Linda Gregerson, David Thorburn. Hello. Are these working now? OK. I'm David Thorburn. I'm the director of the communications forum. I'd like to take one quick moment to mention that this is the first of three forums we're sponsoring this semester. The other two are coming in fairly quick succession, and there is information at the back of the room concerning them, and I won't waste time talking about them here. When I spoke to, Linda is an old friend of MIT, and many of you here have known Linda from years ago when her husband taught here, and Linda was a somewhat unhappy and ambitious faculty wife. I think it was one of those. Blissfully happy. I don't mean she was unhappy with her marriage. She was unhappy at all. But I got to know her then, and from the very first time I read any of her poetry, I knew that I was in the presence of a distinctive voice. When we talked about what we would do today, it struck me, and Linda was kind enough to agree, that I had issues with traditional poetry readings. And one of the reasons is I think there's something distinctive about Linda's poetry that makes it uniquely problematic simply to hear. So one of the things we, and there will be a good deal of reading. This is sort of a reading with commentary, and I'm going to ask Linda to engage in a quick conversation with Linda that will lead into the reading of some poems. And then when we complete the conversation, we'll open the floor to discussion or questions or comments from you, and maybe Linda will read other poetry. When we complete this, what I hope will be a very memorable event, we will have a reception in this room for all of you who are here, and I hope you'll linger for that as well. So let's be, so Linda and I have talked about the kinds of things we would discuss. And I'm going to be, for some of you who are strong and wonderful poets in the audience, I know there are certainly many people here who would be more qualified than I to ask these kinds of questions. But I'm going to try to play a really sort of direct and honest, I'm going to ask naive questions, or at least questions that I think would puzzle not professional poets, but serious, but ordinary readers. And try to get Linda to talk about what I feel, at least, are at least some of the most distinctive features of her remarkable poetry. So the first topic that, if I can find my notes, the first topic I thought we would take up is something that is not often systematically talked about, especially at poetry readings. And it's a technical question. In her early books, and especially in The Woman Who Died in Her Sleep and Waterborne, Linda used a very distinctive three line stanza, which I have come to think of as the Gregerson Tercet. And my reason for thinking that, and this is also one of the reasons why in the back, if you don't have these little readers, please pick them up in the back of the room, because we want to test one of my theories, which is that listening to a poem by Linda, no matter how brilliantly she reads it, it can't be the same as actually seeing the words on the page. And it may well be that hearing her read and seeing the words on the page is the best of all possible worlds. But we're going to try to test this, because at some point I'm going to ask Linda to read a poem that you can't follow. And we'll see if there's a difference. So I thought we would begin then by talking about what I suggested is the Gregerson Tercet. And Linda, let's begin by, why don't you read the first poem. It's poem number one on your sheet, The Resurrection of the Body. And we'll talk a little bit, try to imagine, as she's reading, what it would be like not to be able to see the way the words are disported on the page. I remember once having a conversation with Linda in which she said, oh, I really like this poem because his poems breathe on the page. And at the time, I didn't fully understand her. But then as I paid more attention to these poems, I realized what she said. You can see how the words have, these are exact replicas of what the pages in her book look like. And you can see how the lines colonize the page in certain complicated ways and need the space on the page. Linda. OK. This poem is called The Resurrection of the Body. She must have been 13 or so. Her nascent breasts, just showing above the velcro strap that held her in her chair, her face translucent, beautiful, as if a cheekbone might directly render a tranquil heart. And yet the eyes were all disquietude. The mother with her miraculous smile, frequent, durable, lifted the handkerchief. You know the way a woman will. Her index finger guiding a corner, the body of it gathered in her dexterous palm. And with such tenderness, wiped the spittle, pooling at her daughter's mouth, the faint warm smell of lipstick. Remember, freighted with love.  And down the hall in orthotics, I couldn't for the longest time understand why the boy required a helmet so complexly fitted and strong. His legs were unused. His arms so thin. Treadmill, I thought, or a bicycle, may be some bold new stage of therapy. Anyway, sometimes he falls, and safe in his helmet can bravely set to work again. It wasn't for nothing that I was so slow. Who cannot read these waiting rooms has so far, exactly so far, been spared. It was only while I was driving home a daughter in her car seat with her brand new brace that I thought of the boy's rhythmic rocking and new.  How could I miss it? And what does God in his heaven do then? The boy's poor head in its bright red helmet, knocking, listen to be let in. I may have slightly undermined the astonishing power of this poem by having her read it second instead of first. I forgot my order. But let's talk. I mean, I think the subject matter of the poem is so overwhelming that it may seem impertinent to talk about the technical features of the poem. But I'd like to ask you, Linda, about the way you distort these tercets on the page and what kind of energy it gives you, how it helps you get to your subject. Well, I did have a book I wrote before that was not written in this stanza form. And they were sort of varied stanzas, but they were basically they were all flush left. And the lines were roughly the same length. So they were kind of rectangles of one sort or another. And I had this terrible experience. There was an anthology. This is ages ago. Dan Halpern did a sort of all poetry edition of Anteus. And it was sort of everybody was in it. And it was wonderful to be in it. And I was very pleased and honored. And we were all in it alphabetically. And I was sort of reading through from start to finish to come upon my own poems. And when I sort of turned the page and came upon my poems, I was actually appalled because I realized that the stanza form I was working in was actually deeply misleading about the pacing of the poems. And it was that opposite of breathing on the page. They seemed really, really airless. And that there was no time between anything. And partly, it felt like it was a betrayal of the I think a lot about syntax. I mean, I think if there's one formal proposition that's common to all of us, now that many of us don't work in received forms like meter and rhyme, the syntax is it. And it's very important to me. And I felt like there was no, I made a wretched botch of it by doing the stanzas that way. Because it was misleading about how to hear the syntax, which I think of as a, which I had imagined I'd very carefully disposed so as to have a lot of speedings up and slowings down and sort of pivots. And so I, in despair, thought of throwing myself into the river. And then I thought, well, maybe I could mess with the stanza. And so I just, I messed around a lot. I tried a lot of things. I didn't do what might have been more intelligent, which is actually go look at other poets and see what they'd been doing. I just kind of disposed things on the page. And I finally, this one really helped me because of its asymmetries. It's three. It's also indented. They're not the same length. There's a kind of what I think of as a pivot line in the middle. And it gave me a sort of resistance grid through which the syntax could move. And so I write, I mean, I really write into this. I wrote two books into this stanza form. And for me it was absolutely essential to sort of, where do I go from here? I was being told where to go from here by the stanza. So when you begin to use the stanza form, it's as if you're sort of embarked on a journey. You don't know its outcome when you start. Yeah. Yeah. And that was the very reason that after two books I had to leave it because I started knowing the outcome too well. I mean, not in terms of subject for any given poem, but in terms of what it was going to sound like, what the cadences would be, what it kind of, where it would culminate, where it would. And so I had to sever myself from what had become a kind of life support. One of the things that this style depends upon, even more systematically than conventionally left justified poetry, is the grammar.  Depend on grammar even when you elide or eliminate certain verbal elements, certain grammatical elements in the sentence, you're still aware of what's missing. If you never write ungrammatically, I remember consciously ungrammatically, unless there's a dialogue element or something like that. And that strikes me as interesting too. And I wonder if you were aware of the fact of the sort of the rigor of your grammar and of the extent to which some of the poems profoundly depend.  And it's only because of the grammatical structure that it's held in place. Well, I love grammar. It's my, I diagram sentences, you know. I mean, I would make everybody do it at dinner parties if I had my way. And I, again, I think it's, I love the architecture of English syntax. And I think of it as a sort of social contract. It's a contract of expectation. It's a promise. If I say I'm, if I say I'm, you expect something to come after that. And I may transgress that contract. But the power of transgression that is being ungrammed, you know, sort of pulling the rug out or subverting, it only has its own sort of torque if it's, if one has in mind the traditional sort of forward momentum of syntax and the sort of, the expectation that has to do with, say, a delayed verb and, you know, internally- So at one point, the fact that there's a momentum embedded in the grammar enables variation because the grammar's momentum allows it. Absolutely. I mean, I keep trying, I talk to my students a lot. Syntax has gone missing in a certain amount of contemporary American poetry. And I'm happy to say not, not as badly as was the case maybe a few years ago. But I teach young writers a lot. And I, there's sort of the vague swimming in nominatives or, you know, which is a very tempting thing to do as a poet because you kind of, there feels like immediacy and you're not being so stiff and straight jacketed as to assert stuff which sentences make you feel as though you're doing, right?  So most of these young writers are far too clever to make it that. But there is a lot of floating on nominatives and extended nominatives. And there can be passages of that that are actually really wonderful. But it needs to be over against something. They need to be able to, they need to have other things in their toolkit, frankly. And for me, a lot of formal variation, apart from what I've called momentum and this sort of disposition on the page and the disposition on the voice, there's also the question of just varying length. I have a wonderful colleague of mine, not an immediate colleague, but a friend and colleague who teaches at Minnesota, the wonderful prose writer Patricia Hamilton, Patricia Hample, when she is teaching workshop, she says, I often take a, if I'm doing, she does creative nonfiction.  And they just, with the tracing paper, I just have them take a pencil and mark or a pen where all the end stops are, where the periods are. And then they take their prose away and they look at the page. And if they're about equal distance all the time, there's a problem. And it's a very, it's a really nice exercise. And I, so, I mean, I'm just always aware of the sentence. I love the sentence. I think the sentence is my friend. And it does, you know, there are times when one of the propositions I'll launch and it'll be emotional as much as anything else is, I'm gonna go, I mean, I'll make this one last as long as I can.  There can be, sometimes it can be desperation, sometimes it can be playfulness and overconfidence, but and in a way it is a vehicle for whatever emotional freight the subject of the poem may prompt. I see, well, we probably should let the tercets live in their glory without further comment, but I can't resist at least one more question about it because I find that the experience of reading these poems organized in this way, that the two things happen while I'm doing that. One is that the strange or unexpected spacing creates moments of pause where you wouldn't expect them and that's then often reinforced by the fact that when you come to the end of the line, you're not always sure what grammatical formal follows so that there's a kind of mystery or uncertainty is introduced almost as if you can sometimes imagine alternative choices that you might have made and I take it that that's part of your attention. Yes, absolutely. And I also assume that part of what you're doing is trying to make the reader slow down. Yeah, absolutely. So that one of the experiences I've had in some of Linda's most powerful poems, like the one she just read, but many others as well, is the sense I have, I wonder if you intend this, Linda, that I'm actually following a mind as it's thinking, as it, in other words, as if what's being dramatized in some sense is the process of thought and association that's going on, which a more simply lineated poem would not reproduce. Am I, is that right? I'm thrilled to hear you say that. I mean, I hope that that's very much my hope. It is authentically the experience as well. I mean, I think that's what form of any sort does. I mean, there are people who would probably be appalled and disapproving to hear me even talk about this as form. It's not traditional form, but it is, it is a set of propositions that repeat with some rough parameters. And I think for me, I should have said that in the first place. The most important thing about it is that it actually does make the unfolding of the poem a discovery process for me. There is this sort of turning a corner and not knowing exactly what will be there. That also replicates in an even deeper way an aspect I think of the experience of reading you, Linda, which is that one of your habits, I'm sure that this irritates naive readers or impatient readers is that there's a kind of obliqueness or cunning in some of your poems. Maybe cunning's not the best word for what I mean, in which certain information is delayed. It's hinted at and then it's delayed and you don't get the answer until later in the poem. And I was wondering if you could say a couple of words about that and then maybe we could look at a poem a poem or two that actually enacts that process of delayed disclosure. I don't know of a better way to describe what I mean where you have the reader has some partial information but there's some mystery that isn't fully answered until we get deeper into the poem. And that seems like what you were saying before about the reader sort of replicating in some sense the experience the poet had in making her discoveries. Well, I think there are some, I mean I could read an example of one that's probably most explicit that way or and another where I, the poem led me into territory, I really didn't think I was going into, but that was where I had to. These are not ones that we have on the, good. So read one of these and do my tests, see if it's harder to understand without being able to see it on the page. Okay, I'll do the one where there's delayed disclosure. And this was really, it's multi-sectioned. This was one, it's actually part of my effort to be as direct as possible. That is, I'm really not being coy. I actually hate coyness. Well, obliquity is not coyness. Okay, but it's also, I think sometimes the most immediate thing in poetry is not necessary. I believe that narrative or story or implied narrative is an enormous part of lyric poetry as well. It's almost always narrative that's kept off the page. So there'll just be a touch that will, so it'll be suggested as existing in the white space in the surround or prior to the poem. But I actually think the thrust of implied narrative is a huge part of lyric that we often forget to acknowledge. But storytelling in poems is very rarely a matter of this happened and that happened and that happened. There's this sort of what's most urgent and then in what sequence do you unpack it to make sense of it? And that can be both an emotional trajectory. I think ideally it's both emotional and a kind of cognitive or analytic even that it's the two happening together. Okay, so this poem is called Safe and... And it's written in the tercets. And it's written in the tercets. It may have been the first one I actually wrote in this form and it's in four sections. One. You should give the title. Safe. One. The tendons sewn together and the small bones healed. That your hand might close on a pencil again or hold a cup. The delicate muscles made whole again to lift your eyelid and govern your smile and the nerves new laid in their tracks. The broken point of the kitchen knife and here let the surgeon be gentle removed and the skull knit closed and the blood lifted out of the carpet and washed from the stairs. And the 19 year old burglar returned to the cradle or his mother's arms. He must have been harmless once. Even he who is not sorry had nothing to lose and will never be harmless again. Two. Emma is learning to wield her own spoon. Silver for abundance. Though it seldom finds her mouth as yet.  Silver for pride then. Or luck of the sorts some children are born with omitting the manifold slippage that separates privilege and wheel. Luck in his popular figure is three parts silver anyway that the child not succumbed to crack in the schoolyard, rats in the hall, the clever fence with a shopping list, bad plumbing, bad food and hatred on a staircase with a knife in hand and dim designs on jewelry or a VCR. The spoon was superfluity. The best parts of your paycheck for a child you haven't lived to see. Friend, her cheek is fresh as hope of paradise. And every passing minute in the hours of light and the hours of darkness, in the fever of pneumonia or the ignorant sweet wash of health, the miraculous breath moves into her lungs and stitch by mortal stitch moves out. Three, when the paramedics came at last, my friend apologized. She must have hit her head, she thought. She'd just take a minute to mop up the mess by the phone. Her broken hands for which the flaw in memory had provided no such alibi. Her broken hands had kept him two or three times from her face. And later, when the anesthesiologist had launched her on his good green gas and launched her as they do sometimes, a shade too fast, she slipped the bonds of recall altogether. Safe as houses.  Down payment on the nursing home. Our four square pledge to be debtors of conscience if debtors in conscience may not look too closely where credits refused. Our piece of the here for hereafter which shows us diminished regard and just such a face as fear has made. One night, a woman came home to her house and locked its useless locks and buttoned her nightdress and read for a while and slept till she was awakened. So that is the story of, it's an elegy for a friend of mine who was killed by an intruder. And I even lied a little bit in it. I made him a burglar. He wasn't, he'd actually stalked her and just come in to murder her. I also suppressed the fact that he was a young man of color because I needed to keep a different openness in the poem, I thought. I, it felt very, it felt like very difficult terrain to begin with. And I had no business claiming certain kinds of suffering myself or making judgments. I certainly didn't wanna mouth pieties about race in America or relative economic deprivation and hardship but I had to make, I guess I had to guard against the wrong kinds of pity and the wrong kinds of complaint. And I also had a story I wanted to tell and I think I needed to begin with what was most salient was the near miss of my friend almost being safe, almost being alive but not having been lost as so many are kind of inadvertently on an operating table afterwards. I also had a very young, my first young child at the time and the link was a gift that this friend had sent when my daughter was born. And also the kind of struggle that all of us were going through in trying to manage first homes and early jobs and paying mortgages and early stability. Something that you said about, I mean, most of your poems take on what turned out to be immensely difficult and often painful subjects in something of the same sort of tone of respect, unsentimental respect that it's one of the aspects of your poems that I most admire. One of the things you said I thought was especially interesting Linda and it was that you changed the facts here and because so many of your poems seem grounded in autobiographical truth, I mean, and we'll read some of those poems that talk about your ancestors and so in a bit. One of the things I'm wondering is did you change those facts? Was the things you told us about grandpa only, were they lies? I mean, that would be very disappointing to me. No, and all I did was insert the line about dim designs on jewelry and a VCR and I made them dim and I also made it part of a metaphorical vehicle as it were. I didn't say that I was describing exactly that boy so this is very reassuring. That's the broadest liberty I took. That's the broadest liberty I took. You see, one reason that I, those of you who know Linda's poems I think will understand why this makes me uneasy because one of the, as you'll see from poems that you'll be reading shortly, one of the most powerful claims you make or one of the aspect of the poems that especially the ones that contain sort of stories of your father or your grandfather or your no region ancestry in the upper Midwest. One of the things that makes them so powerful is that they seem to come out of a kind of personal witness and it seems to me that the reader hears in those poems a claim of truthfulness and that you would, that it's an example in a certain sense of what one might mean when one's, what it means to use the first person or to write out of personal experience and it would seem to me that you'd be violating some contract if you were inventing these old gestures. I agree. I think, I think the poems invite the reader to believe that they're truth-based. Poems like these certainly do. When I might be writing, you know, Dido poems that might be a little different, very different but that there are specific gestures to indicate not only somehow this really happened reader but this, I have, this mattered to me for some reason that there's some proximity. So in the resurrection of the body, I didn't just invent scenes in pediatric neurology clinics. That business about my daughter with a brand new brace in her car seat was meant to be the, how did I find myself there and why in a way am I so heart-sickened and why am I confessing my relative immense good luck?  That's not, that's not a universal understanding of lyric speakers. Maybe I could ask you, Linda, to read, actually this was the poem I wanted to begin with but it works in here too. Another poem that's very similar in some ways to what you've seen it, but it shows how when, I mean, this is a mode, I think, in which Linda works especially powerfully. I mean, her poems are, those of you who've read or know this are full of element for the frailty of the body, for the accident of, bad biological luck and many of her poems are astonishing sort of lyric laments over this. Well, here's a poem also written in the Treset style, it's number four on your sheet and it also will allow us to say a little bit more about grammar. And my favorite grammatical mood, which is the subjunctive, one of the great revelations I had about, and this is tribute to a local, a Cambridge local, to what it is that practical criticism could do for the world, was when I read the preface to Helen Vendler's beautiful first book on Wallace Stevens and where she explains what he does with the subjunctive, how he makes a world, how he builds castles in the air, how he'll start his propositions he'll start poems in the subjunctive mood and simply modulate without our quite, you know, knowing where into the indicative because that which he has proposed as if has assumed that much critical mass inside the poem. Anyway, I was not by any means trying to be either Helen Vendler or Wallace Stevens here, but I do love this subjunctive and I think it's a, you know, it's a place that as if or contrary to fact or hypothetical that is really important to human imagination generally and certainly to poets. And this should be a good test because there are profound similarities between the poem Linda just read, which was the one that was not on our sheets and this one. The implicit belief is that magnificently as she reads, I'd have only heard her read once before and I'm again, her reading is wonderful. Nonetheless, if I can't see Gregerson on the page, I don't feel I'm getting her. See if you agree with me. Um, grammatical mood. One, there is to her mind only one or only one that's built to scale had they known sooner, had the only man to whom the CAT scan yielded so much detailed information not been out of town that week, had those few sticky platelets moved with just a shade more expedition through the infant artery. The parallel life will not relent but look, we may say to her, look at them tied to their breathing machines. They do not cry because of the tubes you'll say you're right. To you, the silence is dreadful. To you, the vicious calculus abides no counter argument. The oxygen that supplements their unripe lungs destroys the retina, leaving the twice struck child in darkness. What must they think of us bringing them into a world like this? Two, for want of an ion, the synapse was lost. For want of a synapse, the circuit was lost. For want of a circuit, the kingdom, the child, the social smile. And this is just one of the infinite means by which the world may turn aside. When my young daughter, whose right hand and foot do not obey her, made us take off the training wheels and rode and fell and peddled and fell through a week and a half of summer twilight and finally on her own traversed the block of breathing maples and the shadowed street. I knew what it was like to fly. Sentiment softens the bone in its socket. Half the gorgeous light show we attribute to the setting sun is atmospheric trash. Joy is something else again. Ask Macon on her two bright wheels. Three, to live in the body as if there were another place. To graze among the azaleas which are poisoned to humans, beloved by dear. Not everything the eye enjoys will sit benignly on the tongue. It must have been a headshot left her ear at that frightening angle and the jaw all wrong. So swollen it's a wonder she can chew. Is that where they aim the good ones when they're sober? At the head. At a doe. The DNR biologist is saintly on the phone. Though God knows he's not chiefly paid to sav the conscience I have bad dreams of a gardening species stricken by its own encroachment. For Cundity starved the deer in the forest. It fouls the earth it feeds upon. For Cundity plants the suburban azalea which dies to keep the damaged deer in pain. I mean alive. For want of rain the corn was lost. For want of a bank loan cloud up the windbreak and burnt it. You must learn to think on a different scale they told us that. For want of a windbreak and rainfall and corn the topsoil rose on the wind and left. God's own strict grammar imperative mood. I meant to return to joy again. Just give me a minute. Just look at the sky. I think that would make a great title for a book of criticism of readings of Linda's work. Just give me a minute. Just look at the sky. There's a kind of plangency in it that I especially because of her earlier description of the fact that most of what we see in the sky is junk and ugly. It seems to me a line of genius. A couple of things about this poem Linda that I'd like to ask you about. One of them is the way in which you disrupt the somewhat regular expectations you have from your own tercets. Why do you do that? In the words for example, in section four begins with the final line of a tercet. Right. And this is something that of course that you do elsewhere. I mean, why do you do that? Why is it important to do that? I guess it doesn't get too boring. Partly of course, it's a kind of sheeting. I mean, I did that. Each of these sections breaks in the midst of a tercet rather than at the end of one. And I guess it's a way of resisting too much tidiness. I suppose the negative way of looking at it it's like doing an off rhyme when you haven't been able to find it. I mean, I didn't want to milk a stanza for the sake of making a section and with a full tercet. That seemed to me wrong. Even though the sections are in some sense logically distinct from each other in some ways. Yeah. Well, I think it was faceted. It's also a transition device, isn't it? It is. It's meant to be a meditation on a single subject, actually, but from different angles. Right. Yeah. Yeah. By the way, when Win and I were living in Palo Alto there would be kids. Do you remember dogs and kids would periodically get poisoned eating the azaleas and the rhododendron? They'd be taken off to Stanford Hospital and we'd hear about them. But the deer love my azaleas. It's all quite sad. Embedded in our conversation so far or embedded in the poems that we've read are certain themes that it's obvious are even from the small sampling you've seen recur in Linda's poetry regularly but one place in which they recur I'm thinking now about the sort of what could we call it the sort of the lament about the physiological lament the lament about the realities of our physical life and the accidents we suffer shows up in so many different contexts in her work but one of the most powerful ways in which they show up as a scene in this poem in the reference to your own daughter is the way in which this concern about the body's frailty converges with what I'll call the biographical or the autobiographical and I think we haven't yet sort of looked at a poem in which what I call your ancestral saga appears and I thought we might do one of those. How about constitutional which has another virtue for us something that we haven't done this is a very partial view of the range of Linda's poetry and I apologize for that but I have my own limitations and there are certain aspects of her work that have addressed me so deeply that I have focused on them and what happened a constitutional will seem familiar even if you've never only seen the poems that we've just looked at today but you'll also think I think seeing an enlargement in two directions one is what I've called the Gregerson ancestral saga and there are a number of poems that do this at constitutional with particular energy and disturbing force but what we also see happening here is a turn toward what I'm the more overtly political and some of Linda's poems are very directly political poems and I think you can see in this poem something of the way those two come together and I was hoping after you read that you might talk a bit about that. I should say first that I feel very queasy about doing this sort of family poem. I'll just say that. The kind of ethnic recidivist sort of like I'm so moved by the spectacle of my own roots I mean I feel very anxious and wary about it. I try not to do it too much. That's so celebratory, Linda. The portrait of your father that emerges in the books is hard. No, no, no, I don't, no. Okay, fine. You're pretty tough on these people. It's not, it's not as... I love them. It's not saccharine praise. It's pretty tough-minded. This is called constitutional and I should say it wasn't quite written on assignment but David Barbers said, you know, we're trying to put together some poems for whatever the summer issue of the Atlantic was at one point. He said it's with like America as their theme. He said, do you have anything? I said, why? I don't know what was this thing. I was thinking about writing. So anyway, constitutional. Constitutional. And it's an elegy. It's a wonder. They didn't all of them die of the sun those days. Remember Ali's forehead in the backs of his hands. The fair haired sons of Norway in their bright Wisconsin fields. The map of blessed second chances writ in tasseled corn. The damage writ in melanin. I never could stand it, my father would say, by which he meant the morning constitutional. The dose of electric fencing all he found was just the cure for frozen joints. But joints be damned. The rest of it my father loved. He'd cast about for a portion I could manage. Maybe Linda could fetch the cows. Poor man. Little thought how quickly the race declines. Our selves and our posterity. It all alarmed me. Dung slicks, culvert, swollen teat. The single narrow wire above the barbed ones, commotion of flies on the rim of the pale. We're better at living on paper, some of us. Better at blessings already secured. The fence. It was for animals. And insulated quaintly with the species of porcelain knob. That part, at least, I had the wit to find benign like the basket of straw-flaked eggs. A touch of homely caution in the liable deterneness world. Ordain and establish. And breakable too. An old man at his battery-charged devotions double-fisted on the six-volt fence in order to form. A measure of guesswork. A measure of faithful refraining from harm. Let us honour the virtues of form. And all the dead in company, if only not to shame them. This was in the earlier phase of our extraordinary renditions and other bad behaviour on a global scale. And so it seemed like something that actually is meant to be a kind of homage. One thing I wanted to ask... It also had to include that. This is one of my favourite poems of Linda's for many reasons. Like other poems of yours that I very much admire, the sense of a conversation going on between you and the reader is particularly powerful. And there's a moment in the poem where you're making your confessions about what a bad farmer you are. The dung slicks and the culvert and so forth. And then when you finish that little discourse and you say we're better at living on paper, some of us better at blessings already secured, then you say the fence question mark. And clearly you're talking to the reader there.  Now this happens in other of your poems. The kind of connection that's implied or required of the reader in order to participate in the poem seems to me a peculiarly intimate one. I'm wondering if this is something that's in your mind when you start to write the poem, or do you begin to feel that you're in... in some of the poems that you're in a much closer dialogue with your auditor than in others? Well, honestly, David, I think some of it has to do with wanting to make sure the poem doesn't rattle on a single pitch of diction or a single kind of, in a single rhetorical posture the whole time that it does that, that it moves. I mean, it's a wonder they didn't know. It's meant to be deeply informal the way it starts, but also to somehow accommodate that and it's got the joints be damned, but it's got sort of higher... he little thought how quickly the... it's got other pitches of diction and those bits from the preamble to the constitution. And so I think that the conversational and the just being able to have a little two-word phrase that's a question... I think it's about breaking momentum rhetorically. It really is. So it's moving in and out of the acknowledged intimacy. It's interesting. It feels really important to me. You know, this is connected to... Rather than just presuming on it all the time. Right. I hadn't realized how... this is connected to what you said before about how you became bored with left-justified poetry as if there was something simply too... you're in a very good building. We were walking through a very good building for this. We took a tour of Stata. Linda had never seen the Gary building before, so we took a tour of it. And in some ways it seems to me there was a connection. Your poems are much more beautiful and elegant than that ugly thing, but... I get paid much better as well. But I guess what I have in mind is just this... I hadn't realized how important it was to you to keep people on edge, in a sense. Or at least to change registers repeatedly enough so that you don't fall into any pattern. Well, I don't want them... For example, I'm desperately afraid of the Hortatory. But I also think it's kind of... I do think it's possible to get, you know, for intimacy to be too... to be presumed upon. I think having touchstone moments where the registers of the conversation... where the gestures of the conversational enter the poem, that feels really important to me. I guess it is a kind of mobility. I don't mean it... It's not meant to be like ambushes, but rather a sort of mobility. Changes of tonal variation. There's some astonishing moments in some of Linda's poems where she will suddenly address... You'll say, reader? Not I married him, but almost as good as that line. Where that same kind of intimacy comes in. I always experience it as a... both as a surprise, but also as something that draws me to the poem in a way that is very unusual. Not because it never happens in other poetry, but it seems to me to rarely happen in the middle of poems. It really happens that you're surprised by it in the way that we sometimes are in your poetry, as if we know we're in a kind of intimate connection to you because you're sharing complex and disturbing and private and intimate thoughts, and we can even feel the process of your thinking as we follow along. And yet there also still are these surprising moments in which you seem to pull back and either include us in a way that actually says, reader, pay attention, reader, I'm addressing you, as you were implicitly doing with the fence, and then others where you back off that. And I hadn't realized as clearly before what you're partly after are these tonal variations. And part of it's a sort of punctuation as well. I mean, I also... you don't have to know this, but another thing I do sometimes, much to the... Well, what?  And I know I'm really representing what he really thinks, like a great deal of impatience with Nordic gloom. But I do make it a little more slapstick than he would necessarily be in public. But that's also to sort of... And it's partly wanting... it's partly a form of inoculation, right? I don't want to... I want to... lest I seem to be taking certain stances too seriously. I mean, I understand what you're saying, and I'm sure that... Of course this is true, but I think that you're undervaluing those moments where Stephen or other moments like that interrupt the flow. Maybe we could give them an example. How about the title of the new book? We actually have it here, so you can actually follow it along. I think you can hear this one. I really do. I think you can hear this one. But if you want to look at it, you can. But the point is that this poem contains one of those moments where Stephen interrupts her. It says, come on. It's basically about my driving, but it's all a family joke. But it does something else. As you listen to it, I think you'll find this interesting, because it does something else. I mean, it grounds the poem in the moment of its composition. It makes you aware of the circumstances of the writing in a way that creates a new form of self-reflexiveness in the text that I think is even more important in a way than the things you've been saying about it. But it's a very resonant strategy that, like all of her things, uses sparingly because, obviously, not something to overuse, but it always seems to me to happen with great effect. So here's an instance of that. This is actually a titled poem in my new book. And as you'll hear immediately, it was written in the wake of the last presidential election. And you can see the political coming in, too. And for those of you who are not seamstresses, selvedge refers to that. When you buy fabric by the bolt, it refers to that part of the weaving that alters on the edge to keep this fabric from unraveling. That's what selvedge is, one. So door-to-door, among the shotgun shacks in Cullowy and Waynesville in our cleanest shirts, and ma'am, and excuse me, we're all but second nature now. And as one woman comes to the door, she must have weighed 300 pounds. Would you be willing to tell us who you plan to vote for, we say? And she turns around with Everett, who are we voting for? The black guy says Everett. The black guy, she says, except that wasn't the language they used. They used the word. We've all agreed to banish from even our innermost thoughts, which is when I knew he was going to win. Two. At which point, the speaker discovers as if the lesson were new, she has told the story at her own expense. Amazing, said my sister's chairman's second wife, to think what you've amounted to considering where you're from, which she imagined was a compliment. One country, friends, where when we have to go there, as depend upon it, fat or thin, regenerate or blinker to the end, we shall, they have to take us in. I saw three, a river full of geese as I drove home across our one-lane bridge. Four hundred of them easily, close massed against the current and the bitter wind, some settled on the ice, and just the few at a time who'd loose and rank to gather again downstream, as if to paraphrase the fabric every minute bound by just that pulling out that holds the ravelling together. You were driving all this time, said Stephen, counting geese, the snow falling into the river. No. The river about to give itself over to ice, I'd stopped. Their wingspans, had they not been taking shelter here as wide as we are tall? Well, I think I should stop asking questions and let either members of the audience ask questions and also get Linda to read a few more poems. We'll continue until 6.30 either with questions or reading. Any comments, questions? Should we get things going by asking Linda to read a few more? Why don't you give us some... You want me to choose or you choose? You choose one, and I'll choose one. Okay. Why don't we choose one that's still on our list so people can also follow if they like? How about the woman who died in her sleep? Okay. This is the... Yes. This is number two. Well, more medical dramas again.  Okay. And it begins as an ecstastic poem. There's a fabulous photographer whose name is Jeffrey Silverthorn, who did a sequence he called morgue work. And he did, at the time anyway, live in Indiana. I don't know if he's still there. He's a Midwestern photographer. And they were extraordinary photographs of post-autopsy bodies in the county morgue. The woman who died in her sleep, which is the title of one of his photographs, one not whip stitch, nor blind stitch, nor any sort of basting stitch I recognize, black cordage, really, piercing its way from pubis to breastbone. Why not? Up to shoulder. The coroner's question flatly left to the body's implacable gray. The part in her hair is jagged, too. Amazing what the flesh can make of all this interruption. You've gathered that she's beautiful. Two. When Megan chose the 15th century sculpture rooms, I realized with some chagrin she hadn't any notion who these people were. The one in blue, I said, is Mary, and the one she's holding in her lap till Megan got the gist of it. And here, I said, is how you'll know him when they take him down, five wounds. But my five-year-old daughter saw six. Have I told you? Do you know for yourself how the sweetness of creation may be summed up in a lightfall on a young girl's cheek? The wound she hadn't yet learned to ignore, the mortal one, was where the child had once been joined to something else. Three. She'd had worse news, the pale one. She'd felt terror sink its claw and hold, and never had she lapsed into so lumpish a cliché. The bright young surgeon showed her how to read this dark transparency, the tell-tale script of cells gone wrong.  I'm not like this, I can hear. The punishment for self-absorbed, she thought, is self-absorbed. And all this black periphery is chiefly lack of blood flow to the brain, poor brain, its body too. Is this, this old embarrassment the way I'll know? Four. The woman in the photograph on a pallet made of wood. And though her abdomen appears to have been packed again in haste, and though the breast is badly sewn, her hips are smooth parentheses, her cheekbones high, her lovely arms disposed as though in langer a luxurious thought. They took my mother's teeth away. They had to, I can understand. The morphine, I'd bullied them into providing, was meager and frequently late. And so my mother's face was not the face I knew. But reader, her fine forehead was a blessing on the place. The lesson, though I'm clumsy here, has something to do with beauty and use.  In all the urgent calculus that death can found and dissolution expedite was lavished in that era on this one account. What of the fingernails? What of the hair, the menses, the milk, the proud flesh worn for heaven's sake? Who'd want, you see, the body oblivious, body on which the stern salt tied had left no mark? When Megan hadn't yet been born two months to go, my ankles swelled and doubled over every pair of shoes I wore. Unseemliness, you seem to have something in mind. Imagine, said the people once, a world where nothing is thrown away. This is actually the other resurrection of the body poem. It's secretly stashed in there. That's kind of a nice beginning. Why don't you choose one that takes us out of the cancer ward? Out of the cancer ward. Oh, I could do something. Let's see. I'm going to do something here. The one thing you haven't discussed that I mentioned that I would be happy if you sort of addressed this, maybe you could do it in connection to a poem. One poem that would work this way and no moon which is on here, but there may be other. I'm going to do a short poem first, then no lie and no moon. I don't write short poems very often, but I try, and it also has the virtue of being a loved poem to my husband. You have to remember the part about when we were kids and we walked down sidewalks and there was this like, if you step on a crack, you break your mother's back, if you step on a line. It always freaked me out that stuff anyway. This is called slight tremor. The fine fourth finger of his fine right hand, just slightly, when he's tracking our path on his iPhone or repairing the clasp on my watch, I will not think about the myelin sheath. Slight tremor only, transient. So the flaw in the pavement must have been my mother's back. And is no lie and no moon here? Yes, it's in here. Yeah, here we are. Okay. So this begins in the, some of you will have been there in the Jewish Museum in the city of Prague and it's got one of the rooms assembles and displays a series of the children's drawings that were done by the Jewish children who had been rounded up and taken to Terezín or Terezínstadt, the concentration camp outside that city. I was struck in particular by this one because I spent my life, I think at least once a day about the play within a play in Midsummer Night's Dream because I think it is the greatest moment in world literature. So I was very struck. They must have been doing plays in the concentration camp as well because Jung stepped on, Paulic, his drawing was of a scene from that play within a play and this is called No Lie and No Moon. But there she is, Fair Thisby, twice. The once in Döndel and embroidered blouse, then letter by letter, Thisby on the wall above, heart with arrow glossing the name, the heroine's affliction and by consequence her claim on us. Cheap paper, much yellowed these 60 years. The crayon wielded not so much with art as with the art of open-heartedness which makes me think her lover himself so easily undone by words and by an open heart. Unlikely to have scorned the hand that formed the letters misproclaiming Priam just above his head. What's pyramids to you, child? Or you and all Teresian shdard to Thisby? That someone had the wherewithal to find the children crayons at all or guide them through theatricals? That someone, not just someone but the sum of them, the common wheel inside this unfamiliar and malignant place, this camp, could find the heart to care for pictures, plays with inner play and injudicious lovers long before their keepers thought to use such things as camouflage. The Red Cross sent observers once and caring for such things to make of them something like a nursery for the yet to be exterminated soul of Central Europe is a not, not even malice on the grand scale has dissolved. Thisby knows so little of the world as yet. The bit she can see through the chink in the wall has made her heart beat faster in its cage but little as she knows, she knows the one thing. There are forms for this. His eyes will be like lips like she is not required. No more than the guards who have loaded the trains to make the whole thing up from scratch. The transcript and that stubborn other thing that gets transcription slightly wrong if only rarely in our favor young Steppan left the lion out. I can see this is one of those long sentences that's way way strung out. I was thinking of this poem when we talked about your use of grammar, in order to get this poem you have to go back to the, there's that one very long sentence. It's a long sentence. Where does it begin Linda? That someone had the wherewithal. You know, it's also that it's partly, I think I'm stalling on letting those children be killed and partly it's trying to, what is it that someone had the wherewithal I mean there's something that it's a hard moral challenge to know what to say about the face of that courage, that faith in culture in the face. It didn't keep those children alive but kept something alive for a time. So part of it is actually that it's suspended, it's kind of cantilevered that, I think of the, you know when there's this long dependent set and in this instance it's a noun clause it is over an abyss it's about to tip, the sentence is always about to like you know not make it and I guess for me a good faith measure is that it actually also always has to be about something that is the dilemma in thinking through. In here, what is it? So the delays and the retardations are part of the emotional texture. Yeah. And it's what is it to be said about that kind of that going on, that you know leading the children in drawing classes at death's doorstep. It's incredibly moving as a spectacle of what community is for and can do and must do and also profoundly about the limits of what it can do and what it can't prevent. So part of it is trying to you know it was getting more and more in trouble about knowing what to say and yeah. One thing to claim on its behalf. That was magnificent Linda. One of the things that struck me was the way in which Linda's explanation changed the poem. As part of the experience of reading this poem is not knowing about Therese and Stott. Not knowing exactly what she's describing until it discloses itself later in the poem but she gave that away when she explained it because and I think the reason is listening is much harder than looking on the page. You can't go back. But if you imagine reading this poem without Linda's explanation about where, who this child is. I mean there's a hint of course because you see his name and his dates but... He was twelve when he died. But you know it takes a while before that meaning fully unfolds for the reader and I think that is part of the terrible power of this remarkable poem. Give us another one. Okay. You know one thing we've not touched on Linda or what I'll call sort of your professorial poems, your learning poems. Maybe you want to do one of your dido... About book... And you can explain maybe why dido was important. Why dido? Yeah, well why dido? I think because dido has haunted western imagination and for real reason. But the practical reason is that I was kind of commissioned by a composer and dramatic soprano. Wonderful composers, Susan Botti who herself had been commissioned to write a series of songs and we talked and talked about what that might be and where we might go for subject matter and finally selected the story of dido and so I wrote a series of lyrics in her voice but dido is... Dido is empire's guilty conscience. I mean she was a great imperialist herself too after fleeing from tires she's sort of with great resilience and no little amount of cunning built a city in North Africa but then of course was undone by Anias who with whom she fell in love who left her because he had to go on to better things and bigger things and so she represents but she really comes back a lot in our period in the early modern especially but she's a recurrent figure and I think she's the she's the discard and this is what it cost to get where we are I think that's one of the functions she has and one of the reasons she's fascinating so I'm not going to read the whole thing Not the only dido poem you've written either No it's not the only dido poem I've written but maybe two or three of these and then I'll stop and so here's section one the four stays oh it's called dido refuses to speak because it takes its present moment that moment when Anias comes upon her in the underworld and says oh my god so you are dead the rumors I heard were true I'm so sorry I didn't mean to make you despair and dido like who'd been begging him to stay last time he saw her alive turns and doesn't speak so here she's speaking but it's called dido refuses she's not speaking to him one the four stays the stern sheet the benches the yard the wooden pins to which the oars are bound with strips of leather he explained this thul and loom I thought the words were just as lovely as the workings and I thought I knew the principle the moving forward facing where you've been the muscled quarrel with the muscled sea like love that sweet againstness and the linen sail happy the weaver whose work might bedeck the chamber where we lay us down how strange it seems from just a little distance the living tree the axe the chisel cattle whom we kill and skin also that they may live again on water but including us too because she'd never not been there my Anna I can feel her now the back of her hand as I hold it against my eyelid I've always loved to touch with eyes because her voice was all the traction I'd ever required because so long as earth contained precisely that measure of temple to eyebrow eyebrow to lip I knew I had a home it was my sister I made to make the thing ready the firewood in its lofty escarpment the torches, the oil and she of course when she asked what I meant to do to whom I lied I meant my bitter heart to foul the wind that filled his sails I did not ask what if the wind should change direction who would choke and one more once in a narrow garden I encountered a thing I'd known before a scent I had no words for it not citron though it bore that solvent aptitude not anise though it harbored a touch of clay a fragrance I had known as in another life or this life but before the daily watering down which left me half transported on an undistinguished plot of ground so think what it meant when he began to speak the story we'd stowed as ballast on the fleeing ships had painted on our temple walls the very lights and darks we had depended on to make the place less strange and on a stranger's lips to whom the story properly belonged or he to it is there a difference and poor dido mere excurses for them both Thank you, Linda


Hi, and welcome to the session. I am Deepika here. Let's discuss a question. The question says, by using properties of determinants, show that determinant x plus 4, 2x, 2x, 2x, x plus 4, 2x, 2x, 2x, x plus 4 is equal to 5x plus 4 into 4 minus x whole square. Let us start the solution. We have on left hand side as is equal to x plus 4, 2x, 2x, 2x, 2x, x plus 4, 2x, 2x, 2x, 2x, 2x, 2x, 2x, x plus 4. By applying 1 goes to r1 plus r2 plus r3, we get r left hand side is equal to, now, x plus 4 plus 2x plus 2x, this is equal to 5x plus 4. Again, 2x plus x plus 4 plus 2x, this is again equal to 5x plus 4. Again, 2x plus 2x plus x plus 4, which is again equal to 5x plus 4. r2 is same, 2x, x plus 4, 2x, and r3 is also same, 2x, 2x, x plus 4. Now, we see that we can take 5x plus 4 common from row 1. So, by taking factor 5x plus 4 common from r1, we get r left hand side is equal to 5x plus 4 into 1, 1, 1, 2x plus 4. And this is again 2x, 2x, x plus 4. Now, by applying 2 goes to r2 minus r3, we get, our left hand side is equal to 5x plus 4 into 1, 1, 1, r2 goes to r2 minus r3, 2x minus 2x is equal to 0. x plus 4 minus 2x is equal to 4 minus x, 2x minus x minus 4, this is x minus 4, and r3 is same, 2x, 2x, x plus 4. Again, we can see that we can take common factor as 4 minus x from r2. So, by taking factor 4 minus x common from r2, we get r left hand side is equal to 5x plus 4, 4 minus x into 1, 1, 1, 0, 1 minus 1. Again, by applying c2 goes to c2 plus c3, we get, our left hand side is equal to 5x plus 4, 4 minus x. Now, c2 goes to c2 plus c3, that is 1 plus 1, 2, 1 plus minus 1, 0, 2x plus x plus 4, this is equal to 3x plus 4. And c3 is as it is determinant around r2, we get this is equal to 5x plus 4, 4 minus x into 0 minus 0 plus 0 minus of minus 1 into 1, 2, 2x, 3x plus 4. That is this we got by expanding along, this is equal to 5x plus 4, 4 minus x into 3x plus 4 minus 4x, which is again equal to 5x plus 4, 4 minus x into 4 minus x. That is equal to 5x plus 4 into 4 minus x square, this is equal to r right hand side, hence r left hand side is equal to right hand side, we have proved, I hope the question is clear to you, buy and have a nice day.


Alright guys, before we get started with the vlog, I wanna give a shout out to my friends at Xenogen Hair Product. This product helps grow your hair 40% faster. It also helps stop shedding, prepare damage, it does a ton of great things for your hair and all you have to do is shampoo your hair with it 3 to 4 times a week. It's a great routine to get into. If you guys would like to enter for a chance to win this product then go find Xenogen on Instagram, here's their Instagram page, click on this photo, comment in the comments that you would like to win and I'll pick somebody soon to win this product but also make sure that you give them a follow while you're on there. And a shout out that you learned about their product from Free Salon Education. Thank you guys so much for watching, let's get started with the vlog. Here we go. 7, 6, 5, 4, 3, 2, 1, go. What's up guys? Welcome to today's vlog. Today I wanna get into textured hair again. I still have some hair left on our mannequin from Pivot Point. So today I wanna get into another textured haircut. This one is gonna be asymmetrical so I think you guys are gonna dig that cause it's definitely something a little bit different for you in the salon and definitely a highly requested haircut for people with curly hair because it gives them something different to do. It's not the typical round shape that they would normally have with their curly hair. We used the same mannequin that we had in the past haircut but what we did was we cut some round graduation around the sides, took it in nice and tight, tucked it in underneath and then we did some dry cutting all the way around the haircut to create the finished look. This is the inspiration for the haircut so you guys can see how right in here it tucks underneath. That's that round graduation that we cut and then all on top it's a very loose, texturized look to the haircut. And then also the thing that I love, there we go, the thing that I love is a little bit of that fringe area so I'm gonna show you guys how to cut that using the tease cutting technique. I'm really gonna break that down in this video so I hope you get a lot from that. Let me know in the comments below what you think of this haircut. Hopefully you love it. Hopefully you can use it in the salon and plenty more haircuts to come. Let's get started with the step by step. Here we go. So before we start the haircut, I wanna go over the tools I'm gonna use starting with our leave-in conditioner from Paul Mitchell. This is full circle. It's a nice, thick leave-in conditioner. It helps me get through the hair. Then I'm gonna use the ergo paddle brush to detangle the hair. So I'm gonna brush through it. This brush works really well to get the tangles out and get me ready for haircutting. I'm gonna use my DB20 scissor from Mizatani. It's my favorite scissor. It's a 5.7-inch scissor. Great for precision cutting. Also, I'm gonna use it for dry cutting later on in the video to show you guys the versatility of that. We're using YS Park clips and also our YS Park 339 comb with the little hook on the end. The great thing about YS Park combs is how flexible they are and how strong they are when you're working with them. These combs last forever. They're also heat resistant up to, I believe, 425 degrees. So they will withstand any iron work or anything that you're doing. Pretty much a standard comb in the beauty industry. So we're gonna start working in diagonal back section. Right below parietal ridge, I follow the round of the head back to pretty much the occipital bone when I cross over. This is where I wanna work my precision cutting. I also wanna work with my tension on the side. So you can see how I stretch the hair out, then I let it go and then I grab it again and pull back to see exactly where that hair is gonna fall when I pull it back with tension. Because the funny thing about curly hair is that when you pull it back, as soon as you let it go, it springs back, right? So you wanna make sure that you're cutting it at the right length. So a little test that I do is pull the hair out, let it go, pinch it again and then pull it out, see where your hand goes and that's where you should start cutting. All right, so now we're gonna continue up the head, taking about a half inch section of new hair. With curly hair, I don't like to take a lot of hair at once because you'll lose your guide really easy. You don't have that nice solid line to work with. So I want you guys to pay close attention to my elevation. As I work up the head shape, the head curves away from me, so my elevation gets higher so that I remove more weight from the haircut. The lower my elevation, the more the hair is gonna stack up. So I wanted to create a nice sleek side to this haircut and then have that disconnection fall over top. So as I work my way around the head, I'm really working with layering, which looks more like a graduation because it's curly hair, but I'm working straight out from the head for the most part as I work my way up the entire head shape to the bridal ridge. So then I just follow the round of the head back, working those layers, using the tight teeth of my comb to have nice tight tension, but understanding that where I'm over directing and pulling that hair out to where it's gonna spring back. So now I've got that all done. I'm gonna take the clips out.  I just did that little section in a precision form and then the rest of it, I'm gonna do all dry cutting. So we're gonna go in, I use my brocado mousse, run that through the hair. Then I'm gonna take my paddle brush, brush all the product through the hair. That's a key factor in styling hair is to make sure that you get the product on every hair strand. So put the product in the hair, brush it through. Then I use a diffuser to slowly dry the hair and create those curls without the frizz. Now I'm gonna go in with my DB20 scissor again. I'm gonna do dry cutting with this scissor. We're gonna do the tease cutting technique, which is a half close of the scissor as you tease into the hair, which will cut the hair, but it gives it a nice soft edge, almost like a point cut look to it, but you're doing it with little chunks of hair at a time. Now the reason I chose the Mizutani DB20 as opposed to the Mizutani Puffin, which is a dry cutting scissor that normally I choose in this situation is because I wanted to show you guys that the DB20 can do it all. If you're looking for an all around scissor, this is definitely my go to. But when you look at dry cutting techniques, the Puffin was designed to do this kind of thing. So as I cut through the hair, it glides through it. The DB20 does a little bit more grip on the hair, which isn't a bad thing, but it can wear down the blade over time when you do this type of technique on dry hair. So I like having the two different scissors because I can use the one only for dry hair and then I have my other scissor only for precision cutting. So the cool thing about the tease cutting technique as I go through here, it's really just pinching those curls, taking those sections and you can see how I'm just sculpting the shape on this curly hair.  If it wasn't going to and she was gonna smooth it out, then I would do a little bit more precision cutting, obviously, but because she's gonna wear it curly, I love doing the tease cutting technique, creating those curls and that texture and the movement and you don't want really a precision look with this type of cut. So now I over direct the little bang area, so I just grab chunks of the bang and I tease cut into it. That gives it that peaceiness in the front. You can see all the texture around the shape and I just work my way throughout the entire shape doing the tease cutting technique. Finish it with some spray. You could see our inspiration. Hope you guys love this cut. Definitely let me know if you wanna see more cuts like this. All right, guys, like always if you like this haircut, then post in the comments below, let me know. Also, if you made it this far in the video, let me know that as well because I'll add you to my favorite people list and subscribe if you haven't done that already. Also, don't forget, go to Xenogen's Instagram page, find the picture that we talked about and enter to win these products. You guys will love them. Thank you so much for watching. I'll see you guys on the next video. Thanks.


A few brave veterans, forever changed by war, came together to share their pain and hope. This is Lorene's story. In November 2011, it was right before Thanksgiving, my husband committed suicide. It stemmed from his time in the Army when he was in Afghanistan and losing some friends there. How am I going to be able to function daily knowing that the father of my kids, you know, not going to be there for graduation, not going to be there for any of it? He never knew that you were pregnant with his son. No, he did not. I was lost. And I didn't know where to go. And then once DAV came into my life, it was like a night in shining armor. For nearly a century, DAV has been supporting veterans and their families in their time of need by helping them receive the care and benefits they have earned. But your help is vital to keeping this promise alive. DAV steps in and helps you and allows you to cope. All the struggle went away and I was able to focus on healing. You can help a disabled veteran and their family by calling this number and giving $19 a month, just 63 cents a day. DAV came through. I no longer had to struggle and I didn't have that before them. When you call and give $19 a month, only 63 cents a day, you'll receive this official DAV blanket as a thank you. With DAV, my life has possibilities. We have success. We have growth. My kids have a future. There are so many more disabled veterans and their families who still need your support. Please call now or give at helpDAV.org.


Welcome to Learn WordPress. Today's session is all about image optimization. But you might be asking, what is image optimization? Image optimization maintains the balance of image quality while reducing file size. It is the process of delivering high quality images in the ideal format, size and resolution to increase user engagement. It also involves accurately labelling images so search engines can read them and understand page context. Before moving forward, let's briefly talk about the advantages of image optimization. Image optimization will help you improve page loading speed, the user experience, SEO and it doesn't require any development skills. Image optimization clearly has a domino effect.  So how do we optimize images? Firstly, we need to change the file name of an image before uploading and then add alternative text. Secondly, make sure you choose the correct image type. And then we can also scale or crop an image and lastly compress the image file. So make sure you change the file name of an image before uploading it to your media library and remember to add the alt text. When you add an image to your media library, you can open it up and top right it says alternative text. The alt tag is simply a brief text description of an image but it explains the content of images to website users when a graphic can't be loaded. It also allows search engines to better crawl and rank your website and it also helps visually impaired users to understand the content on a page. It is also important to note image SEO starts with the file name. You want a search engine to know what the image is without even looking at it. So use a focused key phrase. Wordpress lets you upload images in several formats. Most commonly images are saved as JPEG, PNG or GIF. JPEG is usually used for images of people and objects. PNG is a good option for graphics and illustrations and GIF is best suited for animations. Lastly, we are going to look at four methods to optimize images. Firstly, you can alter images using your media settings. Secondly, you can install a WordPress plugin or you may decide to use a web-based tool or image editing software. Before we look at how to edit an image within the media library, let's make our way to settings and click on media. Keep in mind that WordPress saves four different sizes of an image when you upload it to the media library. The original size will keep its dimensions and the other three sizes listed below will not exceed the maximum heights set. And I will show you how this works when we go to one of the pages that I've created. I've added the same image three times with the sizes that WordPress provides. The thumbnail, medium size and the large size. And if you click on image size in your sidebar settings, you will see there's also a fourth option, full size. Now if we would like to optimize this image, we need to make our way to the media library. Open the image. Firstly, you will notice that the file type is JPEG. And secondly, I've already added the alt text. Then we will also notice the file size is 432 kilobytes and the dimensions are 2,560 by 1,708 pixels. To edit the image, click on edit image below. And now we can go ahead and scale the image top right. Once you've entered your new dimensions, click on scale. Now we can return to view the details of the image. And we will notice that the file size decreased and the dimensions display the new dimensions we set. If we go back to edit the image and we're not happy with the changes, we can click on restore original image. And it will discard any changes made. Another option you have is to crop the image. And once cropped, we can save. And now we will notice the file size and the dimensions have updated. Secondly, you may wish to use a WordPress plugin that does all the work for you. To add a plugin, let's make our way to plugins. Click on add new. And then type image optimization in the search block. And now you will notice there are many different plugins to choose from. Some plugins worth exploring are Imageify, Image Optimization and Lazy Load by Optimal, Smush or EU Image Optimizer. I'm going to go ahead and install and activate the EU Image Optimizer plugin. And once installed, we can go to settings, select speed up your site. And in this case, I will continue with the free mode. Then there are recommended settings. Number one is remove metadata. This will remove extra information about the image. And Lazy Load is a really cool setting where Page only loads the section being viewed and delays your other resources from populating until they are needed. And when you are ready, click save settings and done. Now we can head back to the media library and click on the list view. Here you have the option to optimize images one by one that's already been uploaded to your site before you installed the plugin.  But please note, at the top it says bulk optimization will alter your original images and cannot be undone. Please be sure you have a backup of your images before proceeding. But what happens if you upload a new image after you've installed the plugin? Well, let's add a new image. And when the image has been uploaded, you will notice it has already been compressed and optimized without doing anything. So the right plugin optimizes images on your behalf. Next, let's explore some web-based tools where you can optimize the image before uploading it to your WordPress site. Some options worth considering are tinypng.com, tinyimg.com, kraken.io and squoosh.app. Let's see how tinypng.com works. Upload the image from your computer, and once uploaded and compressed, you will notice that the file size has been reduced by 59%. Finally, you also have the option to use image editors such as Adobe Photoshop, GIMP or Preview, which is built into Mac OS. You might be asking what is an optimal size for use in WordPress? Well, it depends on how you will use that image. 1200 by 628 pixels is a good size for header images. For other images, an optimal size is at least 640 by 480, and up to around 1024 by 768 pixels. I trust this information has been helpful and that you will find the right method that works for you. Visit Learn WordPress for more tutorials and training material.


Hey fellow buddies. Thanks for watching. Okay, you guys Week two of lockdown what sold a bunch? Actually, I sold a bunch of stuff And I just was reading before I came on that they're having some issues wake with the internet and recording and stuff So I'm hoping everything is gonna be okay There's gonna not gonna be a lot of robot or pixelating or all of that jazz. So bear with me I'm gonna get this video started because there was a lot to it I'm gonna start with my bread and butter I'm gonna go into some posh mark sales and I'm gonna end with my items that sold for $30 or more I'm gonna skip my Mercari and put that in my next video Because I have a little secret that I figured out that I'm gonna share with you guys and I'm kind of excited about it So I left that those off of this video because it's gonna be longer than normal anyhow Okay, so I want to show you this first This is my Instagram account and if you guys aren't following me on Instagram, I've started doing something a little different It's Bolo underscore buddies underscore resellers and I'm starting to do of course I share all of my videos, but I'm starting to do like little videos when I sell things Like little Bolo videos. I'm gonna show you this one. It had like 1,000 views I don't know why but I'm like I'm gonna start doing little videos like this But I want to share this with you guys And it's just a little fun way for me to reach you guys with a little like 45 second clip sharing a Bolo So if you guys aren't following me, okay, Bolo buddies On Instagram, sorry, I started the video if you're not following me on Instagram Definitely come and check it out and here's some of the things you can expect Bolo with you guys. I did not know about these I went to an estate sale and it was like a family run a state sale I passed the sign that said a state sale and I pulled in and these guys were $1 for all four They are loose site and they have like a gold foil look to them They're considered mid-century modern and they are really cool. They are not real candles. You cannot like these But yeah, I sold them for $35 plus shipping. So the buyer was all in with tax and everything for like 45 bucks And they are cool and they're hard to find so If you happen to see them That's how long they are Very very cool. Bolo. So definitely be on the lookout Go check out my YouTube channel for more Bolo's Yeah, it's gonna play again Okay, so that's just so you guys know Where I'm at on Instagram if you're not following me I'd appreciate it if you can follow and I'm gonna do some different stuff over there All right, the next item All right, so I'm starting with my bread and I ate them bread and butter items that sold during lockdown So this little Fisher price doll sold for $15. I took a best offer of 15. I could have held out for more These do go, you know sometimes for $20 25, but you know, it's kind of like things are questionable right now So I'm like, you know what 15 seems fair I bought it at a garage sale like in a bulk buy of stuff So I don't have very much in it, but the Fisher price loving family dollhouse doll and this is the the little sister doll from I think No like major I mean her shoes there's a little bit of paint wear but overall, you know Decent condition and she's from 2002 so people collect these and they like try to get the whole family The next item are these raggedy Ann and Andy patches you guys This is a major bread and butter, but I picked a whole bunch of these up like I think it was an estate sale I can't remember it might have been a garage sale But it was a long tail item took a long time to sell But I sold them for $7 and the buyer paid shipping So not a huge Bolo, but you know, you can get these things so cheap in bundles. I mean, I probably had pennies in it The next item is this Brio mighty red locomotive train and you can see here and I had to look up on YouTube how to install a battery in this thing. So it is working I looked them up and took the time to put a battery in and test it because of the price that they sell for I Priced it at 30. There were comps at 30, but somebody offered me 23 I bought it with a lot of items at a garage sale. So got it really cheap So I went ahead and took $23 plus shipping on this train The next item are these Buffalo David Bitten jeans I normally don't show you guys clothes because I'm trying to get out of clothes, but because this is the second week of lockdown I'm gonna show you everything that sold so you know what people are buying during this time So I did take a best offer of $12 and 25 cents on these because I've had them a while And I just wanted to move them So my link to my store is down below in the description if you guys want to check it out Make a purchase to support the channel. That'd be awesome. If not, no worries But I am trying to move out clothing. So if you're looking for jeans or Shirts, I've got tons of clothes. Go check it out. All right this Livy active tank another item I still have three left and I picked this up at It was a what do you call it a discount store and I bought a whole bunch of them in different sizes. I have three left I Took a best offer of $9 plus shipping on this again, just trying to move the clothing out of my store The next item I sold was this Express skirt paid $3 at a discount store sold it for best offer of 12 I have tons of Express skirts So if you're in the market for an Express skirt, I have tons of different styles colors and all of that good stuff The buyer did pay shipping. So small profit good bread and butter this Blats beer tap I had about $3 in this it was a bulk buy at a garage sale I sold it for $17 and 60 cents and the buyer paid shipping All right, this vintage knickerbocker bunny rabbit. This thing is pretty big I Took a best offer of 14. I just wanted to move it I haven't had it super long, but I got it at a garage sale for 50 cents and I figured $14 it's kind of big. Let's just move it. So Yeah, another bread and butter and this thing is old All right, the principal secret advanced mini eye treatment this I Bought a gift set and I broke it down and sold each item individually I did really well on the other other items. They sold super fast and for really good money I think I had $5 in the whole set at a garage sale. So I probably have less than a dollar in this I did take a nope. I'm sorry. I sold this full asking price of $14 and 26 cents and the buyer paid shipping This I just listed it sold super fast. I picked this up at a garage sale. It was a bulk buy again I bought so much stuff. So I probably had about a dollar in it. It's a Fisher price Imaginex DC comics It's the batman heroes and villains And I took a best offer of $16 in the buyer paid shipping toys are really hot right now this um It's an original vintage ideal toy company wish nick You you needed I think is how you say it. I'm not really sure but it's a caring case for trolls I took a best offer of $19 in the buyer paid shipping And I got that at a thrift store and it was uh a bundle deal a ton of like vintage toys I have a video on it. So I probably have less than a dollar in that these clubroom pants. I bought at a discount store I paid $1 for them. I took a best offer of eight and the buyer paid shipping The next item is this connects purple tubing from the screaming serpent roller coaster It's replacement parts. I took apart the screaming serpent roller coaster and I parted it out And I have done really well that way. I've made way more money selling it in parts But it does take more time to list. I have a video on that if you guys haven't seen it go check it out I also did it with a ninja turtle like play set But I took actually this sold for full asking price of 1584 and the buyer paid shipping The next item are these uh terra by batat safari zoo animals I think I probably would have sold this quicker had I put them with a white background The carpet's a little bit distracting, but it's an older listing. I sold these for $15 in the buyer paid shipping The next item is this thomas the train from 2009 it is kelly. That's the die cash train name And I sold this for $12 and 32 cents and the buyer paid shipping and again This was a bulk thomas the train buy from a garage sale. So less than a buck The next item are these kuku harajuku. I think is how you say it I I've got the tune in my head now Anyway, these are clothing like little accessory clothing lots I bought these at toys or us At the going out of business sale. I have been sitting on them for a while I'm very happy to have them gone. They sold for $20 best offer and the buyer paid shipping I have one more left if anybody wants to come make me an offer. I'd be happy to sell it The next item is this hallmark ornament. I got this for about a dollar at a garage sale and it's ralfi One one chance a christmas story is what it said on it. I sold this for $20 and the buyer paid shipping This melissa mccarthy 7 size 2x blouse. It's got like a mushroom print on it I picked this up at a discount store for $3 and I sold it for best offer of $20 and the buyer paid shipping And I've told you guys before I like to pick up clothing in large bundles at garage sales So I walk up to the garage sale. I'm like What do you want to sell all of your kids clothes for and then we negotiate a price? And I bring it home and I put it in lots like this I do really well with that on poshmark ebay is okay But um, I sold these for $14 plus shipping The next item is this thomas the train take-along daisy from 2006 I sold this for $14.08 plus shipping and again, I had less than a dollar. It was a bulk buy at a garage sale This is from my bulk buy. I bought it on ebay to sell on ebay jewelry lot I sold this for $14 and the buyer paid shipping The next item is this leapfrog leap pad math um game cartridge. It's new um new condition Got this at a garage sale again It was a a ton of stuff that I bought so I probably had about 50 cents in it And I sold it for $10 and 60 cents plus shipping These dockers pants the inseam says 30, but they only measure 29 So I have to mark them new with defects. This seems to happen a lot with men's pants I don't know why but it's super frustrating because trying to figure out how to make the listing work so that The people buying it understand is sometimes sometimes they're still confused when they get it So, um, I took a best offer on this of $12 and 25 cents. I paid a dollar for it at a discount store The next item are these Reebok performance underwear. I Bought these at a discount store. I want to say I had about two bucks in them and I bought a whole bunch I sold these for ten dollars the buyer paid shipping And they're just Reebok performance underwear nothing big, but I bought so many of them and you know, I've sold four So four times ten is forty dollars So you can see where it adds up, but it is a bread and butter item And I think I sold some of them for like 12 and 14 when I first listed them The next item is this Catherine's bra. It's a size 46 triple d Plus size bra's do excellent. I sold this for 21 12 plus shipping I picked this up at a discount store for five dollars plus tax The next item are these Savine Savine. I'm not sure how to say it monument pants. They're big and tall um I sold these for 12 dollars and 75 cents plus shipping picked them up at a discount store I typically play two or three dollars for items like this Lane Bryant shorts same thing discount store probably had three bucks in them. They are new with tags I sold these for 14 dollars and the buyer paid the shipping this wow, um apple cider then A Like super high, but I was like, you know, this would be a good bread and butter item So I listed it and it sold super fast for 26 and 40 cents and the buyer paid shipping So if you see this definitely pick it up, um And you can see that it does have an expiration date, but it's february of 21 So make sure you check for expiration dates on things like this. I guess, um Certain things like shampoo and conditioner do expire. I didn't really know that but This sealed jigsaw puzzle I picked up at a thrift store for two dollars. I took a best offer of 20 and the buyer paid shipping This brawl is another katharine's brawl. It's a 46 b. I have new without tags. It does still have, um The little tag it's right here on the corner And it's just a size tag, but again, this was five dollars and 35 cents approximately because you add on the tax And I sold it for 23 and 76 cents and the buyer paid shipping All right, I just sold this it's a monster jam like literally before I started the video and my friend Troy mountain man treasurer if you haven't checked out his youtube channel, definitely go check it out He told me he's like monster jam. He had bought some I think he bought his retail arbitrage But he's like these are selling really well for me right now Internationally and guess what this one went internationally. So that was kind of cool Um sold it for 20 and 24 cents in the buyer paid shipping. I picked this up at a garage sale for one dollar All right, I sold this tonight The auction just ended and it sold for 19 dollars and 99 cents. Well, I guess it ended at like five But it seems like it just ended. So it did have this little uh, I don't know what it is, but uh Like maybe I don't know if it's a part of like one of the butterflies or if it's like felt but That was the only thing that I didn't like about it and I tried to take it apart But I couldn't but it's really really neat. Maybe the person buying it can fix it But I listed it at 1999 because of that otherwise I would have listed it higher because it's super cool It's a butterfly taxidermy. I do really well with butterfly taxidermy So this was from a garage sale. I want to say it was like three dollars and I sold it for 1999 plus shipping The next item has not been paid for yet. It is going internationally. My husband bought out a watchmakers estate because he is into uh watches And these were women's parts and movements and he doesn't really mess with the women's stuff There were some men's but um the majority were women's and I think I forgot to put men's in the title because I think that one a couple of those are men's But um, yeah, I sold for 24 and 99 cents with Oh I did not mean to put free shipping Oh, it probably says free shipping because it's going internationally and it doesn't calculate it I'm pretty sure I had shipping on it But um, if they do not pay I think I will relist this with a buy it now and put it on etsy Because a lot of crafters use this and again, I'm using crafters junk drawer lot. All right, you guys you made it through the bread and butter Um, I'm going to show you my poshmark sales and then we're going to go into the big money items Well, some of them are big money All right, so I sold these express jeans for 25 dollars Most of these sales came from me sending offers to watchers Which means I did offer them a shipping discount. So I think it's like two dollars and 12 cents or something like that that I pay So in addition to the 20 fee, I also lose that um, so 25 dollars I paid three dollars for these um at a discount store and The buyer pays the shipping I sold this pair shortly after that. It's a different style, but also sold for 25 dollars These are not your daughter's jeans black and white track pants size large And you can tell I've had them a while because I have them laying on the carpet I now try to use um a white background and I have a video on how I made How my husband made my white background if you guys want to check that out The next item is this uh girl's size 4 dress romper lot again I picked stuff up like this at garage sales all the time. I sold this for 22 the buyer paid shipping This bow low tie I sold for 15 and I picked this up in a jewelry lot Not my bulk buy a different one at a garage sale sold it for 15 the buyer paid shipping This bra all my goodness I've had this bra forever It only has one photo because I had it before like when there was that whole photo glitch But it's an abs essentials bra It took forever to sell don't buy them don't buy them Anyway, I took a best offer of seven dollars in the buyer paid shipping I made money, but I probably had this thing for I I think this was at my old house if I'm looking at that carpet so I have been in this house since I think I've been here six years seven years. So it is really old and I have another one All right, the next item is this kaseek bra this one I listed recently um Kaseek does really well. It's a great brand to get a hold of I bought this at a discount store for $5 and 35 cents It sold for $22 in the buyer paid shipping The next item is this katharine's bra again a very old listing as you can tell. I think that might have been At the old house also one picture But I had multiples of this one and most of them sold pretty quick I sold this for 16 dollars in the buyer paid shipping And I picked that that bra up for probably $5 maybe three it's been so long. I just don't remember So these everyday fit katharine jeans came from a discount store. I paid $3 for them sold for $22 and the buyer paid shipping This silence and noise skirt again very old listing super stale Super happy to get rid of it is sold for $10. I paid the shipping discount So I made like four dollars and 53 cents and I want to say I paid a buck for it So I still made like 350 which is great, but um Yeah, I was just happy to see it go All right, this jewelry makers lot I picked up a bulk buy of jewelry makers items at a garage sale last summer And I just listed them last week and they are like flying out of my poshmark closet So this lot sold for 35 dollars in the buyer paid shipping I may have undersold these but you know, I got the whole lot. I can't remember what I paid for it But it was not much at all Not much at all So I was happy happy it found a new home especially in a time like right now when people are stuck at home You know, they're wanting to do jewelry and do things like this, you know, they're getting crafty All right, so let's go into some of the big bigger money bolos and these range from $30 up to 400 and I think 29 So the first item is this native american dolls family of the heartland kid core They're like barbie type dolls This sold for 52 and 80 cents in the buyer paid shipping. I picked this up at a thrift store for five dollars All right guys this vintage johnson's automatic striker minnow with box papers My husband and I went to a An estate sale We were going to his mom's house to celebrate her birthday and we stopped off at an estate sale And we're both like looking through the garage And he comes upon this What do you call it? Oh my gosh a tackle box And in the back of this tackle box was this box right here And it had this lure in it And he just paid five dollars for the entire box you guys five bucks And I am thinking now Um, maybe if we would have waited until after all of the lockdown and everything was over He would have sold this for a lot more. It sold for $449 The buyer paid the shipping Only had one bid but it had like 20 watchers and like I said I really think if we would have just put like a buy it now of 800 or 700 He would have definitely sold it for more, but he paid five dollars for it I'm sure the person getting it is thrilled because this thing is Super super rare and hard to find especially with the box and the original papers So a really great find for him. I found some decent stuff, but I did not find a $449 lure Why didn't I look at the tackle box first? All right, let's go to the next one These little buildable mini figures I picked up at a garage sale. It was a bulk buy So I got these probably for less than a buck. I sold them for $30 and 80 cents and the buyer paid shipping These uh playmobile cowboy indian horse tps canoe weapons are from 1974 I Got these again bulk buy at a garage sale and I sold them for $30 in the buyer paid shipping The next item are these vintage E k c o. I don't know if that's pronounced But I got these at a garage sale and I think I paid a dollar for all of them if I remember correctly um, I also did a little uh Snip it on my instagram Right here Um on those so again if you're following me on instagram You'll see little videos like that probably before you'll see them on my youtube channel And I give a little bit of additional information The next item this longer burger pottery I bought a whole stack of longer burger pottery for like two bucks And I sold this for $30 and the buyer paid the shipping The next item is this playmates simpsons. Um World of springfield you guys if you see this they're interactive Definitely pick them up I have a whole video where I picked all of this up I got tons like a tote and a huge box full for $10 at the thrift store And I was just gonna like bulk things up and my husband's like no you need to part these out and you need to put them So that they're like set up like I have this set up and I'm like, oh, I don't want to figure out Which figures go with which play set? Uh, I didn't want to do it and he's like well, I'll separate them for you So he ended up separating them for me and then I set them up and did the pictures And I remember I was listing these on new year's eve So it did take a little while to sell But I've sold a bunch of them, but I still have a bunch left So you have to wait on the right buyer for these This one sold for $44 in the buyer paid shipping And the next one this one sold for $88 and this is the simpsons world of springfield elementary Seven figures and accessories and again, you know, I've got the accessories that go with each figure I've got the little cards So $88 and both of these simpsons items sold on the same night to different people and they were both international buyers So that's kind of fun So I am not Showing you for some reason when I'm clicking that tab it is closing the thing So I'm not showing you my mercury sales for the week of lockdown again, because I have a little trick tip type deal that um I figured out and I want to share it with you guys in a short video Just to show you kind of what I did and how it worked out and I'm kind of excited about it And I'm hoping you guys can learn from it and make some sales All right, if you like this video be sure to hit that thumbs up And be sure to like comment subscribe and share and as always thank you so much for watching and I'll see you guys soon


Welcome! The next step in conducting art and architecture research will be to explore the book catalog's BC Library Catalog and WorldCat Discovery. These can be accessed through the Art and Architecture History Guide or through the main library website. In the BC Library Catalog, we can find books available through the library either in print or electronic format. When we search for Picasso in our catalog, even when we limit the search to just books, there will be slightly over 1000 results. If we want to make our research more focused and find works by the artist, we want to search for Picasso as an author and add the word Catalogs to the search. The results list is shorter now, only about 30 results compared to the previous 1000. If we want to look for scholarship or biographical information about the artist, we would search for Picasso as the subject of a book. The result list is still significantly shorter, with roughly 300 results. Each book result indicates where you can find the book. It will indicate which library or libraries owns it and the call number. The call number in each record tells you about the exact location of the book. We also have many books available online. You can limit your search to online books only by clipping available online in the filters on the right. In case you can't find a book you need in the BC library, you can search Worldcat, a union catalogue that includes collections from tens of thousands of institutions. For example, Boston College Libraries do not own the book Picasso Sculpture. Once you have searched for it in Worldcat, click the title to go to Access Options and choose Request Item. This will allow you to request the item through interlibrary loan. If you have any questions around your research, Nina Bogdanovsky is your subject liaison librarian. Her contact information can be found on this guide. Other librarians are available to answer questions at the O'Neill reference desk, by appointment, or through 24-7 chat. Next, we will cover how to find journal articles in your art and architecture history research.


Ajay Ramio, who also gets the semi-final, reclaims his place from Yusuf Profana, messes pre-sport. Oh, is he? Yes! He's seemed an inevitability opponent. They've just been too much to fend for. He's got girls to fend for. Yeah! Pedalties. It's really helpful. Thanks. And the biggest stage of all, at the most stressful take of it. Because either keeper, because either keeper means telling them that they're free. It fends out.