduates it is now time to move your tassel from the right to the left. This is ideal for someone with family, a full-time job who just needs to accomplish that goal that they set for themselves so long ago. I would encourage them to try it if they don't have the time to go to a class just to try the library. Congratulations to the Long Beach Public Library Career Online High School graduating class of 2018. If you're ready to expand your career opportunities, re-enter the workforce, or continue your education, get started at LBPL.org.


Hi, I'm Geoffrey G. O'Brien, the Director of Lunch Poems, and I'm thrilled to welcome you to the first event of Lunch Poems, 2122, still confined to these little boxes while various apocalypses rage and unfold outside, but really happy to have poetry be happening in this faceless space. I'm really thrilled to have our own Noah Warren reading from his second collection of poems, The Complete Stories, came out in May, I believe, but given how unevenly time has been progressing, I want to say it's newly launchable tonight, today. And that's what we'll hear from him part of though I believe that Noah will also be reading some new work. I'm excited to hear that. Noah's first collection, The Destroyer in the Glass, marked out in its title, a pretty good figure for a model of lyric attention that has dominated most of that mode's history, the self-transposed, considerable, self-conscious, considerable in both senses, large and able to be or suffer consideration. And that private circuit of the self-consideration and the speech it generates, however traversed by the social, has altered in this second collection The Complete Stories, with its perhaps cheeky title, how complete is any story, why do we need a plural? But I think it's also a way of saying that certain other kinds of pressures are being put on Noah's version of the lyric. Narrative is being invited to the party and changing what can be said, how it can be said for how long saying will continue. And names, the proper names of persons are studied throughout the pages of this book. And names are crucial, not merely here as markers of narrative, but as refusals to narrate too. The name, as it does in Proust, is glowing with possibility, but not necessarily a possibility the poems will excavate. These are poems that are humble about their subjective angle onto what they briefly consider and mention and bring into view. They know they do not speak for those they speak about and they would rather just indicate their presences often rather than attempt to capture them in any significant and perhaps violent way. There's a really brief poem in this book on page 30 called Village, I'll show it to you. It's just that one long line. Is it prose? Is it just a nearly unaccommodatable line? The poem's called Village and it reads in its entirety cedar smoke wanders between the yards past the linen hung out overnight. Is this a complete story or nearly the opposite of completion? Is it a lyric moment of attention or the beginning of a short story? It risks almost nothing in being so brief and banal and being free of valuation, free of judgment. But that is exactly the huge risk that it takes in saying almost nothing. In saying almost nothing, it puts the burden on us to decide all these questions about genre and mode or to refuse to decide. Is the smoke wandering between yards a figure for a socially responsible lyric or is it simply a moment of description that refuses to prescribe? In one of the longest poems in the book in terms of what it does to page as opposed to number of pages it covers, we have the same thing happening. The first line doesn't make it to the right margin even relating it, Sophia Shivered with the weirdness of it but all the other ones are barely accommodatable. They look like lines from Ashbury's flowchart and it's an intensely narrative although intensely brief and episodic in its narration poem that mentions John Ashbury by name among many others insisting on the co-presence of narrative and deliric tradition again and again and again and probably producing incompleteness after incompleteness despite its nearly complete occupation of the page in order again to produce both silence and something beyond the doomed subjective space of speech and thought that the poet understands himself to be restricted to no matter how much he wants to affiliate out into this world of saying and being with others. And I think that those silences whether they happen in one line poems or in poems that occupy so much page space are there precisely to make us bear the burden and the gift of semi-completion or at least the matching of one subjectivity to another the possibility of intimacy to paraphrase the end of the first poem in the collection you can feel the jewel that these poems are falling into you and without further ado, I give you no reward. Thank you, Jeffrey. That is without doubt the most generous and smartest introduction I've ever got. Thank you. I think I'm gonna read poems mostly from the book but I'm gonna braid in some new work and also some older work to kind of explore these changes who I was and where the work's going now. Talk sound of the traffic forming itself into dark blocks that take time to come together and fall apart expressing loss. Panic rising around the top of the heart on a winter afternoon. I put you down in the poem as a dark block expressing loss a year passes badly than another while the moon moves through my head like a desert. I asked a friend for a painting. She painted me a black square with dark gray branches and seven star-like blotches which I understand are flowers. People try to get ahold of you. They succeed. Night again, I could be nowhere. Bearing myself with a certain bleak dignity, loving intensely. The dark blocks fall quicker, closer. They build a dark castle expressing time taken and loss. I have journals that tell me I once felt like air when I ran. I saw both oceans and to what end. I saw plum colors falling from the banded cloud. One talks for pages about how this or that felt. Not what it was, buildings. I see their streaked faces and recessed entryways. Their windows washed white by the rain. How cheerful, how brave. Your voice was as you asked if I wanted anything from Whole Foods where you had to go and then all the other Wednesday clutter. Turning back, you paused in the door back lit by the morning gray. Between a slave, five years of love. What you talked about as a quantity that accumulates. And that morning was the beginning of that night, morning, day and night. Those 36 hours, 10 months ago now when you convulsed with a new raging sorrow which I surprised you by returning.  That hardened into the low city I walked out into already retreating from me. Cut lilies, more than $100 of them. It was pure folly. I had to find more glass things to stuff them in. Now a white and purple cloud is breathing in each corner of the room I love. Now a mass of flowers spills down my dining table. Each fresh faced, extending delicate leaves into the crush. Didn't I watch children shuffle strictly in line? Cradle candles that dribbled hot white on their fingers, chanting Latin, just to fashion Sevilla's Easter. Wasn't I sad? Didn't I used to go mucking through stream beds with the skunk cabbage raising, bursting violet spheres? Look, the afternoon dies as night begins in the heart of the lilies and smokes up their fluted throats until it fills the room and my lights have to be not switched on. And in close darkness, the aroma grows so sweet, so strong that it could slice me open. It does. I know I'm not the only one whose life is a conditional clause hanging on something to do with spring and one tall room and the tremble of my phone. I'm not the only one that love makes feel like a dozen flapping bed sheets being ripped to prayer flags by the wind. When I stand in full sun, I feel I have been falling head first for decades. God, I'm so transparent, so light, passion play. The bed filled the room, a large rumbled square. Light fell in through the windows for a number of hours every day. Then streetlight shadows did. You climbed over each other to get out. A fugue quality like a dark blue gas lingered in the corner of even the most memorable scenes. You watched your body do pleasant imaginable things and you noted the fog and accepted it as you had learned to accept much that once would have made you sad. Are you proud to have escaped from the dark mind you inherited? The air circulation weak so the room gets damper. January 15th, her birthday, happy birthday. A curl stuck to her cheek. Two things are certain. The sorrow in their chests like smoke and the frenzied activity that doesn't pretend to hide it. The time is pale light along the windowsill like rice. The time is a kind of greatest hits room in which the somewhat faded actors impersonate the actors who once dazzled in those difficult roles impromptu. For an hour maybe. For there are certain biological limits which are difficult to exceed. Also the relevant parties had taken sleeping pills explaining some of their logic. The thick blue curtains hung very still. They fell asleep like cousins head to toe. This next one is called notes on the mystery. Younger, I could go to my friend when her heart had been pierced and she was gasping for breath. And I could tell her nothing is lost entirely. All experience and time becomes a window. She was twisting the wheel of a wooden toy. I'd said more than I believed. Two blocks down, fine pins of ice slurred the brackish water, slowed the small waves until on a last heave one froze a sheer shell in the dark between the reeds. When I searched my journals for her who melted from my life, I'm searching for you. And for this special faithlessness, I apologize. There are so few people in those soft covers so many descriptions of our four rooms and they remain the same, tall and old, quietly beautiful, and yet changed utterly as the sunlight fills and abandons them on a clear afternoon. Today was clearer. A high film of cloud calmed me. A letter and an offer came. Though I was tired, I brushed varnish on the floors, buffed it until it glowed, with a cloth cut from the green flannel shirt. My father sometimes wore. This next poem is, you'll hear some of that prose that Jeffrey mentioned, not quite prose. I just, I became a little haunted by the sentence as a rhythm calendar. Some waves came up overnight, though in Norderney there was no weather. At the commercial wharf, a thin stream of white exhaust rose vertically from the ferry. The first service would depart soon. The puddles light dark in the stone streets and in the garden and on the narrow walk. A bank of haze hung 100 meters offshore, perfectly still. While at the end of the long pier, the shallow bottomed chalk that Tomas had restored, good at hauling, bad at sailing, knocked against the pylons. It was regular enough that you began to expect the next knock, but then there was none. Or two came quickly together and the effect broke. Marta had been up before us and made coffee and laid out the table for breakfast. A blue cloth, mugs, plates and silverware, three zinnias and a thin white porcelain vase. We helped ourselves to brown bread and cheese and the least strange looking of the meats she had rolled neatly on the tray. We ate quickly, looking out the small window at the blue and purple sky, the path down to the water, the long pier. This next poem is called Allegiances. Like so many fine twigs snapped by the rainstorm that's sweeping the city today, heavy. It lashes the pastel houses and the people walk by clutching their jackets to their necks. It looks like everyone is crying. And I felt so bored and sad. That I dropped two threads of saffron into the bowl of Cheerios I had for lunch. And that was a failure, obviously, as I had been almost certain it would be. The threads unable to blush the milk, the oat flour turned soupy, the taste just sharp enough to disgust me. I stood at the window, I pressed the puff cactus to see if its flesh was still stiff beneath the palate fur. When I picked my fingernails, the thin crescents fell and were lost among the pebbles in the pot and all the other curled up pairings. Outside, the no parking sign and the bare school flagpole hummed together in the gusts, pitched low, a harp almost. They were safe, historical, rooted in the concrete. Once the great struggle was between books and life, between pattern and that terror, that unfinishedness. Someone I grew to love rested a hand on my shoulder and said, voice careful with emotion. Your first allegiance must be to life. It must have been winter then too. Outside, trees cobalt in the evening. That room was too warm, small as a closet and every wall was lined with books of poems.  Was that irony? I would wonder. And this next poem is the title poem, The Complete Stories. Even relating it, Sophia shivered with the weirdness of it. He'd read all my stuff online. I mean all of it. And he was like glistening with the effort of being nice to everyone, but especially me. How he knew I'd be there, I don't know. What I hate is that I bought it. I thought it was lonely, sure, but changed, mature. It was only after walking home that Jen told me.  I don't care if he's sober.  I'd been murmuring sympathetic words in my face, mirroring her revulsion. Now I filled my eyes with the care I felt for her and feel. However, what I could find to say ended before the love did. So a small silence came.  And as it did, my eyes slipped over her other shoulder to Miriam, who was putting down her seltzer because I could tell she was preparing to speak. And as Mark was finishing, as everyone, Jasper and Rob, Mark himself and me, was still chuckling at his fulsome street fair a bit. The leather grannies and the librettist who played bemused, but two hours later was getting fisted on the sidewalk. She launched, drawingly. That reminds me of the last time I saw John Ashbury. The National Book Award Afterparty was at an apartment on Central Park West. The elevator opened in the living room, and there he was, pouting under the chandelier in his wheelchair alone. He'd lost his handler to the bathroom and no one was noticing him. So he just began waving his empty hand, yelling, gin and tonic, gin and tonic. And I tried, but there was only champagne and elderflower. And can you imagine telling that to John Ashbury?  Across the room, I found Molly's eyes and smiled. She didn't, she had opinions about Miriam. And so I made my face grave, like hers. And turning back to the circle to slip from it, saw Jasper's fingers on Mark's lower back, which I was glad for. There are so few people. And it's uncanny how the death starts so slow. A few a year, even the terrible ones somehow logical. Until gradually the shock grows constant or the unsurprise does, I don't know. It depends I think on whether you read life as a comedy, the sustainable way or as a tragedy, which according to Yates is when we really begin to live. I was saying to rumor, post bump, he was nodding, humoring me. When Lily broke in. Well, I don't think how you read matters have so much as how you write, excuse me, for screwing up your metaphor. I mean, how you live toward others. And I think some dissonance between those is necessary for art, sure, but also for intimacy, if that's gonna mean anything. I thought this was beautiful. And I said so. Her personal life for four years had consisted of flying most weekends to Florida, going to hospitals, cooking and helping raise her niece as her sister died of ALS. She smiled thinly and I knew I'd misspoken. I mean, this helps me, I said. That gap has always haunted me, the silent self judging always out of pain, the self in the world fickle, working to understand what it's done, trying to forgive itself. Maybe, she said. And it's true, vulnerability often doesn't work nor is it often true. Excuse me, I said, I'm getting signals from Molly. And I went to her because suddenly I felt small and I loved her. And in each instant, our problems still felt repairable at work. I found her hand and she let me. She was talking to someone shortage with cropped hair and a memorable face. She was saying that it's possible to recognize our limits for what they are with bravery, even as we fail, hearing ourselves repeat the things we don't believe and don't comfort us. And I think now for this kind of final leg, I'm going to read some of the new work. A lot of it's called talk and it came to be because when time got strange, it felt like there wasn't enough talk, there wasn't enough intimacy. And so I began these poems that I think aspired to be intimate conversations, but instead became conversations with the silence of the page, talk. Love of the world is so clearly come and go. The way we talk sounds beautiful and sad. You have to say these three words before you can say the harder thing. The air at evening crumbles into rose flakes, the wind like a child's breath. This is cement. It's almost hard now, but when it's new, it's soft. If we step in it then, it'll be there forever to describe as to praise. I've always felt that two crows fly up and disappear into the depths of the redwood. Talking with Sarah in bed, I touch her hair. How often do we use the word safe each day? Thanks, a walk sounds nice. Writing this winter, I trace lines of motion. I conclude I've lived. My mentor tells me I am more than a series of inclinations. Twilight knotted with dislikes. A line of gold light above the water just before night. Persimmons dimming like embers in the still air. Three branches of two trees interweave to frame. Someone walking, wine, dawn, coffee, other things, nothing lasting, night descending like a forest with crushing elegance. Leaves and petals float on a dark puddle. The heart is dense and soft as earth. And suddenly rain appears in the air. Falling from just above my head. Wetting the little dime of scalp where the soul escapes. All night I sit in my chair revising what could be my life. In a poetry of nouns, you are a cold wind. A comma. Years pass like bands of rain in the woods where I grew up. Dark green moss grows. The word fate appears in drafts and is plowed back under. I'm a grad student. I live in California. A long blue cloud. A wind chime. But I could live anywhere like several of these bones. This next poem, you may hear you and I switching back and forth. And I think one thing writing does well is to find and then to work to heal the to work to heal the little the little rifts and fishers that develop in us as we move through time. Yeah, I think poems are good at kind of gathering the past, who you are in the past into who you think you are in the present and asking you questions about that talk, which reveals God help you the late 2000s, a seaside restaurant channeling the eighties and Longworth. The wrong season looms outside the huge windows, ropes of snow coil on the sand as you wait for wine, trying to figure out if you're being stood up. What did I say? If you can have the thought it's too late. Of late, my heart feels burnt and heavy, like an ox heart blackened in the coals. I run until a pebble of bone in my foot cracks, then necrosis. Youth isn't over, I whisper, just changed into a mood. I sometimes recover that bears sometimes no resemblance to youth. Coincidentally, I'm returning to my earliest themes. Winter. Sex like vivisection. Beauty like beauty. Walking through gold air with a pyre behind each eye as loneliness tightens its long roots around your lungs. Three days of rain, a respite from clarity. You should hide. I smile at the earth in the depths of the sink. I cannot speak for anger. I wrote before I could think clearly. Writing powder falls heavily through the branches. Writing my body grows tired. I lean against it. Writing as the party ebbs, he's left with the mountains of flowers. Writing a small bell peels. The forest is cased in ice. And I think I will read just one more. This is the last poem. Thank you. The poem is called Noah. I see a picture of my face. It was taken by one of my past lovers. The mountains are very green. It's spring there. Streams run swiftly and along their scoured banks. Blue snow lingers. It absorbed the winter sky. Now it pays it out slowly in the shadows. The lovers have their entire lives. I return to four or five cities. About that many mountain parks. I observe. I write statements that trouble me. Like questions of theology. I often feel bitter after thinking for a while. I feel like I'm lost. I'm lost. Knowledge of something terrible. Something that happened a long time ago. Is in my heart like snow. In the cities that is full. Everyone is memorizing poems. As they walk at dusk beneath the trees. Their lips are fluttering a little. Like leaves. They shake their heads Riley. When they miss a line. Thank you. Thank you. Thank you for those patterns against terror. Of line and sentence. And for catalyzing our series year in poetry. We really hope to see you back for the remainder of this year's events. Starting next month and the poems. The poets come on the first Thursday of each month. Philip B. Williams will be next reading from his new book, Mutiny. Hope to see you there. Thank you for running the event so smoothly. Be well and safe. Bye.