Hi everyone and welcome back to another episode of our flinch squad ultra series circuit We are here the 2019 season and we are finally Getting into the final of the ultra series circuit today We've caught up with all of our matches on the channel over the last week If you haven't seen them I'll link a card up here You can check those out go back and see the progress of the top 8 But as you can see on your screen now You can see that the top 8 have come to almost a conclusion here as we can see that We've got the final heading up between shade and will we had shade route to the final through Salkhren and then his semi-final match Against you which takes him into the final and will coming out against Luigi and then a semi-final match Against worms I coming out victorious there and these two have already won a Title in this series between them both will taking the Sun series shade taking the moon series So this is like the ultimate playoff between these two players. I cannot wait to get into this one today It's gonna be a great match to feature for us today and just showcase the talent of both of these players and how Great they've done to get this far in this tournament and just before we get into it massive Congratulations to each and every one of our players have competed and taken part this season I really hope they have enjoyed the circuit There's lots of things to work on and improve on for next season But everything will be improving and we'll be taking everything under consideration To get into the circuit for next year and make it even bigger and better and more enjoyable for you guys So without further ado Congratulations to shade and to will for getting this far. I I just can't call it if I had to call it now I don't know if I could we've got our moon series champion We've got our Sun series champion going head-to-head in our ultra series championship final match here and remember This is not the fact. This isn't the finish of the ultra series circuit We've got the invitation or coming up very soon Which will be a live stream event where we'll have the top players who have all reached above 200 flinch squad points to get into that Invitational playoff for some incredible prizes. So that will be coming up very soon But before that we need to crown our ultra series champion So let's get into the match without further ado and let's see who can take this one away So you see we've got shade on the top of your screen under the trainer name light He and then will on the bottom of your screen kicking off with Rick Quasar and Incineroar shade leading off with Lunala and Smigel here both Pokemon on each side have access to fake out Smigel likely going to be the faster one to disrupt Will side of the field so we'll need to be aware of that There is the threat of follow me and also the trick room from that Lunala that could potentially come up in scupper Will's plans, so we'll need to prepare for that adequately He's gonna switch out the Rick Quasar into the Tabacoco firstly taking a grip of that spore threat that the Smigel Throws out and potentially puts onto his side of the field So Smigel actually not going for the spore just throwing out a helping hand Which is a big big throw off from shade side of the field and pulling out the Z move to go straight into turn one with Probably targeting down that Rick Quasar helping hand Menacing moon rays maelstrom coming out We're gonna have to cut this and come back into the target when it and it's into the Tabacoco What was that Rick Quasar slot Tabacoco if it has got the sash that will be really useful for it to Hang on this game But no sash here from Will some nice information there for shade and he does take a very early lead But the Incineroar now able to get a snarl off get some chip damage onto this Smigel more importantly potentially break a Sash as well as breaking that shutter shield and weakening that Lunala with this special attack drop there from that snarl I'm gonna see moody activate on the Smigel and it is the speed boosts are not the best Moody boosts here for will but a really good one there for shade We are gonna see the Kyogre come on to the field now for will and hit that primal Reversion and turn into primal Kyogre here bring that primordial seed with it It's got to be a little bit worried though The Smigel still gonna be able to out speed after that moody boost all other the electric terrain really helping out here preventing that Smigel from causing any sleep disruption in this match We can and may see some speed control from that Lunala now But the Smigel just opting to go for a spiky shield not want to take any damage to this turn as we are gonna see the Lunala go for that tailwind set up that speed control before it does take a big attack from this Kyogre and Leave the field we are gonna just see a nice beam predicting Maybe a ground on switching here from shade side of the field and the u-turn into that slot as well from the incineroar But block there taking a little bit of chip damage on the side of the field So we're gonna see another moody boost nothing of an of not here as we see another helping hand come out from the Smigel now from that Lunala boosting those attacks as we are gonna see a moon guest being fired off It's got to be into that Kyogre slot to get some big damage onto it there Really nullifying that snarl drop that it's just taken so do will do some nice damage to the Kyogre But Kyogre being so specially bulky able to stay that quite comfortably and firing off a water spout now able to take down The Smigel and do some nice damage to this Lunala and again the incineroar left here Really free to get off an attack and it does take advantage of that u-turn this turn and Is gonna help it reposition itself get something else out onto the field for will making sure that that Rayquaza comes out taking control of the field keeping that incineroar on the back for that intimidate Which would be so important later on in this game Especially if we do see something like the ground on come out for shade We are gonna see the more well now hit the field for shade something that we don't see very regularly in this format But obviously working really well and puts on a lot of pressure onto that Rayquaza Straight away with that ferries typing and the steel typing there We're gonna see the Lunala switch out and that ground on finally make its way onto the field And it will be able to override the rain now take away the threat of the rain and those water power There's powerful water type attacks from the Kyogre here Groudon primal reverting they say gonna activate that desolate land and override the rain And what's the more I'm gonna do you've got to think if the Rayquaza is maybe a salt fest it does carry It's part could threaten that more well But we're not gonna see that we're gonna see will just preserve it for later on in this match The incident will come back onto the field cycle at all important intimidate onto both the more well and that primal groud on here As we see the more well go for its mega evolution gonna turn into mega more well And that intimidate from will onto that more well So important here because mega more well has access to huge power and can do some Huge damage to opposing Pokemon the Kyogre just opting to protect here I don't want to take any risks the tail went still up on shade So the field if you do see a player off it is into that incident and with that huge power boost even after the intimidate Still doing some nice damage and getting an attack drop onto the incident to boot So the Kyogre now going to switch out for will the Rayquaza coming out onto the field can shade predict this We are gonna see that airlock activate now take away the bonus effect of the Sun as a faker comes out into that more While not really too worried about the ground on here more worried about protecting that Rayquaza and the ground on gone for a precipice blades It should be enough to get this incident or I even after the intimidate But the thing is now it does pave the way for this Kyogre to come back on to the field for will So he's really manipulated the board and got himself set up very nicely as this tail wind does end Foreshade really in a tight position because you need to get the ground on out But getting the ground on out means taking a ton of damage from this Kyogre on anything incoming that Lunar has already damaged The more while is not the strongest Lee defensive Pokemon So it will take a lot of damage from what the Kyogre throws out and you've got to imagine the Rayquaza to boot We'll be throwing some damage that way as well We do see the ground on switch out the Lunar are gonna hit the field the more while just gonna protect this turn Doesn't want to take any big damage here as we are going to be able to see a dragon is sent now into that more while slot and a Origin pulse coming out from the Kyogre which should be enough to take down this Lunar and deny shade and further speak control Through that Pokemon and we do see the ground on is gonna be able to come back in But the nice and the clever thing that will has done here is not mega evolve that Rayquaza So it means when the ground on does come back onto the field like it is doing now It means the Rayquaza can mega evolve in a car that can utilize those powerful water type attacks really Pressuring that ground on going into this next turn now We do see will go for that mega evolution He is gonna revert the Rayquaza into mega requires that and activate that Ultimate weather the Delta stream it's gonna overwrite the desolate land and free up the Kyogre like we just seen with those water type attacks What is the more while gonna do we're gonna see a dragon a scent come out from the Rayquaza is gonna be into the more While it's gonna be hitting it for super effective damage But any damage at this point is enough because the origin pulse should be enough following up from this to get rid of that More definitely be enough to get rid of the ground on what is the speed? Tears here for these Pokemon the Kyogre gonna outspeed both get to the origin pulse off and will Should take game one looking it up here and taking down the ground on and the more well in one clean hit We'll take in an early 1-0 lead in this set So that is exciting here for will and really well played and really getting around that tailwind Which really really did make it possible to set that board position up and playing the Rayquaza So smartly going into that in turn of this game So we'll hop straight over into game two things are heating up the pressure is on shade now to tie things up Get straight into this next one We're gonna see will lead off this time around with the Tapa Coco and the Kyogre getting that Tapa Coco up early on here to Prevent that smear go from abusing any of those sleep type attacks that it may carry As we do see shade go with that same lead again with the smear go and the Lunala here the electric train Activating on the field and the Kyogre reverting into that primal Kyogre here Now you've got to worry if you all will That the ground on could switch in at any point But the thing that puts the pressure on from shade side of the field is you've got to worry about that type of cocoa Switching out into the Rayquaza at any point that you get in that ground on in to disrupt the weather because if that Rayquaza comes in And you switch in that ground on and then there's what type of tax are active again You're gonna lose your ground on but we're not gonna see that we're gonna see an electric web from the type of cocoa It's gonna break the shutter shield on the Lunala gonna break the sash on the smear go So nice reduce the speed stats once again take the smear go down after a follow me and The ice beam will follow up in that direction and just knock that smear go out take that support option away But does leave the Lunala free to set up some sort of speed control But actually going for a trick room here showing that it is very versatile having the tailwind and the trick room So dual mods here as the ground on now gonna hit the field and give shade a much better chance at Wrapping up this game after that electric web which does reduce the speed of the pop one on the opposite side of the field hit by that attack So ground on gonna come in overwrite the weather again with its desolate land and activate that sun shininess to the field as we see Will now in a little bit of a trickier position you could switch the Rayquaza room But do you want to take a z move in a precipice blitz and you can I got probably not so Seeing the protect there on the Kyogre as the moon guys beam coming out from this Lunala gonna be into that Tabacoco slot one just sit on its z move for now Not want to waste that as we do see the moon guys beam instant tabacoco does survive But a precipice blitz following up here does it connect that as the big thing it does And this will be enough to take down the cocoa But again paving the way for you that in general to come in now Which frees up that fake out turn for for Kyogre a little bit of movement or do you bring in the Rayquaza here? Or do you bring in the Incineroar get the all-important intimidate off onto that ground and pressure the fake out and switch in your Requizer now to try and get a big water type attack off into both of these Pokemon But we're not gonna see that we're gonna see the Kyogre switch out Rayquaza gonna come on to the field for Will now He is gonna get a little bit momentum back and with the trick room up You've got to think that the Incineroar is in a nice position to To start throwing that some damage here, but we're gonna see that z move come out from the Lunala It is the slowest thing in the field after that electroweber web Thanks to that tabacoco from that first turn attack here So it will be into the Rayquaza. There's no point of going into the Incineroar here We actually see in the moon guys beam It's into the Incineroar not that Kyogre slot so the Rayquaza got a free switch in here You've got to think that the Incineroar was taking that pretty well resisted hit and the precipice blades will come out But unfortunately because the Incineroar is slow than the ground I'm gonna get a U turn off gonna preserve itself for later on in this game and get this Kyogre back onto the field It will take a precipice blades, but it the ground on has been intimidated But the main thing is that the Kyogre is back out onto the field this primordial seat activating although the the airlock is still in effect So still gonna be dampened by that ability from the Rayquaza the precipice blades now coming out from the ground on Doing some decent damage there the Z move burned from that Lunala and that was the whole premise of what we wanted to do here I think with burn that Z move make that Lunala less threatening going into these latter turns and more while now I'm gonna hit the field for shade So everything's still up in the air and whether or not will wants to mega evolve this Ray this turn And he does actually want to go for it He wants to get some damage onto this Lunala Probably try and remove it from the field if you can to prevent any further speed control for the rest of this match Because once that has run out he's got no more options And we've seen already that will can achieve that ball position with the Kyogre in the rain or in the Delta stream or airlock That he is gonna be able to out speed the ground on in the more while and do some real work against these two Pokemon As long as that speed controls gone That's a big thing here moon guys being coming out from the Lunala Into that Kyogre doing some nice damage there and then origin pulse coming out Gonna return do some big damage that more while and a crunch coming out from the Rayquaza into the Lunala gonna take Down the Lunala gonna remove that speed control and the clock is ticking on these trick room turns We've not got many turns left now as the ground on once again hits the field And all we'll need to do is reposition his ball position and get this Kyogre out with the rain up and prevent this ground On from being that big threat that it is in this sun It's still got the trick room turns to take advantage of you've got to think that With the Incineroar in the back It's a nice opportunity to bring it in get this intimidate off protect your Kyogre and then get the Rayquaza back in After the Incineroar goes down to hopefully Precipus blades this turn from shade side of the field So we are gonna see the Incineroar come in the mayor more while gonna now activate get that mega evolution And you've got to worry does it have sucker punch if it has sucker punch. It's got the potentials You know maybe deal with that Kyogre and the Kyogre is quite low health at the minute And even with the intimidate drop the sucker punch It's so be enough to take it down and the sword stands coming out from the more while Shade taking all the chances you can in this to really come back into this match as the precipice blades followed up from that crowd On is it gonna be enough to take down the Incineroar? That is the question you need it to take it down if you will so you get that free switch into Rayquaza But you don't and the Incineroar hanging on barely here with three hit points the electric terrain gonna disappear The trick room has ended and now the fake out coming out from the The Incineroar and the sucker punch as well and it is into the Kyogre things looking really good now for shade as he is gonna Be just facing down against this Rayquaza now But who outspeeds who does the more well at speed the Incineroar or does the Incineroar outspeed the more well and can Rayquaza take down this crowd on before the more I can get an attack off That is the question here what we're gonna see the Rayquaza goes for an extreme speed It is gonna be into the more well enough to take that down and you've got to think Rayquaza vs. Groudon you're in the driving seat well now You needed that more out to do a little bit more damage there as we see an eruption come out from this crowd I'm not gonna really affect the Rayquaza too much does take down the Incineroar and will looking like he's on track to take a Second title second championship in this ultra series circuit and in the flinch squad circuit Sorry, he's gonna take the ultra series title as well and we're gonna see and we're locking in with extreme speed now Against this Groudon it is just protecting this turn to scout what this Rayquaza is. Maybe you're not giving off the Interpretation that it could be binded here. It's not revealing protect It's locking into that extreme speed just staying in that you'd think you'd maybe off for a different attack If you weren't I'm gonna see the Groudon again. Just protect and erupt just in between turns That's the only option shades got for it But you can slowly see that will is gonna be able to close this one out and Just what a really great set from two really great players You know really backwards and forwards a whole way in an explosive set and nothing less than you would expect from both of these players coming in both taking one of the ultra series The flinch squad circuit titles already before coming into the ultra series the third one in this circuit for the season and So nice to see what the both of them in the final again and one of them taking away two titles and Will as I said did take that Sun series title earlier in the Earlier in the year then Kunal Shade came in taking that ultra series the moon series title and They're both fighting for this ultra series one to make it to two titles in this circuit So incredible and will one of these players be able to take the invitation You've got to think both favorites going into the invitation all the other players are gonna be gunning to go against them We're gonna see the request that has run out of extreme speeds gonna use this struggle now to take down this ground on finally Does take it down takes a bit of recall survives and will coming out as your ultra series 2019 flinch squad champion. So that is incredible mass Congratulations to will and to shade as well a bit commiserations there But what a great set for us to feature here And it's just a pleasure for me to be able to To commentate over these matches and feature them on the channel I hope you have all enjoyed them But will will be taking away a nice flinch squad ultra series trophy with them a nice e-sports shirt You'll be getting a plushie and some other bits and bobs as well as the other top four players Well, but more importantly those flinch squad points that I think will put will top of the Invitational seeding board going into that Invitational and like I say, I will post in the community section when the invitation will be going on It's a bit awkward with worlds coming up as well And I'm away on holiday the week after worlds So it may be the the first week in September when we do the invitation I will speak to the guy and see when everyone's available and we can get that sorted get a date marked in and then we can Get that event underway and it's gonna be a really special event with lots of bonus prizes there for the players And it'll be a really nice exhibition to just showcase these players and see what they can do and do a live stream for them Before we kick into next season's 20 20 flinch squad circuit, which is very exciting So we will be doing the circuit again next year. It will be very exciting It will be bigger and better bigger prizes and hopefully, you know If we get the numbers in my end goal is to award travel awards to players to worlds for those players They don't quite get into those top echelons of top 16 in Europe or top 8 in America Then we have something else that they can maybe fall on but it's all about getting the numbers in and getting that prize money There for us to be able to provide those prizes But that is the end goal with this, you know to provide another root for players to get into the world championships without having all of those Financial constraints maybe hold them in the back because I can totally relate to that from my time playing where sometimes Just can't go because you don't have the cash to To get over to the world and that is heartbreaking and I never want that to happen to anyone And it's really good practice as well the group of guys we've got in the circuit have improved like immensely It's really nice seeing them throughout the whole season Improved so much and become these like incredibly strong players and players that I really admire and look and think Wow, you you're going places you're gonna do things in the circuit So it's a really good place to practice just mix and be amongst a really nice group of people as well as take part And for some amazing prizes as well So that wraps up the flinch squad circuit for this season. It's been amazing Like I say, we've got the invitation are coming up Which is the big event for the big trophy for the big prizes for those special players have earned that place in that tournament at The end of the season, so I'll keep an eye out for that. Like I say, it will be a live streamed event And it'll be a lot of fun, but again once again huge congratulations to our massive Congratulations to shade other finalists today and all of our other players have taken part in the circuit this season It's been a pleasure. We'll be back for more action very soon in our next season So if you'd like to take part make sure you keep an eye out on the channel follow me on twitter And also check out the patreon because that is where all the information is and will be for next season's flinch squad circuit Um, so I'll just say thank you very much for tuning in. I hope you've enjoyed today's episode Let me know what you thought of the circuit this year of the matches today And who what your favorite team and things have been and I look forward to reading through those very soon So take it easy guys have a great summer and we'll be back with more flinch squad circuit very soon So until then take care and bye-bye


Everybody forced here ripping a box of 2023 mosaic football for Travis B. Mosaic football hobby. Here we go Travis. Good luck See a low numbered rookie QB here Stroud Richardson So that base all up front here Start with a Zay flowers debut Got mosaic of say Kwan Red Mac Jones I want to see one of those micro mosaics you those are fire First numbered cartoon. I'm stuck here. Hmm. All right There's a Jameer Gibbs debut and Derek card of 199 Silverfield Sims and a Jalen Ramsey on the blue mosaic montage 78 of 99 out two of ten Jaden Reed on the gold autograph Great hit there. There we go Travis gold rookie auto Jaden Reed it's two of ten. He scored. What? Couple times last week. That's sick. I'm gonna put that one in the mag. I'm was a Quinn Williams red rushy rice Silver is digs Middle cards get a little clingy Richardson debut Was a crookie Derek Hall got silver rookie tanked out with a lot of silvers here pitts Anderson crafters mosaic Devonta Adams a purple to 49 Michael Pittman, Jr Look at 49 20 of 49 and Jordan Love on the audible mosaic Jordan Addison red Michael Parsons Silver Joe Green and Splash Justin Jefferson Charbonnet mosaic Mac Jones with an orange of Willie Villami Fajoco, Jr. To 199 red Gino Smith with a silver Chris Olave Jason Jefferson carbon copy Thompson Robinson Ricky mosaic Trenton Simpson Peyton Manning mosaic and a Nick Bosa men of mastery Read auto in this pack then Blue mosaic is a Jerry Rice number to number 99 Silver Deontay banks Sutton There was only one all right went through every card. I'll put back through but yeah, I may have to send a box and wrapper So you get that second auto because there weren't even every points or anything at least the first one was good So just a one auto just the read. I'll get the read magged but I'll send an empty box and wrapper what you'll have to do is submit a ticket on Penini site unfortunately, so I'll make sure that's sent with the order But I'll get the read magged up and we'll get everything out to you


Someone put this in the request while it's not a brawl or an ejection or anything crazy. It's a fun little moment in baseball history This is a 1980 world series Phillies versus Royals Phillies are two outs away from winning and they are up by three runs There's two men on and Boonee and Rose try to team up for an out here And I left this in just because I thought it was fun and interesting Rose The first basecoach is upset because look what Rose did He hooks his foot and then once he realizes he has him hooked just whirly birds him spins him around That's illegal whatever so then the Royals loaded up They're a home run away from taking the lead You know double away from tying it maybe But Frank White, I believe that's the batter if not you guys will surely let me know He pops up Boonee's under it and drops it, but Charlie hustle right there. I love this I love the bounce and the flip to the pitcher just so cocky like one out of way, baby. Let's do it Just riding high Hair bobbing like crazy. He's gonna get back to first.  So it's not really that damning two outs One more to go. Here's the final out and this kind of made me giggle too because Boonee Like usually the pitcher and the catcher run to each other bones. No urgency Kind of like no not interested in the hug and tug or anyone He's just oh the helmet King that also made me laugh guys just collecting helmets and here's Rose It's gonna run in hat off. No, not yet. Okay. I think now's the time hat off Bobbin up and down boom boom boom boom great bounce and then they all have to run off the field because back Then the fans came on and it was a nightmare and it was horrible. So they just celebrated in in the clubhouse Glad it's not like that anymore. We can celebrate on the field


Yep. You're gonna make a game, and congratulations on marrying Cassie. Congratulations. Oh, and we love your snea- I thought you said it was my brother instead of you, Mark. My good looks. I'm so excited for the English show. Do you want my chair? They didn't call it. Call it. I didn't tell you I'm good. I'm not a specific supposed coffee, but I like to anyway. Fuck, this is not good. No, it's DIY. Walk right over. Good times and paint houses and have a really interesting, hilarious conversation. I hope you celebrate the day with you guys tomorrow. Appreciate it, guys. My eyes are fine, but my nose. Appreciate your friendship and hope that you and Cassie have a wonderful, exciting journey together. And I can't wait to celebrate more. Sundays are the new Saturday. Enjoy your wedding. Love you. Well, I can say, well, my favorite thing is I think you're the best man. If any of you are standing in the room, I think you're the best man. It's so nice to follow every possible response, so personally, I'm so proud of you.  I just want to say I'm so happy that you're marrying my best friend. And you're going to be a wonderful husband. You're already an amazing father. She's two of the best little kiddos in the world.  Again, congratulations. We just want to send you a video to send to our well wishes. And I'm sure we appreciate having you, Cassie, and the kids in our lives and down the street. We can't wait to share so many memories with you. It's probably right next to the coffee table, so...


So a few years ago everybody had really gotten into freezing their food and then we had a lot of bad storms and some power outages and everybody lost what they had preserved. So I found that people are very interested in learning how to can again. Today's the fourth class that we've had this summer and we've done pickles, we've done jams and jellies and this last class is on tomato products. You know a lot of people grow gardens and it's just really important especially with our farmers market that we've had this summer to preserve food locally. Everything that we have is completely free. We have all of our food preservation resources online at our website and you can go on there anytime and print those off but I'm also available to answer any questions that people have.


The cancer cells release chemical signals which attract neutrophils to the tumor site. These neutrophils then produce proteins called chemokines which attract more neutrophils and other immune cells such as macrophages. The macrophages then secrete another protein called vascular endothelial growth factor, VAGF, which stimulates the formation of new blood vessels or lymphatics which allow the cancer cells to spread to distant organs via the lymphatic system. This process is known as lymphangiogenesis. In addition, the cancer cells also produce proteins called matrix metalloproteinases, MMPs, which break down the walls of existing lymphatics, allowing the cancer cells to spread even further. Finally, the cancer cells also produce a protein called ETv4, which attracts neutrophils to the tumor site and activates the production of both VAGF and MMPs, thus accelerating the spread of the cancer cells through the lymphatic system. This article was authored by Chan Zhang, Sun Lu, Hong Jin Wang, and others. We are article.tv, links in the description below.


Hi, everyone. This is September 19th, the end of the trading session in the US. I'm Ms. Schneider, Chief Strategist of MarketGauge.com. Going to do another short video for you doing some short-term trading levels ahead of the Fed and then what could happen after the Fed. Of course, most people anticipating a pause and also some hawkish talk considering the rise of the energy prices lately. But be that as it may, we're going to cover the DAX, and then a few of the commodities that we generally talk about, oil, gas, and gold. So let's start with the DAX here. And I'm showing you a little bit of a different chart purposely because I want you to see the real motion indicator here. Very important. What you can always measure as price. What's harder to measure, of course, is momentum. And so we like to look for things like divergences. So in this case right now, where we saw our divergence was right here when it had a mean reversion. And the reason why I'm pointing it out is because it had a mean reversion to the upside. However, it never cleared that key 50-day moving average. And that is a key right now because you can see since it broke it here in August at the very beginning, it's tested it, tested it, tested it, tested it, and hasn't been able to get through it. So that's going to be your major resistance level to clear right now, figure 15,925 to round off. Now, right now we're getting closer to the support levels here. And if we go back to our little momentum indicator, what is really interesting here is the zero line. And the zero line is important because if I scroll back, we've been above that zero line since November 2022. So technically, we could say at this point, based on momentum, of course, we've seen ups and downs on that momentum. But overall, the momentum is still OK. And of course, we're in right now a caution phase, not a negative phase, but a caution phase, which means exactly that caution. So there's the talking heads and there's the charts. This is not necessarily look like the end of days, at least not at this point. So looking at this right now with all of the support that we have, even if we take this low and just slightly underneath the candles of everything that we've experienced as we've gone through August and now in September, look how really nice it actually lines up with that 200 day moving average. Move it down a little bit more and we've got 15,540. Now we're about 25 basis points away from that. So here, what you want to look at right now is where would we be more negative and where would we be more positive? To me, just looking very quickly at the charts here, I'm going to take a read of around 15,730. If we can get through that, then I would say there's going to be a good chance that we're going to get back up to that 50 day moving average where we can reevaluate. Underneath that 15,730, I think we're going to wind up looking like testing here closer to that 15,570. And then, of course, we'll be looking at what happens here at the 200 day moving average at 15,524. Now, just like the momentum improved here to a mean reversion, although the price isn't clear, what we'll also be watching for is if, indeed, this does break down in price under the 200, but the momentum does not budge under that zero line, then we might consider it to be oversold, but let's not jump ahead of ourselves. OK, moving on to the Nasdaq 100. Here is the cash index. And of course, this is the 50 day moving average in the 200. So once again, let's start with momentum. And we can see that where the price has really been swimming around the 50 day moving average, we convincingly broke the 50 day moving average really back here at the beginning of August. So it started to show the negative divergence of momentum and price just when the price was still really near the highs. That's how reliable this can be. So what are we gleaming from it right now? What we're seeing is that it's underneath the Bollinger ban. We are getting into some support at the lows that we had here, which is still pretty far away from where we're trading currently. But the lows in the momentum here, we're still somewhat above it here, although the price is actually deeper in a sell-off than it is here. So it's possible that what this is telling us is that from the downside, and certainly with volume being light, maybe the momentum is starting to decline. And when I say decline, I mean stop declining, sorry. And so that could mean that the momentum will start to improve. What we'd really like to see, and even though we've seen it a few times, which is getting back over the Bollinger ban as a mean reversion, we would need to see a mean reversion happening with some confirmation of price. So let's look at price. At this point now, you can just sort of see if you follow my cursor with some of the weak bottoms, but also the candle bottoms. Right now, $15,170 looks to me like a really good place to keep an eye out for it to hold. Above $15,170, I would say that your next place to really look at is going to be back up at this 50-day moving average at $15,330 just to round off. So that would be more of a positive bias if indeed the market comes in higher, or after the Fed meeting, we have somewhat of a rally. Then the next area after the 50, if you look at all of the resistance that we now have that used to be support, up at around $15,415. And just to show you, it's these bottoms and this top right here. I'm discounting these for now. And so far, that's worked out pretty good for y'all. So $15,415 to $20, it's hard to be exact right here. That would be the next area of resistance. So on the flip side, of course, if we do break down and we cannot stay above this $15,170, or let's even call it $15,180, if we open up below that, based on what I'm seeing in the momentum, then I do believe that we would see another move lower. Today's low, of course, was $15,058. We've popped from there, so there is some buying coming in. And that's a good area, because if you look at the body of the candle here, it's exactly where it stopped. So that could still be support, $15,050. And then if that breaks down, of course, the next area we'd really be looking at would be at $14,880 before we re-evaluate. At this point in time, of course, this is going to be affected by other indicators as well. Today they had an announcement, and this is a big one. I wrote a daily on it. Amazon is hiring 250,000 workers for the season, and they're going to be paying them US $20.50 an hour, which is quite high for temp workers. This wage inflation is something we're keeping an eye on. It also could be very interesting as Amazon's chart landed right on key support with today's low. Something to also watch, also maybe a lead indicator for what's going to happen with the NASDAQ. OK, let's move on to the futures market. So when we did the video yesterday on WTI, we said, obviously, 90 is going to be key, but that I thought it would stop somewhere around $93.50. And right now you can see that we got to $93.69.70.  Nonetheless, we did have a reversal there. So it was kind of a sense I was having that perhaps this was getting a little bit long in the tooth, a little bit too saturated, a little bit too popular, if you will. But now let's just take a look and see what has to happen from here. I love that the open and the close from this day and the low from yesterday all come in at around 90.68. So let's put that in our minds. As long as we hold above 90.68, then I think whatever today was might be a fake out reversal top. And we can continue to go higher. Through that 93.50, 94 level, of course, we're on our way looking at 100. A measured move that I talked about today on YAHO clients would be about 103.105. Under 90.70, 90.68, then I think we'll break 90 pretty easily. People really thought that was such a major breakout area. I always felt that 80 to 82 was the bigger breakout area. And from there, of course, the next real area of congestion would come in at around 88.80. And then, of course, as we get lower, then it would be more like 88. And here's 86. And of course, we're looking here at the October, not the spot month. So keep that in mind. When we talked numbers yesterday, the spot was a little bit different than the October contract. OK, let's move over to natural gas. I certainly have not changed my mind about natural gas, that I was actually looking to rotate some of the money out of oil, which we did yesterday, and more into natural gas. So we're long at about current levels. We've sat through some swings. But nonetheless, right here, 280 was my big number to start. So let's go with tomorrow. 280 is going to be, I think, a good area. Above 280, I've got to be more bullish. Below 280, maybe we have to take another fresh look at around this 272 level, which is the 50-day moving average before we start looking at 260. So what has to happen over 280? Then we're going to run into a little bit of congestion here around the highs, if you look back here, and then the opening and closing levels from this day at around 290. And really, it's when we get a close above this $3, and then apparently 310 would be even better. That would be your 200-day moving average. And a change of a phase. Right now, we can say that we're in this recuperation phase. It looks pretty good. The volume patterns today were more of an accumulation in that they beat the volume patterns from yesterday. And we're certainly going in the right direction. And finally, let's end with gold. So keep in mind the contract I'm looking at. So before we were looking at October contracts, we're now back into the December contract, because that's what we've been looking at at gold. What's interesting is gold is down a little bit. And just as I told you, natural gas is up on good volume. Notice the volume today is weaker than it's been over the last three days. So this doesn't necessarily mean very much to me more noise. But looking at our levels, we talked about 1955 as the key for it to close above. It got up to 1958. So let's adjust it 1955 to 1958. Again, more of a bullish bias above. Obviously, we have to get through the 1965. That was another area we talked about, in which case I think we get to 1980 fairly easily. However, of course, if the market gets spooked by the Fed, if they wind up raising, which would be a surprise, but if they do, or the dollar, which is still hovering around 105, decides to get a little bit stronger, then this might break that 1950, which, again, we could see an immediate $10 drop to 1940, and then eventually maybe make our way back down if gold is going to fail at around 1920. And remember, it is so important that you watch the gold miners. They reversed from the 50-day moving average to the GDX, looking at that, did not get through 30, as we hoped it would, instead of reversed. So we're still watching to see if it holds 28. OK, that's it for now. Thanks so much for watching. Hope you all have a great Fed Day. I'll see you again soon. Bye for now.


So, as we gather back together, I think I'm going to be sitting in for Professor Teresa Pallavi, who is under the weather today. She just arrived back from Kazakhstan and was not able to be with us for the second panel.  So as we begin with some of the more sociological aspects of translation and interpreting and some of the social justice aspects of it, some of the procedural concerns that go along with translating, this panel is primarily about craft and conception, which is very exciting to have an entire discussion around how to conceive translations, how to craft them, all of the kind of nitty-gritty steps that go into making a translation come alive. And for any of us who are working translators, this is one of the, one of our day-to-day issues that we always confront. So I'd like to give our panelists an opportunity to share some of their experiences with conceiving and crafting translations, but that's a question that we'll come to after each of them get a chance to introduce their current projects and share some of their experiences with you. So I'd like to start with Beppe Cavattorta, professor of Italian here at the University of Arizona. Well, I have worked on many translation projects since I came to the United States, and so on, hello, not my, that's okay. So I was saying that I have worked on many translation projects since I came to the United States in 1995, both from Italian into English and English into Italian. I would like to remember, I mean, I would like to go back to my first project ever that came about because of a request by an Italian literary journal for a long, to translate a long experimental poem written by Lurid, the work on the white side, Lurid, titled The Murder Mystery. It's an incident that can provide a good idea of my upcoming battle. This is the beginning of the poem. Relent and observe and inverse and perverse and reverse the inverse of perverse and reverse and reverse and reverse and reverse and reverse and chop it and pluck it and cut it and spit it, see it to joy on the edge of a cyclop and spin it to rage on the edge of a cylindrical minute. My main scholarly interest is in experimental language, both in poetry and prose and being able to render in another language the sound effects of the original along with this obscure content gave me the same satisfaction, I believe, since I'm not a poet. A poet feels after finishing one of his poems. After that, translating has always been part of my scholarly work and I kind of remember a period of time I was not working on some translation project. I definitely feel more comfortable when translating from English into Italian and in addition to Lurid, I've published translations of several American poets, among which Paul Carroll, Kenneth Irby, Bernadette Mayer, David Lemon and Stan Rice. On the other hand, I have to say, my main translation projects in order to make more Italian literature available to the Anglophile world have been from Italian into English. The most ambitious one was the translation of what can be called the most experimental, the most language-conscious novel in Italian literature, that is the Portal by Adriano Spatola, a novel which defies any accepted notion on what a novel should be, where its main character is born and dies several times, where he is just, and I quote, a body made up and living solely by the unique force of adhesion of the letters that make up his name, where punctuation, rather than playing the role of explanatory clarifier, serves as the bearer of the rhythmic scansions, where it is possible to observe an anti-deterministic evolution caused by the shifting of interest over language rather than to the denomination of the plot, the plot that Spatola calls a catalog of mannerisms of rapes. Just to give you an example of the problems encountered in the translation, I chose a passage in which both words, hybridization, and sound play a major role. In this passage, we see Guglielmo, the main character, kneeling and praying. His prayer in Italian reads, di esu, di esu, proteggi tu. Translate easily into protect us. Where the name invoked, di esu, is the hybridization of the Italian word dio, god, and jesu, Jesus. The Italian is characterized also by the sound effect created by the rhyme, di esu, di esu, proteggi tu. This is the best I could come up with in order to save both effects. Guglielmo, with his charred face and hard-boiled eyes, Guglielmo calm in the mud like a corpse awaiting the sleeper car at the train station that will take him back to where he was born, where he has lived, where he has had the purest joys of his life. Guglielmo on his knees, Guglielmo hands together praying. Lord Jesus, Lord Jesus, deliver us from evil. I'm sure that, I mean, many of us may do something, I mean, a better job than this, but this, again, a translation I believe is not ever a final. This is my translation of the work. A lot of possible different translations can be given when sounds, when experimental language is involved. It took a long time to finalize the translation, as you can imagine, but it was definitely worth it. It generated a great interest in the United States, an expert of it had been reissued in some of the most important literary journals, both in the United States and in Canada. I have several projects on the table right now, some of which are about to be finalized, and others just in my head. One of them involves an author from Sardinia whose writing can be described as a hybridization between standard Italian and Sardinian, not a dialect, as you know, but a Roman language itself. Like many of the authors I worked on, Adzene is one of those writers that is not easily labeled, unflinching in his strangeness from literary clicks. A loner, and as often happens, almost forgotten, because his work with no support from the literary establishment is easily cast aside. Before giving the word back to my colleagues, I would like to conclude with one last text I translated, which Adzene openly declares war, one that is fighting alone outside any group of school without the need, or most importantly, the desire to be part of one of the many gangs that often gain ground to the strength of the group itself, praising one another without having anything new to say. Adzene does it his own way, creating, I believe, one of the most beautiful oxymorah of the last few years, the banda individuale, that is the one man gang. He writes, life is a war for gangs. No news there, and nothing wrong with it. It becomes a condemnation if they forbid you to bring forth for love and worship of the leaders the solitary war, to be your own one man gang. And again, this is maybe also a situation in which we would translate find ourself when we are looking into a publisher to accept our work and print it. Thank you. How's this one working? That was great. All right. Hi, everybody. My name is Wendy Burke, and I'm a poet and a literary translator. And I work at the University of Arizona Poetry Center. I'm the librarian there. I actually share a lot of the concerns I'd say that the first group of panelists brought up. I got my start a very long time ago as a volunteer interpreter in a hospital. And that experience has stayed with me as I've moved towards literary translation.  And with one important exception in my life, which has made my current project possible, I find that my work as a translator and as a poet takes place outside of my nine to five job. And well, I think of it as a profession very much. I recognize that it's a largely unpaid profession for those of us who translate poetry, which I think is interesting for our discussion. I've worked with the poet Teri Lopez Mills since 2004. She's a contemporary poet from Mexico City. And she's also an essayist, an editor. And she herself is a translator of English, US, and French work, largely poetry. I actually met her here in Tucson when she was reading for the University of Arizona Poetry Center. And I had the chance to translate a selection of her works for the occasion of her reading. Since then, I've translated work from nearly all of her books, except the first one and the most recent one. All of her books of poetry. And we work very closely together in this process, which is especially nice because she herself is a translator whose experience far outstrips mine. I received a 2013 National Endowment for the Arts Literature Fellowship in translation to translate Teri Lopez Mills's eighth book, Contra Corriente. So this is the very important exception to my largely volunteer career, for which I really want to thank the NEA. Contra Corriente was published in 2008. And for me, it's Teri Lopez Mills's most difficult book. It consists of poems with extremely long lines. And each poem is one single long sentence that is brought together with commas. And then there's a period at the end. And a few colons and semicolons in the middle. But each poem is one long sentence that is lettered after the letters of the alphabet. This form evokes the central trope of the book, which is that of a river. It's an urban river, however. And it carries along all kinds of debris, trash, as well as treasure, I'd say. This is also personal debris, history, memory, fragments of the self, fragments of literature. And it's also a physical river that is impacted by the load of trash, the oil, the metal, the plastic bags that are carried along with it. When I started translating as a student, this was about 20 years ago. And I was told that, well, you should try translating. It will make you a better student of Spanish, which is my second language. And then a few years later, I started studying creative writing. And I was often told that translation would make me a stronger writer and a poet. You should translate, because it will strengthen your own writing, too. And these are both true, but I would say that the strongest benefit or one of the two strongest benefits of translation for me is making me a better reader. Translation helps me to slow down and pay attention and to read deeply like very little else does in the very busy lives that I'm sure we all have in common. The other major benefit is to teach me how much I have to learn. And maybe that's just as important. I feel that with every poem that I translate of Teddy Lopez Mills is I realize how much help I need in every way. And surely that's a benefit to me as a scholar and also as a person. I know that one of the topics that we'll talk about later today is collaboration on this panel. And I think that notion of interdependence, of never having all of the pieces of the puzzle, has been enormously interesting and beneficial to me. My name is Phil Gabriel. Can you hear me? Is it working OK? All right. And I don't know. I always lug around these books. They're for sale out of the back of my car afterwards, but recent projects that I have, I just like the materiality of books sometimes. One was, this one is called, in English, 1-Q-8-4 by a writer that I've been working with now for 25 years, Haruki Murakami. And this book was translated, rather written, in Japanese in three volumes. And the publishing history is different from what it was in the United States. Murakami has done this twice, where he publishes two volumes, actually pretty massive volumes. This is one and two in Japan at the same time. And then people are not sure if the story is over. And critics write articles saying, well, I think it's over, but he sort of leaves it hanging, which he likes to do. And then exactly a year later, he publishes a third volume to wind up the story. And I ended up doing volume three of this book. But in English, it's published, I mean, there are many things that are different about it. It's published in one volume all at once. In England, they tried to be a little tricky about it and published book one and book two separately. And then a week later, they published book three, not a year later, but a week later. So it was kind of a nod to that. But as my co-translator, Jay Rubin, said the title itself already is hard to translate.  They read it as IQ84. It's one Q84, but the Q in Japanese already is not translatable or is difficult because it's a homonym for Q, which is nine in Japanese. So each Q84, meaning, so it's 1984. Anyway, so we're already losing or having difficulties there with translation. And my other project, a recent book, was this one. It's called Villain in English in Akunin in Japanese. It was a one by a very big Japanese novelist called Yoshida Shuichi. And somebody commented on how the, I don't know if you can see the design. This guy, Chip Kidd, who does all the designs for this company. He's a big designer. They said, can you see this? This is supposed to be a gun made out of human bones, like a skull and bones and things like that. And there's actually someone pointed out that, yes, there is a murder in this book, but there's no bones and there's no gun. So did this guy read the book? We're not sure. But anyway, it's an interesting design. Kind of a murder mystery. And I'm just finishing up a third book, which has an easy title to translate. And they even give you the English here. Got a kind of scary title, Genocide. This is the way it's written in Japanese, but it's just pronounced genocide. And I like to, I mean, I've done Murakami Haruki for, Haruki Murakami for many, many years. And I like to keep up with his work and translate that pretty regularly. But I'm also looking out for different writers, new writers. It's one of the joys I find in translation is to take somebody who maybe is pretty well known in Japan, but is just totally unknown here. And try to weave my way through the tracks of agents and publishers and editors to finally get an agreement and get it out in English. Sometimes what happens is this actually very great book, Villain in Japan, sold 2 million copies, made into a great movie. And it just was not marketed here. And they just sort of let it die. And I mean, I went to bookstores and I couldn't even find it. It was kind of sad, after all that work, right? But there's always Britain. Britain, they publish simultaneous versions of it with different covers. And so I was talking to the editor here and she said, well, it hasn't done that well here. And but in England, it sold 25,000 copies in one month. And I said, wow, how is that possible? And it just turned out that a chain, something equivalent to Target, I guess, had picked it up for his book section. So all throughout England it had. So they'd sold it in the sense of the books being on the shelves, not necessarily sold to people. But there was interest in it, it was more interest in it. So drumming at interest, marketing, getting the books chosen and published, how are they chosen, which authors make it, which don't, all of these are big issues. One person who, in our field in Japanese modern literature, about 20 years ago wrote that in America there is an unlimited consumer desire for Japanese products, but there is a quota every generation of imports in literature may be limited to two at most Japanese writers. That means that only two or three actually break through and become, not household names, but they become recognized, they become regularly published and reviewed. And so in my generation, it's definitely Haruki Murakami. This writer has achieved that. And he has a new book coming out. Working with him is becoming a little bit like working for a spy organization in the sense that I received the galley proofs, the first galley proofs back in December and was told not to reveal that there is a book in existence that's going to be coming out in Japanese. Then they said wait for the announcement in Japan that the book actually exists before mentioning that. So people around here were asking, what are you doing? And I'd say, well, I can't, I'd love to tell you, but. And then they announced that the book exists and then they announced that the book has a title and they announced what the title was. So that's where we are right now. But yesterday somebody asked me, what's the book about? And I said, April 12th it's published in Japan and then everybody will know. But I don't know why they do this, just to build anticipation I guess in Japan. But anticipation is building in America for his work. He's really become a well-known writer here. And what really gets me most excited is to see, for example in my graduate, well mixed graduate and undergraduate class, MFA students coming in who, to take a class on Murakami, they don't really know much about Japanese literature. Maybe they couldn't even name any other Japanese writers. But at least one has broken through that barrier and has become more than just a niche foreign writer but has become somebody that people who love literature are aware of in our reading. And to have played a little role in helping that happen is, to me, is a very happy thing. So that's all. Thanks everyone so much. I think we're really in the thick of it in terms of the next topic being collaboration. Wendy's reminder that every poem she translates reminds her how much help she needs. That's a beautiful thought. I think we had a literary master class with Professor Aron Aji who's in the house somewhere I think. Yes, oh Aron, wonderful. Anyway, so one thing that he mentioned was this concept that is source language, that there's no source language, target language as much as there is a host language and a guest language, I think that's the, and that those languages need to collaborate with one another in the process of translating. So we have, I remember my earliest image of a translator was of a 74 year old woman on a high backed couch alone in her apartment smoking a cigarette and having kind of food delivered to her when she was able to take a 15 minute break from translating. So that kind of vision of the solitary translator and of course what our guests have demonstrated very clearly is that there's a great deal of very intricate collaboration that goes into producing and conceiving these works. So maybe Phil mentioned espionage almost, collaborating with the non-existent, non-released book. So I wonder if you could, yeah, conspirator, right? So what are some other modes of collaboration that come up in your work, whether it's multidisciplinary or working with authors or working with co-translators and what could you share about those experiences? Well, since I work on most of the time, let's say on living poets, it has come about that I had the possibility to work with them and I would say that sometimes it is a blast but sometimes it's also a huge problem, especially when the poet maybe doesn't know very well the languages which he's translating and you begin fights on little things that the translator cannot accommodate at the very end unless he wants to change completely to what was the original work. Besides collaborating with other, I believe that for me it's very important to collaborate with people that has a clear and precise feeling of English. After, I mean, I completed a translation, I mean, always I have, I mean, I'm lucky to be friend with a lot of American poets and with translator who actually works and no Italian. So I mean, before publishing anything, I feel the need to send them there and signal the problem, signal when maybe there is too much Italian into my English in order to perfect what it has been done. And I would like just say one more thing, it is very important, I mean, I think that collaboration is extremely important and translation is really important and I use that in my class. I teach a class on the Italian resistance in which one of the project for the student is to translate short stories that we read together. After they do their own work, I put them together and they have to negotiate at the very end with their own translation to come up with what is the best translation possible using their translation. This makes, I would definitely agree, it makes them better reader. They are able to get a better grasp of the language and sometimes it brings very good things also for the instructor. My last translation that was published is actually a project that I did with one of my undergraduate student that was here before, but I don't see her anymore, an undergraduate student, Brenna Ward, and we worked together for all year on a long poem that was just recently published and it was great for me to hear what she felt, what she was able to take out of the poem and I hope it was great for her to listen to my input. And the final work, I think it was at the end a good one. Well, I had a kind of interesting first experience with this new book, 1Q84, which was the first time that I translated a novel with another translator and people ask us how closely we worked, we didn't really and I feel sorry for the editor because until the very end we just did our own thing separately. We're very good friends, but we were so busy just doing our parts of the translation and there was some pressure to get it done fairly quickly and the editor at one point said that she wished that she had two brains because she was kind of going crazy trying to take his version of the story, parts one and two and then my version of part three, which were done, as I said, kind of separately and put them together. So she sent off this master list of words that we had, word choices that were different and they're just some banal ones like I think I chose veranda and he chose balcony to describe it throughout the story so all those things had to be reconciled. But we got to the point, fortunately, like you say, working with living writers, my experience has mostly been pretty positive. They've been very generous with their time and Murakami himself is a translator of American literature. So I think that really helps that he knows the ins and outs of translation and it's very sympathetic to the translator. So there were times toward the end where we sort of dug in our heels on our word choice, the other translator and myself. There was, and then we had to consult the author and get him to be the referee really for that. There was just one that I remember that was it's bozu atama in Japanese which basically means that your hair is cut very, very short like a priest, like a Buddhist priest. I had an image of the guy as kind of scary and a right-wing guard type for a cult is what he was and I called him skinhead. He had a nickname, bozu atama and so I called him skinhead throughout and my fellow translator had gone with buzz cut. So we asked the author because we both liked our own version and the author said well, I was thinking more of a military, militaristic image for this guy and so I think buzz cut maybe works okay and since he was a translator himself and I think had given it some thought, we decided to go with that. So there were lots of little things like that but you really learn, it goes back and forth if you're doing, if there are two translators, I learn a lot from the other translator and admire some of the choices that he makes and hopefully it worked the other way too. But the editor has a tough time in some project like that and in the hardbound there were still some mistakes and things that got by her and they were, I just got the paper back and I hope they're corrected in the paper back. So like Japanese doesn't have a single or plural often and so there was a major figure who spoke of a religious cult leader who spoke of hearing koeh which could mean voice or voices and I translated as voice and the other translator did it as voices and I'm almost afraid to look in the paper back to see whether she, she promised she was gonna correct those but we had that major difference of sort of a view of this cult leader and his religious views but that's the sort of the major experience I've had in collaborating. I was very interested to hear that you translate both ways from English into Italian and Italian into English and so you're having about equal experience with that or? Again, I think that it's much easier for me to translate from English into Italian because I mean, I don't know, I have the feeling of the rhythm of everything that would be involved in Italian poem. When I go into the English again, I need to have somebody to tell me you are doing the right thing before I publish anything. Well, one way or another we always need native speakers as collaborators, I think. I mean, I'm not confident enough to send out a translation without asking all my question marks in the text to go back with a native speaker and double check or maybe multiple native speakers, yeah. Well, like both of you, I work with a living writer and so I also have the opportunity to communicate frequently and collaborate with Teri Lopez Mills and it's a really great experience. We mostly keep in touch by email and there's a wonderful feeling of being able to ask just about anything and as you said, Phil, it's very fortunate that she herself is a translator and it's interesting how we get into questions of translation and we're able to each see what our own strengths are, what is easier for me to translate harder for her to render in English and easier for me to say, oh, I know what you mean and then other things where because I'm not a native speaker of Spanish, I may see a phrase that's not that uncommon but is unfamiliar to me and I do a corporate search and try to find out what exactly does this mean and I may have limited results whereas of course she can just tell me, well, it's this. There you go. I'm actually also interested in other forms of collaborative translation though and one of the ones that I came across quite recently, I guess you could say it's what the Argentinian poet Lila Semborein called collaboration with myself, self-translation. Probably something that would give most of us pause, you know, translating one's own work but I've been editing a special issue of a literary journal for which it's an issue that's collaboratively curated so each writer that I invited to contribute to the issue also invited one other writer of their choosing and we have interesting scenarios where one of the poets is translating another one of the poets in that issue and is also translating his own work and in fact several of the poets in the issue are translating their own work and I became fascinated by, this sort of goes back to my earlier comment about what's difficult, what's easy. I was fascinated by what things are more difficult for a writer to translate in their own work and also what might be easier. I am starting to get this feeling that while it's certainly true and this is one of the reasons why we're cautioned not to translate our own work maybe that it's just a much smoother experience to translate into one's own first language for those people who would say that they have one first language. I would say that there's some kind of richness or interest or complication that I really enjoy because the writer of the piece knows something about the piece that no one else does. But of course this is kind of a conundrum because there's also certainly the reality that the readers of the piece know something about the piece that the writer doesn't. So I became very interested in that. Other ideas that engage me with collaborative translation are chain link translations, taking one work and translating it into another language and then another language and another language. We did this at the Poetry Center when we asked four poets to translate each other's work into their first languages. And in some cases one of the poets translated the work out of her first language and into her second language and then another poet translated that work out of the poet's second language into his own second language. So fascinating to me in the way that was discussed in the first panel with the Islamic text which had traveled throughout the years. You can actually travel in really a very, very long way even just in a group of three people like this talking together. I think one very lovely concept that came from Mary-Louise Pratt and some other who's theorist is the traffic and meaning and these chain link translations, traffic and meaning, they move meaning from one place to another. And I think one thing that I've noticed is that over the past 20 years platforms like Google and Microsoft's global or go global platform, they now do automatic translating for most products, for most software items, texts in the broadest sense. And they've really kind of taken that responsibility away from what used to be the university and diplomatic sphere and vernacular practices of translation. I'm kind of curious whether we're also talking about a kind of ethics around translation. Does translation embody a certain kind of ethics? Maybe translation practice in some senses is the new critical thinking of which we talked about so much in the 1990s. What would it mean to frame curricula or university units around translation as a practice? I think the reason why I've been thinking about this is this morning at our literary masterclass it was pointed out that as a translator you do not have the option not to translate something. You can't skip over anything. You can't take a holiday. Nothing is allowed to be translatable if you're a translator. And that practice of having to make a decision as part of both the craft and the responsibility of being a translator I think could be generalized into a lot of different educational spheres. So is there a kind of ethical core to your own translation practice? I don't know, I just jumped into this panel. So I'm making a couple of questions. I was thinking of the translator as editor also because then the editor has to make certain choices. A lot of the texts that I work with, let me put it this way. Japanese editors don't edit the same way as American editors do. They're very light in editing, especially with famous writers because famous writers in Japan do not publish with one publisher as they do here. It's a big deal here when a famous novelist changes publishing companies. But in Japan, like Murakami regularly publishes with four different publishers. So in order to get in line and get their book in time from him, they sort of treat him with kid gloves, I guess you'd say, and that probably goes for any writer. So what you end up with is a book that the author has edited but the editor has perhaps only lightly edited according to our standards. So when the book, the text is brought here and given to the translator, I don't know if you'd say ethical choices but you find certain things going on in there that need to be addressed. And for example, many books in Japan are serialized. And when they're in magazines every month, let's say, or a weekly magazine, there's a lot of repetition. You know, you forgot who that guy was from last month, right? So let me tell you again. And when that's collected into one volume as a single novel, a lot of times that's not always edited out.  They certainly don't want the translator to hand them something as is. So you have an ethical choice there of actually editing and maybe you said, we have to translate everything. Well, sometimes we have to cut or consider cutting certain things because we know they're just, they don't work in our system of telling stories. But in Japan, it's fine. It's accepted. And so that kind of, I don't know if it's an ethical choice, and then also confronting mistakes in the original. I don't know about mistakes in poetry, but factual errors in long novels, we find this fairly often. And what do you do with that? One time I remember with Murakami, he had his character say the equivalent in Japanese of I think therefore I am. And didn't Pascall say that? And I said, well, I don't know philosophy, but wasn't that Descartes? And he said, oh yeah, I think you're right. And so I said, well, I'm changing it in the English. And he said, well, thank you for pointing that out. And then when it was republished in Japan, it still said Pascall. And so there's those kind of things. There's what do you do when you confront an error in the original? I mean, there are gonna be errors in our translations if you do a long work, but if you confront one there, how do you translate it as is and make the author look a little open him to the risk of looking wrong or silly? I don't know if that's ethical decision, but so translation plus, translator plus being an editor at the same time is something that I have to work with a lot. Phil, to what extent is that? Editing responsibility formalized, if at all, is it something that you negotiate with a publisher when you're preparing to translate a book or is it kind of unspoken or does it happen sometimes after you've produced a first draft and then you communicate with the editor and the necessity arises? Well, first I communicate with the author to make sure that the author is aware. I don't wanna give you the impression that these books are riddled with mistakes, but especially that issue of overly repetitive things in serialized novels really needs to be addressed and the editors here are very heavy handed sometimes. They wanna switch, I mean, in one book of mine which is still sitting at the publisher because the editor and the author got in a fight, the editor wanted to literally take like chapter three and make it chapter two and chapter two and make it chapter three. She said the chronology doesn't work here and I said, well, you know this one, the equivalent of the Pulitzer Prize in Japan, I think it worked for somebody, and but they didn't buy it and so it's still sitting there about two years after I finished it and yeah, I don't know the collaborative, we're sort of in the middle, I feel you probably feel that too between the author and your publisher or your editor and we're sort of the one who often is called upon to see both sides and negotiate two different viewpoints that is sometimes mutually exclusive but it leads to some interesting things. It's sad when books are published or are translated and just sit there. Short stories I can live with but a year long project to have the book just kind of sit on the shelf is kind of sad. Do you ever hear about the second generation translations? Have you ever heard of that? Where they take an English translation and translate it like Japanese into English and then English into another language based on the English version, that happened to me. Well, I didn't even know it was happening, it was in German and the first novel of Murakami as I translated South of the Border West of the Sun, the German edition was apparently translated from my English version, which doesn't make any sense. There are lots of German scholars who can translate Japanese but that's what happened. I had no idea or suddenly got this flurry of emails from German scholars and grad students saying, do you approve of this? Do you think this is a good idea? And I guess that's kind of an ethical issue too. And I said, I had no idea. They were doing that and no I don't approve of it. It's something that sounds like what happened in the 19th century but not in the 20th or 21st century. Well, I just wanted to go back to finding mistakes or supposed mistakes in the original text because it is true that I work mostly with living poets but the main experimental moment in Italy was during the 60s and now some of them, some of those poets are not anymore with us. And also in that period there was an opposition toward establishment. So many books were self-published at the very end and not curated very well. So I mean, sometimes you find a lot of typos in those but on the other hand you are dealing with poets that are interested in experimenting with language. So sometimes you find yourself in front of a world in which there is just a vow of change to give maybe a different meaning but wanting to maintain at the same time the world that is there. And at that point it is something that you have to make a decision about. What the poet wanted to do. And I don't know, in translating this kind of poetry, I mean with poetry I think it's pretty easy at the very end. I mean, you can end up adding an out explaining what the problem was and what was the decision of the translator and leave it open for anybody who's reading to make their own decision about that. I also think about ethics a lot. And I think part of that just comes from the fact of being a US poet living in Tucson translating the work of a Mexican author. It's just there right from the start in everything that I do. But I also think about ethics in the sense of the way that poetry is, it's really context rich and context differs from culture to culture from place to place. And even though the US and Mexico we're right next to each other, we share. But obviously there's a lot of differences in our context especially Tucson to Mexico City. And so there are maybe expressions that are reading one way in the original that I think, okay, how can I make this work in a translation so that it will give the right feeling and be true to the original but it will also fit the context of a poem written by, or rather read by an English speaking audience in the US. How can I make it fit? And there's this whole idea of well, is it good to leave it just as it was because this is how it was written. And even if this might strike someone as strange or off or different, well that difference is really all part of what we want to do or since this is a contemporary poet, a living poet whose work will be read by her peers or contemporaries, other poets who hopefully will be influenced by her work, is it better to produce that work so that it fits better the context in which it but will be read. One of the things that I think is kind of funny is that in this book of translations that I'm working on for Contra Corriente, I told you it's about a river, it is really rich in symbolism and a lot of the symbolism involves animals. So it's really not all that often that you read a contemporary poem by a person in the U.S. that has roosters in it. It's like roosters does not a commonly used word in contemporary U.S. poetry. Don't know why, but it's not. And so when the poems are populated by roosters and mules and cows, in addition to plastic bags floating down the river and little bits of trash and oil floating on the surface of the water, so you're like, okay, well, this is gonna maybe strike U.S. readers as strange. Not so much us maybe because we're familiar with the contrasts that are present in urban life in Mexico where you may be living in the biggest city, Mexico City, and yet someone in a neighborhood nearby keeps cows or has a lot of chickens. And so what I think is funny about that is I know that that's actually changing because a lot of people, including myself, now keep chickens.  These things are kind of changing over time. And so sometimes I just say, well, all right, this is difficult, but it's going to work itself out. As our place, as our context changes, maybe it's just, maybe I'm overthinking this. Maybe I should just let things be, let them flow as it were. I feel a little bit remiss that we haven't asked you to bring in on any of these questions. Does anybody have a, yes, I see a hand. I'm gonna walk over to this gentleman with a microphone. Thank you. I actually have a couple of questions. Now, you mentioned that some Japanese novels are published first in serialized version. And then they, of course, amplify the narrative with characters and descriptions. May I assume that when they, are those novels then subsequently published as one volume? They're subsequently published as one volume. And when they are, wouldn't the author also edit those passages out? You would think so. But I find still the, I mean, usually I get it when it's in one volume. So I don't really go back and compare the serialized often with that. Sometimes if I get the original galley proofs, I can see. But I just think that there are probably more editing that needs to be done before it reaches our shores. I mean, to be acceptable. I'm starting to, with quite a few years of experience, to know or anticipate what the editors here are going to say and think. And I know that when they see those kind of things, they're not gonna say, oh, that's a very interesting process that the Japanese go through of not editing those out. And let's leave that in. They're never gonna say that. They have pretty strict rules. And they, like I said, they're pretty heavy handed in their editorial approach. One other thing I wanna be, you're a little example of, in a work of fiction, yeah, the first novel that I translated of his is called South of the Border, West of the Sun. And very big part of this novel was a vinyl recording of Nat King Cole singing South of the Border. And first of all, many Japanese readers wrote to Murakami, who was a big jazz guy. And they said, excuse me, Nat King Cole never recorded South of the Border. And he said, I asked him about this too when I was translating. He said, it's fiction, you know? I know he didn't do this, but that's just part of the story. So yeah, you have those elements. I think that's when you need to communicate with the author and see what the intention was. So certainly in a book like that, I would not, I would not change it, you know? I have a question for the thing. In the, I was interested, being interested when you said that you translate from English to Italian and vice versa. There was a time, I don't know if that would be true, where you were not allowed to translate from a language into a language that was not your own. Those were the regulations that the UN, when I was working at a translator in my former national, you know, they were not allowed to do that. And I thought, you know, regulating the translation for questions of power. And I want you to, you know, tell me what you think about that. Do you want to know about my experience? Yeah, yeah, because the claim was that you would translate from this, by translating from the foreign language into your own native language. So do you find? I find that, does my microphone work now or? I'm coming. Well, I think that, I mean, as I said before, I am definitely much more comfortable in translating from English into my own language. It comes easy, I can work very well with the traditional structure of Italian poetry with the nuances of the language. When I do vice versa, I mean, I have some of it, but no matter what, I mean, every time I have published something that is a translation from Italian into English, I either publish the translation with somebody on my side working together to the translation or at least having somebody that I trust, most of the time a poet, most of the time somebody who also speaks Italian to check that everything I was doing was the right way to do it. I think it is, I think it is, I mean, I've known a translator that are totally bilingual, that actually write poetry both in Italian and in English. But I know that these people, no matter what, when they do not write in their own, in their primary language, they will, I mean, these people I know will go back to a native tongue to ask if everything is fine. So, I mean, I don't know, maybe there are people who feel totally comfortable if we go into publishing without having anybody to consult their work, not in my experience though. If I could just add to that, I think there's an important trade-off that maybe we don't recognize when we talk about the importance of translating into, and I say we, I don't mean that I talk about this, but the importance of translating into one's first language or primary language. And I think that we, as a whole, just as Irene said, this is something that's talked about and often is accepted as a truism, right? But one advantage that we have if we're translating out of our primary language, translating a text that is in our primary language, into another language, is that we are better readers of that text. And that's not always taken into account, I think it's maybe more taken into account with interpretation, particularly forms of interpretation which accurate understanding of the source message is just essential as in legal interpretation. But the same, you could say for literary translation too, that I know for myself when I am reading Spanish and translating into English, I can do maybe a better job in the text that I produce, but I do have much more difficulty being absolutely 100% sure that I understand everything that I'm reading. Of course it's poetry, so who could really say? But. I think this kind of goes to the core of the issue. I mean, some of the, I found recently some of the most vigorous thinkers about translation are those who translate into their second or third language. Or as Aron Agis spoke of this morning, translating into English as a second language. That you can do that as well, that that's a possibility. And in my own translation class yesterday, we translated a Langston Hughes poem, Mother to Son into German. Most of the class are non-native speakers of German or non-heritage speakers. And the decision-making, the emotional, kind of affective practice that is involved in translating a text like that with its dialect, with its oral quality. It requires of a non-native speaker of that host language a great deal of fortitude, I would call it, and I'm wondering whether we will hear a little bit more about that.


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