Perhaps out of woman's contact with the advance movements of the world there will in time arise a more honest and courageous womanhood, devoid of petty shames, which shall be able and willing to contribute to science intelligently the deepest complexities of woman's emotional nature. . . . The book of the woman is yet to be written and it remains for the woman to do it who is able and brave enough to strip herself clean to the soul; to know herself and let herself be known.
 While her brother has often learned all the slang of the street before adolescence, the conventionally "decently brought-up" girl, of the upper and middle classes, has no terms to define many of her sensations and experiences. When she marries, or meets her first lover, she learns a whole new language, and often this language has been defiled in the mind of the man who teaches it to her, long before they met.
—Stella Browne, "The Sexual Variety
and Variability among Women" 2
The early years of modernism's development in England and America witness a lively public debate about sex in which women play a leading role. As the epigraphs from sex reformers Margaret Sanger and Stella Browne suggest, modern women concur, despite other disagreements, that their time has come to "speak out" about sex, to re-present female sexuality. 3 The new science of sexology is central in the debate: leading male sex reformers, like Havelock Ellis, are sex scientists; leading female reformers, like Sanger and Browne, adapt sexological arguments to their causes. 4 Yet as the quotations also indicate, these women understand well that language, as the scene and material of conceptual change, enables and constrains reform. They choose to speak women's sex, to (re)construct female sexuality for a new century through language, but the sexism inherent in available discourses of gender and sexuality necessarily conditions, limits, and problematizes their efforts. One goal of this essay is to understand better how writers like Sanger and Browne give voice to female sexuality using languages they perceive as fundamentally deformed by established sexual relations and social institutions.
At the moment this public debate on sex reaches a fevered pitch, World War I significantly reconres sexual and power relations between women and men (at least for a time), even as it reconres the various literary movements and practices of the prewar avant-garde. 5 Two exemplary texts—Love Songs to Joannes (1915-17), a controversial work of avant-garde poetry by Mina Loy, and Married Love , a celebrated work of popular science by the birth control advocate Marie Stopes—illuminate how self-consciously modern female sex reformers respond to these wartime transformations while negotiating the complexities of speaking women's sex in the languages of the moment. My decision to consider as case studies a work of avant-garde lyric poetry and a work of popular science is intended to elucidate further the crucial role the discourses of lyric and science played in what Michel Foucault calls the "scheme for transforming sex into discourse," the "complex deployment for compelling sex to speak." 6 At the start of the seventeenth century, Foucault argues, lyric poetry becomes a leading genre for "the nearly infinite task of telling" about sex (HS, 20). Later, in the nineteenth century, modern medical science joins the process, principally, Foucault contends, through a "biology of reproduction" and a "medicine of sex" (HS, 54). More specifically, Loy's Love Songs and Stopes's Married Love clarify how women's writing during the World War I, whether literary and avant-garde or scientific and popular, articulates female sexuality by mingling lexicons of science and literature, intellect and sentiment.
At first glance, however, these texts appear incompatible: Love Songs is aggressively avant-garde poetry often interpreted to express, as Carolyn Burke has pointed out, the radical aesthetic and sexual doctrines of free verse and free love. 7 Written by a notorious "modern woman," the provocative Love Songs appears in Alfred Kreymborg's avant-garde little magazine Others, which was conceived of as a more radical alternative to Harriet Monroe's Poetry. Initially decried and derided as degenerate and pornographic, Love Songs is deemed "erotic and erratic" (New York Sun, 21 August 1915), "swill poetry," and even "Hoggerel" (New York Tribune, 3 July 1915). 8 Married Love, in contrast, is a self-consciously popular marriage manual written in a sentimental "poetical-soulful style" that expresses aggressively normative conceptions of bourgeois respectability. 9 Authored by a respected paleobotanist, Married Love appears in wartime London to broad approval: in the first two weeks after publication, it sells two thousand copies; during the next nine years it is reprinted in England eighteen times; within the next two decades readers buy over a million copies (SP, 188; "FR," 137; WI, 366-7). 10 Recent scholars judge it "one of the first modern bestsellers," a "literary landmark," and "the most-read book on sex of its time—perhaps of any time." 11 Despite these differences, Love Songs and Married Love actively participate in the spirited sex reform debates of the time. 12 They "speak out" about the facts of sex, especially woman's; they link "contradictory strands" of the prewar sex reform debate; and as modernist texts they develop new idioms of female sexual experience by adapting established vocabularies, conjoining in different ways scientific and literary language. 13 Both texts should therefore be understood as important artifacts of modernism that participate in the effort to liberate sexual language from the allegedly repressive social and linguistic regimes of Victorianism. 14
The texts of Stopes and Loy are also noteworthy as feminist political documents because they move beyond the polarized arguments of British feminism in the immediate prewar period. Legislative efforts to respond to a perceived rise in child prostitution and the forced traffic in young girls on the continent, the so-called white slave trade, provoked a heated debate among feminists (SP, 86; DS, 126-7). Advocates for "social purity," led by radical suffragettes like Christabel Pankhurst, stressed women's "celibacy, evolutionary superiority and the power of human love" (DS, 138). As Kathlyn Oliver, a self-proclaimed "suffragist" and "feminist" argued in a 1912 propurity letter to the Freewoman,
in sex matters it is surely indisputable that we women are miles above and beyond men. Some men would have us believe that their laxity in this matter and their inability or lack of desire to restrain or control their lower appetite is a sign of their superiority, but to me it only proves that . . . they have still a long way to go before they are really emancipated and evolved from the lower animal. But, alas! they hug the chains which bind them. 15
But as social purity supporters imagined themselves to have evolved beyond the constraints of animal instinct, libertarian advocates of a "'new morality' of free sexual unions," such as Stella Browne, Dora Marsden, and Rebecca West, countered that the "White Slave Act," would restrict "individual liberty and encourage . . . prudish self-satisfaction" (DS, 146). As Browne argued in a 1915 lecture to the reformist Society for the Study of Sex Psychology, "These cold women generally have a perfect mania for prohibition as a solution for all ills. But surely, we do not want the new world to be built up only of women who have long ago forgotten what sex means, or who have never experienced strong sexual emotions, and regard them as a sign of grossness or decadence." 16 If Browne refutes Oliver's implication that sexuality is only a "lower appetite" with a defense of female sexuality we might approve, she also exploits the antifeminist stereotype of the spinster, which was deployed effectively during the period to thwart feminist efforts of political reform. 17 The quotations of Oliver and Browne also make clear how polarized British feminist discourse had become just before World War I. Loy's and Stopes's texts, by bringing together arguments of social purity and free love, resist certain oppositions of the debate. Both writers reform these arguments by altering the languages in which they were framed. Their efforts to move beyond the oppositions of purity and free love by combining strands of both are enacted formally in attempts to unite antagonistic, and differently gendered, vocabularies of sentimental love and rationalist science. In pursuing this formal strategy, Loy's Love Songs and Stopes's Married Love make the discourses of literature and science work intimately together. Their efforts to modernize gender by rewriting sex illuminate an important moment in twentieth-century culture.
As a work of popular science, Married Love relies more heavily on the lexicons of sex science and formally enacts its ideological work more straightforwardly than Love Songs. It sexes middle-class women, marriage, and love by marrying a "feminine" literary language to a "masculine" technical language. The text begins in a familiar idiom of sentimental spiritualism, idealizing love as the union of "hearts" and "souls" (WI, 367-8):
Every heart desires a mate. For some reason beyond our comprehension, nature has so created us that we are incomplete in ourselves; neither man nor woman singly can know the joy of the performance of all the human functions; neither man nor woman singly can create another human being. This fact, which is expressed in our outward divergencies of form, influences and colours the whole of our lives; and there is nothing for which the innermost spirit of one and all so yearns as for a sense of union with another soul, and the perfecting of oneself which such union brings. [ML, 39]
Couched in metaphor and the vocabularies of lyric and religion, the passage leaves almost unrecognizable the "human functions" and "outward divergencies of form" it puts at the center of this soulful union. Stopes makes sexual intercourse a metaphor for spiritual intercourse, yet so emphasizes the tenor that it nearly occludes the vehicle.
Having so contextualized these "human functions," Stopes prepares to examine the "physiology of our most profoundly disturbing functions" by adopting the rhetoric of the scientist as a shield against the dangers of eroticism and pornography: "An impersonal and scientific knowledge of the structure of our bodies is the surest safeguard against prurient curiosity and lascivious gloating" (ML, 79, 80). This metaphoric construction of scientific knowledge as aesthetic and moral prophylactic is revealing because it anticipates formally Stopes's defense, in Married Love and especially its sequel Wise Parenthood , of birth control as a necessary method for achieving her ideal of mated hearts. It also works ironically to emphasize the gendered power inequities that thwarted feminist efforts to popularize birth control: a rise in venereal infections among British soldiers had recently led the government to distribute condoms and promote their use, arguably legitimating contraception more significantly than had years of feminist agitation (SP, 187-8). 18 In this context, Stopes's modulation from a "feminine" language of metaphor and sentiment to a "masculine" language of facts and reason appears to be a strategic, even subversive, effort to authorize autonomous female sexuality by using a vocabulary of male authority: 19
What actually happens in an act of union should be known. After the preliminaries have mutually roused the pair, the stimulated penis, enlarged and stiffened, is pressed into the woman's vagina.  But when the woman is what is physiologically called tumescent (that is, when she is ready for union and has been profoundly stirred) these parts are flushed by the internal blood supply and to some extent are turgid like those of the man, while a secretion of mucus lubricates the channel of the vagina. . . . It can therefore be readily imagined that when the man tries to enter a woman whom he has not wooed to the point of stimulating her natural physical reactions of preparation, he is endeavouring to force his entry through a dry-walled opening too small for it. He may thus cause the woman actual pain, apart from the mental revolt and loathing she is likely to feel for a man who so regardlessly uses her. [ML, 80-1; italics in original]
This passage begins in the mode of sex science, describing in a terminology of impersonal observation the physical facts of intercourse, what Stopes calls "the truths of sex." 20 But by the passage's closing sentences, this "scientific" description of intercourse has become not merely a call for foreplay, but also a pointed condemnation of rape.  She makes male science work prophylactically to protect women from the "pain" and the "mental revolt and loathing" to which unregulated male desire has subjected them.
 Penises, vaginas, blood, and mucus are essential parts of love making, Married Love insists, but they must be handled properly. Her discussion of orgasm clarifies further the reformist and regulatory drives animating her "impersonal and scientific" descriptions of sex (ML, 80):
When the two have met and united, the usual result is that, after a longer or shorter interval, the man's mental and physical stimulation reaches a climax in sensory intoxication and in the ejaculation of semen. When the two are perfectly adjusted, the woman simultaneously reaches the crisis of nervous and muscular reactions very similar to his. This mutual orgasm is extremely important, but in many cases the man's climax comes so swiftly that the woman's reactions are not nearly ready, and she is left without it. . . . [I]t is hardly an exaggeration to say that 70 or 80 per cent of our married women (in the middle classes) are deprived of the full orgasm through the excessive speed of the husband's reactions. . . . So deep-seated, so profound, are woman's complex sex-instincts as well as her organs, that in rousing them the man is rousing her whole body and soul. And this takes time. [ML, 83]
The stress on mutual orgasm as the legitimating principle of coitus reveals Stopes's interest in recasting a free love paradigm of mutually pleasurable sex in terms more palatable to a substantial, middle-class audience (SP, 191).  At a time when masculinity is literally under siege in the trenches, she exploits male insecurity to validate female desire. Stopes's paradoxical reliance on ideals of masculinity to write female sexuality into popular language helps clarify the structural sexism of British public discourse and reveals her complex manipulations of that discourse to open a space for female sexuality.
Yet despite Stopes's use of a rhetoric of scientific objectivity, her text often maintains a peculiar reticence about crucial aspects of the sexual relations it seeks to illuminate, especially the "preliminaries" she repeatedly identifies as essential for realizing the ideal sexual and spiritual union. While Married Love advises emphatically that a man "must woo" his wife "before every separate act of coitus," Stopes rarely discusses the specific techniques required to "profoundly stir" "woman's complex sex-instincts" (ML, 81; italics in original). Stopes's refusal to be explicit about the facts of foreplay, despite her stress on orgasm as the climax of "perfectly adjusted" sex, arguably aggravates the problems of women's sexual deprivation, coercion, and dissatisfaction that the text claims to redress. Moreover, as Geppert has emphasized, her ideal union overlooks forms of sexual activity that are not heterosexual or genitally or orgasmically centered ("MBS," 431). And her parenthetical proviso that the widespread deprivation of orgasm occurs "in middle class women" confirms the class boundaries and prejudices of Married Love. 21 It is not surprising, then, that Stopes has been read as, in effect, reproducing British patriarchy by rehabilitating Victorian codes of respectability and buttressing sexist, classist, and heteronormative ideals and institutions. 22
That Married Love does not transcend the conceptual limitations of its moment is of less significance, I think, than its effort to fashion a language of female sexuality out of the gendered discourses at hand (cf. "FR," 146; "MBS," 480). We have seen how Stopes creates a new conception and idiom of women's sex by wedding previously incompatible ideas and lexicons. Married Love makes free love's assertion of autonomous female sexuality and advocacy of birth control compatible with social purity's normalizing moralism and defense of bourgeois heterosexual marriage by joining a "female" language of sentimental spiritualism to a "male" language of scientific rationality, marrying metaphoric descriptions of hearts and souls to graphic descriptions of vaginas and penises. We can gauge the fruitfulness of these efforts by looking at the text's popularity with bourgeois and working class readers, its effectiveness in giving voice to an autonomous middle-class female sexuality, and its success in legitimating and popularizing birth control in Britain (SP, 188; "FR," 140). Of greater importance for our argument are the ways Stopes represents this ideological and formal union as both biologically and aesthetically fruitful:
the complete act of union is a triple consummation. It symbolizes, and at the same time actually enhances, the spiritual union; there are a myriad subtleties of soul-structures which are compounded in this alchemy. At the same time the act gives the most intense physical pleasure and benefit which the body can experience, and it is a mutual, not a selfish, pleasure and profit, more calculated than anything else to draw out an unspeakable tenderness and understanding in both partakers of this sacrament; while, thirdly, it is the act which gives rise to a new life by rendering possible the fusion of one of the innumerable male sperms with the female egg-cell. [ML, 84]
Unlike pornographic representations of coitus, popularly held to breed nonproductive autoeroticism and eventual degeneracy, Stopes's representations of the "supreme human art, the art of love" are richly productive (ML, 31). Married Love makes sexual intercourse fruitful by making it pleasurable, spiritual, and reproductive. Properly practiced, coitus generates not only children (though they are crucial), but also love between the married couple and the individual spouse's self-love. The passage enacts this productivity formally through its integration of previously contradictory lexicons: in this "fusion," spiritual unions, soul-structures, and sacraments "are compounded" with intense physical pleasure, male sperms, and female egg-cells.
From certain points of view, the achievement of Married Love can appear limited. Its sentimentality and popular success can be seen as aesthetic failings, just as its neglect of nonreproductive, heterosexual, and working-class sexualities can be seen as political failings. Yet Married Love can also be understood to articulate and defend a kind of modernism. For Stopes's text shares with those of writers such as D. H. Lawrence, James Joyce, Virginia Woolf, and Loy not only the conviction that changes in language can affect changes in sexual relations, but also, though to a lesser extent, the formal juxtaposition of different lexicons and linguistic registers.  It should therefore be understood as a key text in the still-neglected tradition of twentieth-century literature that Suzanne Clark has termed sentimental modernism. 23
If Married Love clarifies the success of modern women writers' wartime efforts to transform sexual relations by transforming language, Love Songs to Joannes clarifies the limitations of those efforts. 24 Before turning to Loy's revisions of prewar feminism and sex science in Love Songs, we need to consider two earlier texts: the poem "Parturition," first published in the October 1914 issue of The Trend, and the contemporaneous, unpublished "Feminist Manifesto." Both of these texts articulate the political and aesthetic positions that Love Songs interrogates poetically. 25 Rejecting the argument that female chastity is proof of woman's essential morality and the basis for redress through law and education (captured, most famously, in Pankhurst's motto, "Chastity for Men, Votes for Women"), Loy's "Feminist Manifesto" insists that "there is nothing impure in sex" and that "economic legislation, vice crusades & uniform education" only "gloss . . . over Reality." 26 Yet Loy's "Manifesto" does not sanction a defense of sex, in Dora Marsden's words, "for its own satisfaction" in place of the purity reform movement's view "that sex is primarily experienced with the motive of continuing the race." 27 Instead, just as Married Love brings together free love's autonomous female sexuality and purity's reproductive bourgeois marriage, Loy's "Feminist Manifesto" joins free love's pleasurable sex outside marriage with purity's reproductive sex understood in terms of racial evolution. As DuPlessis writes, in Loy's work "Maternalist thinking meets free love." 28 Loy's attempt to unite the language of free love and the language of racial purity is evident in her manifesto:
Every woman has a right to maternity—
Every woman of superior intelligence should realize her race-responsibility, in producing children in adequate proportion to the unfit or degenerate members of her sex—
Each child of a superior woman should be the result of a definite period of psychic development in her life—& not necessarily of a possibly irksome & outworn continuance of an alliance—spontaneously adapted for vital creation in the beginning but not necessarily harmoniously balanced as the parties to it—follow their individual lines of personal evolution— [LB, 155]
While Loy relies on arguments crucial to racist and patriarchal defenses of empire (as would Stopes in a number of her later birth control manuals), she unconventionally uses them to promote a "race" of free-loving, independent, and avant-garde mothers and children. 29 As rearticulated in Loy's "Feminist Manifesto," the eugenicists' master race becomes almost the product of independent female creativity, a possibility "Parturition" elaborates and intensifies.
Loy was not alone among supporters of free love in embracing reproduction and maternity. 30 While most new moralists advocated birth control as a means to advance woman's pleasure and self-realization (what Weeks terms the "separation of sex from procreation" and Richard Brown calls "copulation without population"), some argued that free unions based on true love would also advance racial evolution. 31 Free love eugenicists, who promoted sexual liberation and "voluntary motherhood," placed their hopes for racial advance in the so-called "Love Child." 32 Interweaving languages of free love and eugenics similar to those found in Loy's "Manifesto," a 1912 correspondent to the Freewoman celebrates the Love Child as:
the beautiful child, i.e., the child born from intense mutual passion. Such children are always the best physically and mentally. . . . The child of intense passionate mutual love is as much in advance of the average child as the European child is in advance of the negro. 33
Here the logics of scientific racism turn from the task of justifying British imperial conquest to legitimate free love's ideal of "intense mutual passion" by declaring the "racial" superiority of the Love Child.
Reading Loy's "Parturition" in this context clarifies how the poem links the eugenicist celebration of biological creativity to the modernist celebration of aesthetic creativity. Scholars have studied Loy's manipulations of line lengths and white space to demonstrate linguistically the experiences of labor and contractions (AM, 45; "NP," 53). "Parturition" also portrays biological reproduction as a species of aesthetic production; woman poet births herself as mother superior even as she births a new maternalist free verse:
LIFE
A leap with nature
Into the essence
Of unpredicted Maternity
Against my thigh
Touch of infinitesimal motion
Scarcely perceptible
Undulation
Warmth moisture
Stir of incipient life
Precipitating into me
The contents of the universe
Mother I am
Identical
With infinite Maternity
Indivisible
Acutely
I am absorbed
Into
the was—is—ever—shall—be
Of cosmic reproductivity [LB 6-7]
Loy evokes social purity's spiritualized motherhood, but revises the religious idealization by displacing the re of God the Father, who creates the universe through language. In this provocative rewriting of patriarchal religion, the male creator ("I am that I am") exists only as a distant echo, the human mother transred into the "was—is—ever—shall—be / Of cosmic reproductivity." "Mother I am," the reborn maternal poet proclaims, transcending, as the compounding of mutually exclusive temporal terminology ("was—is—ever—shall—be) implies, the limits of masculine reason and creativity. 34 The resignifying overthrow of patriarchy's "I am" is formally enacted in the overthrow of patriarchal prosody (the hegemony of iambs), a victory emphasized by Loy's flashy modulation from free verse to rhymed couplet at the moment the speaker is "absorbed" into "cosmic reproductivity." Loy's cosmic Mother also rewrites eugenics by displacing male science's strategic manipulations of natural reproductive processes with the independent supermother whose creativity overwhelms male power, science, and poetics.
"Parturition" realizes poetically the ideal of free loving maternalism described in Loy's manifesto. The poem affirms the success of this conjunction of feminist theory and poetic practice by portraying it as multiply fruitful. As in Stopes's representation of "the art of love," the merging of otherwise autonomous categories of language and thought produces a number of advantages. As Kouidis and Burke point out, the poem births at once a self-creating, independent Mother; a superior, evolved Love Child; and a modern feminist verse (AM, 40, "NP," 53). In this context, the exhortation to "demolish . . . the division of women into two classes the mistress, & the mother" that appears in the "Feminist Manifesto" can also be understood as an exhortation to demolish the division that separates female creativity into the biological and the aesthetic, and the division that separates language into the masculine-literal-scientific and the feminine-metaphoric-spiritual (LB, 154). In this light, Stopes's popular science book appears to answer the call of Loy's avant-garde polemic; its detailed descriptions of "physiological facts" in "simple, direct and scientific language" act to produce a "fusion of joy and rapture . . . not purely physical" that "sweeps into its flaming tides the whole essence of the man and woman . . . vaporis[ing] their consciousness so that it fills the whole of cosmic space" (ML, 80, 75, 106).
Loy's conception of a female creativity that transcends cultural and biological oppositions not only promotes women as sexual beings, cultural producers, and philosophical theorists, but also challenges defensive assertions by leading male modernists—especially, F. T. Marinetti and Ezra Pound—of male creativity's parthenogenic powers and of women's essential parasitic passivity. 35 Accordingly, "Parturition" demotes the creative potency of the male artist:
The open window is full of a voice
A fashionable portrait painter
Running upstairs to a woman's apartment
Sings
"All the girls are tid'ly did'ly
All the girls are nice
Whether they wear their hair in curls
Or—"
At the back of the thoughts to which I permit crystallization
The conception Brute
Why?
The irresponsibility of the male
Leaves woman her superior inferiority.
He is running upstairsI am climbing a distorted mountain of agony [LB, 5]
Loy's jagged free verse satirizes cultural ideals of male power, courage, and responsibility. This "man"—likely based on Loy's unfaithful husband Stephen Haweis-displays conventional traits of femininity: fashionable, he voices the childish languages of sentimental love, "running" away from the speaker's agonizing creative labor. The quotation exposes woman's alleged inferiority as a cultural façade that conceals her true superiority. As rendered in the "Feminist Manifesto" and "Parturition," free unions finally serve to evolve the individualist woman beyond dependence on man. 36 In contrast to Stopes's language of productive sexuality, which depends on love's sentimental languages, "Parturition" forges a language of productive female sexuality freed from sentimental attachments to men.
Despite these resonances with the "Feminist Manifesto"'s radical maternalism, however, "Parturition" reveals doubts about the theory, exposing its conceptual problematics. That woman's "superior inferiority" can also be read, as Lyon shows, to emphasize a sense of woman's inferiority, isolation, and dependence, raises questions about the poem's commitment to maternalism ("PP," 388). That the "LIFE" the speaker births barely engages her attention ("Touch of infinitesimal motion / Scarcely perceptible"), raises questions as to whether this "Love Child" is "in advance of the average child," and thus whether the ideal of reproductive free love based on "intense passionate mutual love" has been realized.
Indeed, the conjunction of biological and cultural creativity multiplies the possibilities that the ideal of reproductive free love will fail. By subscribing to the teleological conception of sex associated with eugenics and by embracing the Love Child as the proof of free love, "Feminist Manifesto" and "Parturition" make aesthetic production dependent on biological reproduction. Loy's Love Songs to Joannes gives voice to this problem by enacting the failure of free love maternalism, thus thwarting the "maternalist hopes" that animate the earlier works ("SO," 62-3). 37 Love Songs represents this failure as biological because Loy's free lovers cannot bring their relationship to eugenic fruition in the production of a Love Child:
We might have coupled
In the bedridden monopoly of a moment
Or broken flesh with one another
At the profane communion table
Where wine is spilled on promiscuous lips
We might have given birth to a butterfly
With the daily news
Printed in blood on its wings [LB, 54]
While the first stanza flamboyantly yokes the lexicons of religion and sex as in "Parturition," the conjunction does not enact formally the productive union of free lovers. Loy emphasizes the incommensurability of these lexicons to stress the lovers' failure to validate their union by birthing the Love Child. Hence the second stanza's image of the unrealized product of this "coupling" remains difficult to pin down. Is this bloody butterfly a supernatural embodiment of the avant-garde dream of bridging the great divides between art and praxis? Is it a modernist icon that transres the quotidian into transcendent art? Or is it an imagistic freak of nature that naturalizes the failure of free love by implying that the Love Child is as fantastic and unrealizable as the productive sexual conjunction of the human species and the insect? 38
This poetic interrogation of reproductive free love not only limits the female creativity celebrated in the "Feminist Manifesto" and "Parturition." It also evokes the pathologizing, categorizing impulses of most European sexology. Exemplary of this tendency is Richard von Krafft-Ebing's Psychopathia Sexualis , which sought to classify the entire range of sexual pathologies, labeling "degenerate" any sexual practice that deviated from the alleged normality of reproductive heterosexual intercourse. 39 From such a normalizing sexological perspective, the love affair portrayed in Love Songs appears degenerate because it is not biologically fruitful:
The contents
Of our ephemeral conjunction
In aloofness from Much
Flowed to approachment of———
NOTHING
There was a man and a woman
In the way [LB, 63-4] 40
Man and woman function prophylactically to prohibit the biological reproduction crucial to eugenic free love ("SO," 62). The lovers' "ephemeral conjunction" yields "NOTHING." In this light, Love Songs is a post-free love poem as DuPlessis suggests; the conjunction of science's clinical language and love's sentimental language portrays the obstruction of free love and the Love Child. 41 Unlike Stopes's Married Love, Loy's Love Songs finds no lasting marriage between freewoman and man, sentiment and science, biology and culture.
Accordingly, the ideal of the reproductive free union of evolved true lovers generates no corresponding formal union. In Love Songs, vocabularies of science and rationality cohabit antagonistically with vocabularies of love and sentiment, opposing and undermining each other, enacting formally the unrealizability of union between lovers and languages. Love Songs resists, as Shreiber argues, the lyric tradition of aesthetic compensation for this failure; its uses of fragmentation, collage, jarring juxtaposition, and satire irritate readers, as Twittchel-Waas suggests, frustrating the sentimental identification necessary for such compensations. 42 The "truths of sex" Love Songs exposes are discordant, contradictory, and ugly:
The skin-sack
In which a wanton duality
Packed
All the completion of my infructuous impulses
Something the shape of a man
To the casual vulgarity of the merely observant
More of a clock-work mechanism
Running down against time
To which I am not paced [LB, 53-4]
Loy's graphic descriptions of sex organs undermine the idealizing celebration of spiritual union. As depicted here, scrotum and testicles emphasize the biological incompatibility of women and men. While Married Love affirms that the "race desire" of men, "always present, ever ready to wake," can be "adapt[ed]," "adjust[ed]," and "repress[ed]" into "harmony" with the "intermittent" "nature" of women's desire, this stanza makes such harmonizing regulation impossible (ML, 72-3). Loy renders the speaker's realization of this incompatibility a source of pathos; yet it also provokes her bitterness and the satiric metaphor of her beloved as genitals. 43 "Parturition"'s independent mother is displaced by a dependent female lover, whose creative agency is circumscribed by the beloved's unwillingness to accommodate her desires and to share his sperm to "complete" their union in the Love Child; her creative and sexual "impulses" remain unfulfilled, "infructuous." Love Songs aborts "Parturition"'s conjunction of free love and free verse; it turns free verse from a medium that realizes free love into one that interrogates and dissects it.
Yet as the lurking pathos of these lines suggests, Loy's speaker does not wholeheartedly embrace (masculine) modernism's programmatic antisentimentalism, its ironic detachment from love. 44 Accordingly, the next stanza reasserts the attachment to the unattainable beloved that is central to lyric sentimentality:
My fingertips are numb from fretting your hair
A God's doormat
On the threshold of your mind [LB, 54]
Attending this recurrence of unrequited love for the beloved is the reappearance of the male God banished in "Parturition." Loy's speaker remains fretful that physical contact does not ensure emotional and spiritual union, despite the damning self-description implied by the metaphor of her beloved's hair as "God's doormat." Indeed, the aesthetic power of the stanza and of Love Songs overall depends on Loy's refusal to resolve the poem's ambivalence between a modernist resistance to the sentimental and an attachment to love and the topoi of lyric. Like the re of the unrealized or aborted Love Child, the languages of sentimentality periodically interrupt the poem's overriding posture of ironic and analytical detachment, reasserting the discredited sentiment of love ("SO," 64, "LTM," 32). Loy's Love Songs remains suspended between free love and social purity, literature and science, sentimentalism and modernism. 45 It is this suspension that I want, finally, to emphasize. 46 For her poetic appropriations of sex science modernistically rewrite the languages of female sexuality even as they illuminate the limitations of modernism's reformist aesthetic and sexual ambitions.
But my point is neither to lament those limits, nor to criticize
Stopes, Loy, or their contemporaries for the "failings" of their
writing and politics. Both Stopes's scientific defense of sentimental
love and Loy's ironic dissection of reproductive free love confirm that
writing new models of sexuality will not fully realize those models in
praxis. Thus, while Married Love and Love Songs may not
fulfill Sanger's ideal of a "more courageous womanhood, devoid of petty
shames," they do succeed in questioning the "great divide" between science
and literature, intellect and sentiment, and in forging new relations
between these allegedly incompatible disciplines and discourses. As
we've seen, both Stopes and Loy understood well that idioms of scientific
rationality served to legitimate modern science as a realm of masculine
objectivity. By applying those idioms to reformist ends, Married
Love and Love Songs challenge the sexist mythology
of female irrationality and affirm women's fitness to write in and revise
the lexicons of science and intellect. At a time when male writers defined
literary modernism as a realm of antisentimental, masculine impersonality,
Stopes's and Loy's books modernize sentimentalism by conjoining idioms
of scientific rationality and impersonal detachment with vocabularies of
lyric sentiment, thus affirming the continuing relevance of sentimentality
to modernism's efforts to reform gender by rewriting sex.
Paul Peppis is associate professor of English literature and culture at the University of Oregon. He is the author of Literature, Politics, and the English Avant-Garde and is currently at work on a book entitled Sciences of Modernism: Readings in Literature and Popular Science.
1. Margaret Sanger, "Motherhood—Or Destruction," The Woman Rebel 1 (May 1914): 22. Thanks are due to Ian Duncan, Karen Ford, John Gage, Forest Pyle, Steve Shankman, and Richard Stein for helpful comments on earlier versions of this essay, a number of which I have silently incorporated here. I am grateful to the Oregon Humanities Center for a Research Fellowship that enabled me to research and draft the essay, and the College of Arts and Sciences at the University of Oregon for a Junior Professorship Development Grant that enabled me to present a shorter version at the Modernist Studies Association, New Modernisms Conference (October, 2000) and bring the essay to its current form.
2. F. W. Stella Browne, The Sexual Variety and Variability among Women and their Bearing upon Social Reconstruction (London: British Society for the Study of Sex Psychology, 1917). Reprinted in Sheila Rowbotham, A New World for Women. Stella Browne: Socialist Feminist (London: Pluto Press, 1977), 103-4; hereafter abbreviated as NW.
3. See, for example, Frank Mort, Dangerous Sexualities: Medico-Moral Politics in England since 1830 (New York: Routledge & Kegan Paul, 1987), 103-50; hereafter abbreviated as DS.
4. Sheila Rowbotham and Jeffrey Weeks, Socialism and the New Life: The Personal and Sexual Politics of Edward Carpenter and Havelock Ellis (London: Pluto Press, 1977); Lucy Bland, Banishing the Beast: Sexuality and the Early Feminists (New York: New Press, 1995), 257-65, hereafter abbreviated as BB; Lesley Hall, "Heroes or Villains? Reconsidering British fin de siècle Sexology and its Impact," in New Sexual Agendas, ed. Lynne Segal (London: Macmillan, 1997), 3-16; Lesley Hall, "Feminist Reconrations of Heterosexuality in the 1920s," in Sexology in Culture: Labelling Bodies and Desires, ed. Lucy Bland and Laura Doan (Chicago: University of Chicago Press, 1998), 136, hereafter abbreviated "FR." On Sanger and sexology, especially Ellis's, see Emily Taft Douglas, Margaret Sanger: Pioneer of the Future (New York: Holt, Rinehart, and Winston, 1970), 60-2, 70-9. On Browne and sexology, see NW, 11-21; BB, 278-80; and "FR," 137-9.
5. See, for example, Sandra M. Gilbert and Susan Gubar, No Man's Land: The Place of the Woman Writer in the Twentieth Century (New Haven and London: Yale University Press, 1989), 2:258-323.
6. Michel Foucault, The History of Sexuality: An Introduction, trans. Robert Hurley (1976; New York: Vintage, 1980), 20, 158; hereafter abbreviated as HS.
7. Carolyn Burke, "The New Poetry and the New Woman: Mina Loy," in Coming to Light: American Women Poets in the Twentieth Century, ed. Diane Wood Middlebrook and Marilyn Yalom (Ann Arbor: University of Michigan Press, 1985), 43-7; hereafter abbreviated as "NP."
8. Quoted in "NP," 44-5; cf. Burke, Becoming Modern: The Life of Mina Loy (Berkeley: University of California Press, 1996), 6.
9. Samuel Hynes, A War Imagined: The First World War and English Culture (New York: Macmillan, 1990), 367; hereafter abbreviated as WI.
10. For more on Stopes's biography, see Ruth Hall, Marie Stopes, A Biography (London: Andre Deutsch, 1977) and June Rose, Marie Stopes and the Sexual Revolution (London: Faber and Faber, 1992). For an insightful reading of two of Stopes's more literary texts, the plays Vectia and Our Ostriches (both 1923), in the context of England's "post-World War I sexual and reproductive crisis," see Christina Hauck, "Through a Glass Darkly: 'A Game of Chess' and Two Plays by Marie Stopes," Journal of Modern Literature 21 (Fall 1997): 109-19. For a reading of Married Love and Stopes's later writings on birth control as commodities of "public print culture" that illuminate links between "a best selling product and images of professional expertise," see Alexander C. T. Geppert, "Divine Sex, Happy Marriage, Regenerated Nation: Marie Stopes's Marital Manual Married Love and the Making of a Best-Seller, 1918-1955," Journal of the History of Sexuality 8, no. 3 : 389-433; hereafter abbreviated as "MBS."
11. "MBS," 396-7; John Peel, "Introduction," in Marie Carmichael Stopes, Married Love: A New Contribution to the Solution of Sex Difficulties (1918; London: Victor Gollancz, 1995), 11; hereafter abbreviated as ML;WI, 366.
12. Virginia M. Kouidis points out that Loy read Ellis and Sanger in Mina Loy: American Modernist Poet (Baton Rouge: Louisiana State University Press, 1980), 27-8; hereafter abbreviated as AM. Burke provides the fullest discussion of Loy's interest in Sanger's writings in "NP," 40-1.
13. Jeffrey Weeks, Sex, Politics and Society: The Regulation of Sexuality since 1800 (1981; New York: Longman, 1989), 189; hereafter abbreviated as SP.
14. Doubtless the two most influential debunkings of Victorianism as hegemonically repressive are those of Steven Marcus (The Other Victorians: A Study of Sexuality and Pornography in Mid Nineteenth Century England [New York: Basic Books, 1966]) and Foucault (HS).
15. Kathlyn Oliver, "Chastity and Normality," Freewoman 1 (29 February 1912): 290; for more on Oliver, see SP, 164-5 and BB, 281-2, 291-3.
16. Browne, "The Sexual Variety and Variability among Women," 93-4, emphasis in original; for discussions of the debate that developed between Browne and Oliver in The Freewoman, see NW, 11-2 and BB, 281-2; on the Society for the Study of Sex Psychology, see Samuel Hynes, The Edwardian Turn of Mind (1968; London: Pimlico, 1991), 159-61.
17. See, for example, Lisa Tickner, The Spectacle of Women: Imagery of the Suffrage Campaign 1907-1914 (Chicago: University of Chicago Press, 1988).
18. For more on how debates on venereal disease and prophylaxis impacted women, see Lucy Bland, "'Guardians of the Race,' or 'Vampires upon the Nation's Health'?: Female Sexuality and its Regulation in Early Twentieth-Century Britain," in The Changing Experience of Women, ed. Elizabeth Whitelegg et al. (Oxford: Martin Robertson, 1982), 381-4.
19. Cf. "MBS," 404-5.
20. Quoted in Peel, "Introduction," 10.
21. While Married Love is not explicit on the subject, Stopes's assertion that "70 or 80 per cent of our married women (in the middle classes) are deprived of . . . full orgasm," suggests that she accepted the common bourgeoisie view of the working class as, in Weeks words, "condemned . . . to sexual rampancy and immorality" (SP, 32-3). Weeks also articulates the paradoxical nature of Stopes's relations to working-class women: while "she evoked an immediate response amongst working-class women," she "displayed nevertheless a deep ignorance of working-class life" (SP, 191). Cf. Richard A. Soloway, "Marie Stopes, Eugenics and the Birth Control Movement," in Marie Stopes, Eugenics, and the English Birth Control Movement, ed. Robert A. Peel (London: Galton Institute, 1997), 49-76. Soloway argues that "While her writings about the poor were often harsh, condescending, and censorious, and at times she seemed to have difficulty thinking of them as being motivated by much more than dangerous and ignorant impulses for immediate gratification, Stopes could be deeply moved and horrified by the individual plight of some of the impoverished mothers who wrote her and came to the clinic" .
22. See, for example, Sheila Jeffreys, The Spinster and Her Enemies: Feminism and Sexuality, 1880-1930 (London: Pandora, 1985), 115-21, and Margaret Jackson, The Real Facts of Life: Feminism and the Politics of Sexuality c. 1850-1940 (London: Taylor and Francis, 1994). Jackson argues that
The status of sexology as science, and Stopes' socialization as a scientist, resulted in her initial commitment to female sexual autonomy being undermined by an essentially phallocentric model of sexuality, in which sex was reduced to a coital imperative. Far from empowering women . . . it reinforced male power in heterosexual relationships by eroticizing male dominance and female submission and underpinning them by so called 'laws of love.'. . . Stopes' model of sexuality also undermined relationships between women, by defining them as unnatural and perverted, and helped to fuel the anti-spinster backlash. [155, cf. 132]
For a rejoinder to the accounts of Jeffreys and Jackson, see "FR," 139-40.
23. Suzanne Clark, Sentimental Modernism: Women Writers and the Revolution of the Word (Bloomington: Indiana University Press, 1991), esp. 19-41.
24. Despite, or perhaps because of, years of neglect, Loy's work has, since around 1980, prompted a (growing) number of scholars to produce a particularly distinguished and illuminating body of scholarship. Janet Lyon wryly terms it a "Loy boom"; Lyon, "Mina Loy's Pregnant Pauses: The Space of Possibility in the Florence Writings," in Mina Loy: Woman and Poet, ed. Maeera Shreiber and Keith Tuma (Orono: National Poetry Foundation, 1998), 400; hereafter abbreviated as "PP." For a fuller sense of Loy's reception, see Marisa Januzzi's indispensable "Bibliography of Works by and about Mina Loy," in Mina Loy: Woman and Poet, 507-606. Other essays in this collection that I have found especially useful include: Rachel Blau DuPlessis, "'Seismic Orgasm': Sexual Intercourse and Narrative Meaning in Mina Loy" (45-74), hereafter abbreviated as "SO"; Peter Quartermain, "'The Tattle of Tongueplay': Mina Loy's Love Songs" (75-85); Eric Murphy Selinger, "Love in the Time of Melancholia" (19-43), hereafter abbreviated as "LTM"; Maeera Shreiber, "'Love Is a Lyric / of Bodies': The Negative Aesthetics of Mina Loy's Love Songs to Joannes" (87-110); and Jeffrey Twitchell-Waas, "'Little Lusts and Lucidities': Reading Mina Loy's Love Songs" (111-28), hereafter abbreviated as "LL."
25. Twitchell-Waas argues that Loy's "prose writings abstractly suggest what it is the poetry is struggling to concretely realize" ("LL," 114).
26. Christabel Pankhurst, "The Great Scourge and How to End It," in Suffrage and the Pankhursts, ed. Jane Marcus (1913; New York: Routledge, 1987), 188; Mina Loy, The Lost Lunar Baedeker, ed. Roger L. Conover (New York: Farrar Straus Giroux, 1996), 156, 153; hereafter abbreviated as LB.
27. Dora Marsden, "Interpretations of Sex," Freewoman 1 (2 May 1912): 461. For more on Marsden and sexology, see BB, 272-3 and Bruce Clarke, Dora Marsden and Early Modernism: Gender, Individualism, Science (Ann Arbor: University of Michigan Press, 1996), 61-6.
28. "SO," 54, 61; my account of Loy's negotiations with the discourses of social purity and free love draws on and is meant to complement DuPlessis's groundbreaking account. Lyon also notes that Loy's manifesto "casts women squarely within reproductive ideology" ("PP," 386).
29. As Weeks points out, Stopes too "fully shared the eugenic world view," although Married Love is less explicitly eugenic than her later works (SP, 190; see also ML, 106-18). In Radiant Motherhood: A Book for Those Who Are Creating the Future (London: Putnam, 1920), for instance, Stopes laments that
society allows . . . the very lowest and worst members of the community, to produce innumerable tens of thousands of stunted warped and inferior infants. If they live, a large proportion of them are doomed from their very physical inheritance . . . to drain the resources of those classes above them which have a sense of responsibility. [221; quoted in SP, 190]
For more on Stopes's commitments to eugenics, see Richard A. Soloway, Demography and Degeneration: Eugenics and the Declining Birthrate in Twentieth-Century Britain (Chapel Hill: University of North Carolina Press, 1990), 178-81 and Soloway, "Marie Stopes, Eugenics and the Birth Control Movement."
30. See George Robb, "The Way of All Flesh: Degeneration, Eugenics, and the Gospel of Free Love," Journal of the History of Sexuality 6, no. 4 : 589-603.
31. SP, 166; Richard Brown, James Joyce and Sexuality (New York: Cambridge University Press, 1985), 63, quoted in "SO," 61.
32. SP, 162; my understanding of the significance of the Love Child has benefitted significantly from David Kadlec, "Syphilis and the Love Child in James Joyce's Ulysses," a paper delivered at the New Modernisms conference held at Pennsylvania State University, 8 October 1999.
33. Gideon, "The Love-Child," Freewoman 1 (28 March 1912): 376; italics in original.
34. Lyon similarly describes the image of maternity in "Parturition" as "a form of artistic transcendence . . . an act of what might be called, in an alternative lexicon 'genius'" ("PP," 387).
35. On Marinetti's parthenogenic fantasies, see, for example, Cinzia Sartini Blum, The Other Modernism: F. T. Marinetti's Futurist Fiction of Power (Berkeley: University of California Press, 1996), 45; on Pound's theory of male parthenogenisis, see, for example, Ezra Pound, "Translator's Postscript," in Remy de Gourmont, The Natural Philosophy of Love, trans. Ezra Pound (1922; London: Casanova Society, 1926), 169-80.
36. Cf. "NP," 53.
37. For other accounts of the various failures Loy portrays and probes in Love Songs, see AM, 59-85; "NP," 51-2; Selinger, "Love in the Time of Melancholia"; Shreiber, "Love Is a Lyric"; and "SO," 50-66. Twitchell-Waas warns, contrarily, that "we should resist reading" the poem's "formal radicalism as 'fragmentary,' as reflecting disintegration," lest we replicate "the old Lukacsian argument that modernist forms passively reflect the sense of disintegration," and reduce "such experiments to a psychological realism which expresses a loss of nerve and moral responsibility in the face of inexorable reification" ("LL," 115).
38. For a reading of the child-butterfly image that emphasizes its resonances with the poem's wartime context, see "LL," 119-20. Also see Quartermain, "The Tattle of Tongueplay," for a reading of Song three that emphasizes the wit of Loy's wordplay (80 n. 7).
39. Richard von Krafft-Ebing, Psychopathia Sexualis: With Especial Reference to the Antipathic Sexual Instinct. A Medico-Forensic Study, 12th ed., trans. F. J. Rebman (1906; Chicago: Login Brothers, 1929).
40. For a reading of this Song as epitomizing the "constant play" of Loy's poetry, its Dickinsonian "flickering between hope and skepticism," see "LL," 126-7.
41. DuPlessis argues that "Loy exists in an angry mourning for the lack of or loss of a child from sex, a rejoining, for both radical and eugenicist reasons, of sexual intercourse and reproduction, which can be the most traditional justification for the sexual embrace" ("SO," 64); cf. "LL," 115. Both Shreiber and Selinger contend that Love Songs recounts an abortion, citing especially Song seventeen (LB, 59-60).
42. Shreiber, "Love Is a Lyric," 93, 103; "LL," 112; DuPlessis argues that in Love Songs "Loy refuses the novelistic linkage of sexual climaxes and narrative climaxes" epitomized by D. H. Lawrence's novels ("SO," 66).
43. That Loy does not use the more familiar metaphor of man as penis—a favorite of Pound, for instance—suggests her possible familiarity with sexological accounts of the glandular basis of sexual desire (SP, 147). Interestingly, Loy was asked about her friendship with Pound for a 1943 Picture Magazine article, she replied that Pound was fascinated by the topic of "endocrine glands": "He would talk about it a great deal—very learned discussion. Glands . . . were the latest thing at the time." See Marisa Januzzi, "Mongrel Rose: The 'Unerring Esperanto' of Loy's Poetry," in Mina Loy: Woman and Poet, 417 n. 22.
44. Janet Lyon, Manifestoes: Provocations of the Modern (Ithaca and London: Cornell University Press, 1999), 155 n. 44.
45. Twitchell-Waas notes that "the torsion of the Songs twists between. . . extremes of utopian enlargement and ironical cynicism" ("LL," 116).
46. Twitchell-Waas contends that Loy's reader is often "left suspended," and that her poem's "unnerving undecidability is itself an effort to suspend the gender distinctions the poems bring to critical consciousness" ("LL," 112, 113).


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A secret love, a terrifying encounter. One night will change their lives forever -- and awaken a power she can’t control.
Lorem ipsum dolor sit amet consectetur adipisicing elit. Iste dolorum porro aut rem adipisci ad, ipsa eaque voluptatum debitis sunt.
He’s a broken man of science. And he’s desperate. His last hope for a fix involves metaphysics and magic. Life is strange.


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Sega Master System Information
Cartridge port layout
|
Back |
Front |
|||
|
+5V |
1 |
2 |
Wr |
|
|
Mreq |
3 |
4 |
ROM/RAM select |
|
|
M8-B |
5 |
6 |
A14 |
|
|
A13 |
7 |
8 |
A8 |
|
|
A9 |
9 |
10 |
A11 |
|
|
M0-7 |
11 |
12 |
A10 |
|
|
CrtOe |
13 |
14 |
D7 |
|
|
D6 |
15 |
16 |
D5 |
|
|
D4 |
17 |
18 |
D3 |
|
|
GND |
19 |
20 |
GND |
|
|
GND |
21 |
22 |
D2 |
|
|
D1 |
23 |
24 |
D0 |
|
|
A0 |
25 |
26 |
A1 |
|
|
A2 |
27 |
28 |
A3 |
|
|
A4 |
29 |
30 |
A5 |
|
|
A6 |
31 |
32 |
A7 |
|
|
A12 |
33 |
34 |
?? |
|
|
+5V |
35 |
36 |
A15 |
|
|
M1 |
37 |
38 |
IoReq |
|
|
Refresh |
39 |
40 |
Halt |
|
|
Wait |
41 |
42 |
Int |
|
|
JyDs |
43 |
44 |
BusReq |
|
|
BusAck |
45 |
46 |
Reset |
|
|
Clk |
47 |
48 |
JRead |
|
|
MC-F |
49 |
50 |
NMI |
Shaded pins don't appear to be used for ROM cartridges and are mainly signals connected to the processor. Pins 3, 4, 46 and 47 are used on some cartridges, normally ones with extra RAM or battery backed RAM. Pins 3 and 47 are used by Codemasters cartridges as they don't appear to use the regular Sega roms. Instead they have a PAL16R4 to generate the addresses A14, A15, A16 and A17 for a regular 2Mbit ROM chip. Pin 4 appears to select either ROM (0) or RAM (1), probably controlled by register 0xFFFC bit 3
Pre-decoded memory areas.
|
Pin |
Type |
Address range |
|
M0-7 |
ROM (32k page) |
0000 - 7FFF |
|
M8-B |
ROM/RAM (16k page) |
8000 - BFFF |
|
MC-F |
RAM (16k) |
C000 - FFFF |
These don't normally get connected in cartridges, some games have them
Cartridge Sizes
|
Part Number |
ROM Size (k bytes) |
No. of Pages |
|
4xxx |
32 |
2 |
|
5xxx |
128 |
8 |
|
6xxx |
Combo (256?) |
16 |
|
7xxx |
256 |
16 |
|
8xxx |
3D (256?) |
16 |
|
9xxx |
512 |
32 |
|
x5xx |
Battery Backed Ram |
Some non Sega cartridges have the code bytes swapped (eg Terminator) others don't have one at all.
Cartridge internal info
The last 16 bytes of the 1st 32k block of code holds some cartridge information, addresses 0x7FF0 to 0x7FFF. The first 8 bytes contain the text “TMR SEGA”. The next 8 bytes are coded as follows (as far as I can work out!)
|
Address |
Data |
|
7FF8 |
Unknown Possibly a date code?? |
|
7FF9 |
Unknown 2nd part of date code?? |
|
7FFA |
Checksum Lo |
|
7FFB |
Checksum Hi |
|
7FFC |
Part No. Lo |
|
7FFD |
Part No. Hi |
|
7FFE |
Unknown (configuration options??) |
|
7FFF |
Unknown (configuration options??) |
In some cartridges the some fields are used, others they are FF. The only fields for sure are the part numbers, they match the number on the box and are used to identify the size of the cartridge ROM. The first two bytes usually contain FF, FF, although sometimes they have what appears to be a date, usually the year, eg 1987, 1990 etc.
The checksum calculation is the sum of all bytes except the TMR SEGA and following 8 bytes. Only low 2 bytes are used. The 512k ROMS may use a different method as they always seem to fail the checksum calculations.
Examples of cartridge info
|
Address |
Mickey Mouse Castle of Illusion |
Gauntlet |
Fantasy Zone |
Double Dragon |
Sonic The Hedgehog |
|
7FF8 |
FF |
19 |
54 |
FF |
59 |
|
7FF9 |
FF |
90 |
41 |
FF |
59 |
|
7FFA |
F3 |
24 |
EB |
C6 |
1B |
|
7FFB |
2A |
72 |
82 |
5C |
A5 |
|
7FFC |
53 |
06 |
52 |
12 |
76 |
|
7FFD |
70 |
50 |
50 |
70 |
70 |
|
7FFE |
0E |
20 |
02 |
00 |
03 |
|
7FFF |
04 |
4F |
4F |
4F |
03 |
|
Address |
Zool |
Xenon 2 |
World Grand Prix |
Teddy Boy |
Pacmania |
|
7FF8 |
20 |
FF |
FF |
20 |
FF |
|
7FF9 |
20 |
FF |
FF |
20 |
FF |
|
7FFA |
59 |
A3 |
39 |
75 |
6D |
|
7FFB |
0E |
8B |
09 |
89 |
B0 |
|
7FFC |
75 |
38 |
80 |
03 |
10 |
|
7FFD |
70 |
70 |
50 |
40 |
50 |
|
7FFE |
3D |
21 |
00 |
00 |
20 |
|
7FFF |
32 |
40 |
4F |
4C |
4F |
How to read cartridges.
The first 32k (2 pages) of a cartridge is easy, set address, set CrtOE low, read data bus, set CrtOE high. If reading from a particular area, it is also a good idea to set the appropriate area select bit (M0-7 for 1st 32k, M8-B for next 16k etc).
From the cartridge info fields the number of pages can be determined, subtract 2 and this is how many further pages must be read (1st 2 should have already been read).
There are a number of paging registers but the one to use is at address 0xffff for 128k cartridges, reading a 16k block starting from address 0x8000. All other cartridge types write page number to 0xfffe and read 16k starting from 0x4000. I don't know why the 128k cartridges are different. Paging registeres are accessed by setting address, setting data bus, clear CrtOE and WR, set CrtOE and WR. page register should then have been written to, read from the appropriate memory area to acces the page. I must determine the exact sequencing (check data books etc).
|
Register |
Page Location |
Page Size |
|
0xFFFD |
0x0400 |
15k |
|
0xFFFE |
0x4000 |
16k |
|
0xFFFF |
0x8000 |
16k |
Sega Master System Cartridge Reader
This information refers to the MKII reader that connects to the Centronics port, although the basic operation applies to the MK I 8255 I/O card version.
The interface consists of a number of sections, namely, address generation, control signal latching and interface control. The sections are described below. The centronics port being used must be capable of bi-directional data transfers, this is achieved by setting bit 5 of the control register high, this sets the output buffer to a high impedance state allowing the data pins to be driven externally
Address Generation.
Since the cartridge reader basically reads sequential addresses, the address generation is achieved by means of a pair of 12 bit counters, IC1 and IC2 on the schematic. IC1 is connected to the address pins A0 to A11, IC2 is connected to address pins A12 to A15 to generate the full 64k address range. The address is set by means of two inputs, a clear input that resets the address to zero and an increment input that sets the next address on the address pins.
Reading Data.
Once the address has been set the data direction must be set to read, the OE pin is set low and the data is read on data register.
Interface Control.
Control signals and extra cartridge signals are done through a latch (IC3) that is set with the appropriate bit map. Only the Reset address and pre-decoded address area signals are currently used.
Andrew Lindsay
3/03/1997
PC Parallel Port Mini-FAQ
By Kris Heidenstrom (kheidenstrom@actrix.gen.nz), revision 2, 941019
1. INTRO
This is a four page mini-FAQ with the information essential for programming the PC parallel port. Many subjects are not covered in detail. Comments and suggestions to<EMAIL_ADDRESS>A parallel port links software to the real world. To software, the parallel port is three 8-bit registers occupying three consecutive addresses in the I/O space. To hardware, the port is a female 25-pin D-sub connector, carrying twelve latched outputs from the computer, accepting five inputs into the computer, with eight ground lines.
The normal function of the port is to transfer data to a printer through eight data pins, using the remaining signals as flow control and miscellaneous controls and indications.
The original port was implemented with TTL/LS logic. Modern ports are implemented in an ASIC or a combined serial/parallel port chip, but are backward compatible. Some modern ports are bidirectional.
2. BIOS LPT PORT TABLE
A parallel port is identifed by its I/O base address, and also by its LPT port number. The BIOS power-on self-test checks specific I/O addresses for the presence of a parallel port, and builds a table of I/O addresses in the low memory BIOS data area, starting at address 0040:0008 (or 0000:0408).
This table contains up to four 16-bit words. Each entry is the I/O base address of a parallel port. The first word is the I/O base address of LPT1, the second is LPT2, etc. If less than 4 ports were found, the remaining entries in the table are zero. DOS, and the BIOS printer functions (accessed via int 17h), use this table to translate an LPT port number to a physical port at a certain address.
The addresses are checked in a specific order, and entries are put into the table as they are found, so there will never be gaps in the table, and a particular I/O address does not necessarily always equate to the same specific LPT port number, although there are conventions.
2.1 ADDRESSING CONVENTIONS
The video card's parallel port is normally at 3BCh. This address is checked first by the BIOS, so if a port exists there, it will be LPT1. The BIOS then checks at 378h, then at 278h. AFAIK there is no standard address for a fourth port, and BIOSes only look for three.
3. DIRECT HARDWARE ACCESS
The port consists of three 8-bit registers at adjacent addresses in the I/O space. The registers are defined relative to the I/O base address, and are at IOBase+0, IOBase+1, and IOBase+2. Always use 8-bit accesses on these registers.
3.1 DATA REGISTER
The data register is at IOBase+0. It may be read and written (using the IN and OUT instructions, or inportb() and outportb() or inp() and outp()). Writing a byte to this register causes the byte value to appear on pins 2 through 9 of the D-sub connector (unless the port is bidirectional and is set to input mode). The value will remain latched until you write another value to the data register. Reading this register yields the state of those pins.
7 6 5 4 3 2 1 0 * . . . . . . . D7 (pin 9), 1=High, 0=Low . * . . . . . . D6 (pin 8), 1=High, 0=Low . . * . . . . . D5 (pin 7), 1=High, 0=Low . . . * . . . . D4 (pin 6), 1=High, 0=Low . . . . * . . . D3 (pin 5), 1=High, 0=Low . . . . . * . .  * .  * D0 (pin 2), 1=High, 0=Low
3.2 STATUS REGISTER
The status register is at IOBase+1. It is read-only (writes will be ignored). Reading the port yields the state of the five status input pins on the parallel port connector at the time of the read access:
7 6 5 4 3 2 1 0 * . . . . . . . Busy . . (pin 11), high=0, low=1 (inverted) . * . . . . . . Ack . . (pin 10), high=1, low=0 (true) . . * . . . . . No paper (pin 12), high=1, low=0 (true) . . . * . . . . Selected (pin 13), high=1, low=0 (true) . . . . * . . . Error. . (pin 15), high=1, low=0 (true) . . . . . * * * Undefined
3.3 CONTROL REGISTER
The control register is at IOBase+2. It is read/write:
7 6 5 4 3 2 1 0 * * . . . . . . Unused (undefined on read, ignored on write) . . * . . . . . Bidirectional control, see below . . . * . . . . Interrupt control, 1=enable, 0=disable . . . . * . . . Select . . (pin 17), 1=low, 0=high (inverted) . . . . . * . .  * .  * Strobe . . (pin 1), 1=low, 0=high (inverted)
3.3.1 BIDIRECTIONAL CONTROL BIT
The bidirectional control bit is only supported on true bidirectional ports - on other ports, it behaves like bits 7 and 6. On a proper bidirectional port, setting this bit to '1' causes the outputs of the buffer that drives pins 2 through 9 of the 25-pin connector to go into a high-impedance state, so that data can be _input_ on those pins.
In this state, values written to the data register will be stored in the latch chip, but not asserted on the connector, and reading the data register will yield the states of the pins, which may be driven by an external device without stressing or damaging the port driver.
Also note that on some machines, another port must be set correctly to enable the bidirectional features, in addition to this bit.
3.3.2 INTERRUPT ENABLE BIT
DOS and BIOS do not use the interrupt facility of the parallel port during printing. OS/2 does, or did, use and rely on the parallel port interrupt. For experimenters, it is useful as a general purpose externally triggerable interrupt input.
The interrupt control bit controls a tristate buffer that drives the IRQ line. Setting the bit to '1' enables the buffer, and an IRQ will be triggered on each falling edge (high to low transition) of the Ack signal on pin 10 of the 25-pin connector. Disabling the interrupt allows other devices to use the IRQ line.
The actual IRQ number is either hardwired (by convention, the port at 3BCh uses IRQ7), or is jumper-selectable (IRQ5 is a common choice).
Sound cards, in particular, tend to use IRQ7 for their own purposes.
To use the IRQ you must also enable the interrupt via the interrupt mask register in the interrupt controller, at I/O address 21h.
3.3.3 PRINTER CONTROL BITS
The bottom four bits are latched and presented on the parallel port connector, much like the data register. Three of them are inverted, so writing a '1' will output a low voltage on the port pin for them.
These four outputs are open collector outputs with pullup resistors, so an external device can force them low without stressing the driver in the PC, and they can even be used as inputs.
To use them as inputs, write 0100 binary to the bottom four bits of the control register. This sets the outputs all high, so they are pulled high by the pullup resistors (typically 4700 ohms). An external device can then pull them low, and you can read the pin states by reading the control register. Remember to allow for the inversion on three of the pins.
If you are using this technique, the control register is not strictly 'read/write', because you may not read what you write (or wrote).
4 SAMPLE CODE
These sample code fragments are totally untested.
4.1 RETURN I/O BASE ADDRESS OF NOMINATED LPT PORT
This function returns the I/O base address of the nominated LPT port.The input value must be 1 to 4. If the return value is zero, the pecified port does not exist.
#include <dos.h>unsigned int get_lptport_iobase(unsigned int lptport_num) { return *((unsigned int far *)MK_FP(0x40, 6) + 2 * lptport_num); }
4.2 TOGGLE DATA BITS IN A LOOP
This function just toggles the eight data bits on LPT1 as fast as it can, forever. Not very useful. Change outportb() and inportb() to outp() and inp() for Microsoft C, I think.
#include <dos.h>void toggle_parallel_data_bits(void) { unsigned int lpt_ioaddr; if ((lpt_ioaddr = get_lptport_iobase(1)) != 0) { outportb(ioaddr, 0x55); for (;;) outportb(ioaddr, inportb(ioaddr) ^ 0xFF); } return; }
5. FILE TRANSFER PROGRAM CABLES
The parallel-to-parallel cable is used by DRDOS's INTERLNK program.a pparently Laplink and FastLynx cables are the same. The pin-to-pin connection between two male 25-pin D-sub connectors is: 2-15, 3-13, 4-12, 5-10, 6-11, and the reverse: 15-2, 13-3, 12-4, 10-5, and 11-6, and ground: 25-25. This requires eleven wires. If you have spare wires, link some extra grounds together. Pins 18 to 25 inclusive are grounds. A very long cable may be unreliable, limit it to 10 metres.
6. DISCLAIMER
In no event shall the author be liable for any damages whatsoever for any loss relating to this document. Use it at your own risk!
End of the PC Parallel Port Mini-FAQ.-- Kris Heidenstrom<EMAIL_ADDRESS>Wellington, New Zealand


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Amazon to protest Pentagon's US$10-billion cloud award to Microsoft: WSJ
Amazon.com Inc will protest a recent cloud computing contract award given to Microsoft Corp by the Pentagon, The Wall Street Journal reported on Thursday.
REUTERS: Amazon.com Inc will protest the Pentagon's decision to award a US$10 billion cloud computing contract to Microsoft Corp , the Wall Street Journal reported (https://on.wsj.com/2CLjsdK) on Thursday, citing a statement.
Amazon did not immediately respond to a Reuters request for comment.
A challenge to the Defense Department's award announced last month was widely expected by legal experts, analysts and consultants, especially after President Donald Trump publicly derided Amazon's bid for the high-stakes contract.
Trump had said in August that Amazon's bid for the Joint Enterprise Defense Infrastructure Cloud (JEDI) contract was under review by his administration after complaints from other companies.
Amazon was considered a favorite for the contract, part of a broader digital modernization process of the Pentagon, before Microsoft emerged as the surprise winner.
(Reporting by Shariq Khan in Bengaluru; Editing by Shounak Dasgupta and Arun Koyyur)


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My nick is kakar0tt092, and i'm from Spain.
I translate some lines to spanish because this iniciative is nice.
I like it BBLog, is a good idea and works really fine! :D
ORFK
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Hello ^^ welcome on our board and we're happy that you like the addon =)
Meaurk
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Hola and welcome! :)
BrainFooLong
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Hey!
Fine to see that some people use the new translation thingy.
Keep up the good work.


About
This website is part of the course Software Development for the Web a.k.a. websoft DA377B VT20.
So far we are only on week 1 of the course and have been taught introductory things like using github pages and how CSS, Javascript and HTML all relate to each other - more to come.
I choose this image to represent this course:
Here I provide a link to the course repo on GitHub.


Man who died after Waipahu moped crash identified | Honolulu Star-Advertiser
A 55-year-old man died after a single-moped crash last week in Waipahu, police said.
The Honolulu Medical Examiner’s Office identified the man today as Primo Nicolas, of Honolulu.
Police said Nicolas was heading town-bound on a bike path behind Leeward Community College about 2:15 p.m. Wednesday when he lost control and hit the pavement.
He was not wearing a helmet and sustained head injuries. He was taken to a hospital in critical condition and later died of his injuries, police said.
Speed may have been a contributing factor, police added.
It was the second non-traffic-related fatality this year on Oahu.
Anyone with information about the case is asked to call the police department’s Traffic Division at 723-3413.


练字打卡连续订阅协议
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- F、能无限次使用名家字帖字典进行查询
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在练字打卡的内购订阅页面直接订阅VIP包即可成为我们的VIP会员，你可以根据自己的喜好选择不同的时限，我们的时限包括“每月”、“每年”以及“永久”
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八、其他订阅协议事项
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对以上协议条款有疑问的，请及时联系我们，发送邮件Email<EMAIL_ADDRESS>Continuous Subscription Agreement
1. What are the advanced features that VIP members can enjoy when they become a practicing card puncher?
VIP Membership Features:
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You can become a VIP member by directly subscribing to the VIP package on the in-app purchase subscription page of practice word punching. You can choose different time limits according to your preferences. Our time limits include "monthly", "annual" and "lifetime"
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- The VIP subscription is tied to your Apple ID account. Once purchased, as long as you log in to this Apple ID account, you can use it on all iPad and iPhone devices.
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http://www.speakers-podium.com/susangranger.
Susan Granger's review of "AMERICAN PIE" (Universal Pictures)
You don't need a ouija board to predict that outrageous, adolescent sex comedies will be big box-office. Milder versions like "Porky's" and "Fast Times at Ridgemont High" were hot in the '80s, but the trend, ever since "Something About Mary," is toward edgy, raw, in-your-face vulgarity. And a slice of "American Pie" is about as raucous, raunchy, and ribald as you can get. Surprisingly, it's a true teen-sounding movie. The testosterone-driven plot revolves around four insecure high school seniors who make a pact not to be virgins after Prom Night, which is only three weeks away. There's Jason Biggs, who's like a young Adam Sandler, gamely agonizing through a hilarious "date" with a Czechoslovakian exchange student that's accidentally broadcast over the Internet. Thomas Ian Nicholas initiates the "We will get laid!" vow, despite the fact that he's never gotten past "third base" with his girl-friend.  And Chris Klein cultivates a corny sensitivity to charm a sweet choir girl. First-time film-makers Chris and Paul Weitz are heavily into gross-out humor, like the "Dumb and Dumber" Farrelly brothers, and Adam Herz's screenplay is slick, straight-forward funny with zero subtext. Sex itself is described as "warm apple pie." (Sara Lee is cringing!)  "It's not a space shuttle launch..it's sex."  Odd, isn't it, that Hollywood knows that its young target audience will somehow wangle its way into this R-rated movie?
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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Related links: index of all rec.arts.movies.reviews reviews


Proximity requires that each query entity (vertex or edge) have only a single, possibly complex, condition. Proximity requires the use of disjunctive normal form for combining simple conditions into a single, complex condition.
Disjunctive normal form requires that logical
expressions consist of a
disjunction of conjunctions. That is, you can combine statements
using OR
as long as those statements only use
AND
. For example, to state the logical expression
(A OR B) AND C
in disjunctive normal form you would use
(A AND C) OR (B AND C)
.
The Proximity Query Editor requires
prefix notation
for complex conditions. The condition above must be entered as
OR (AND (A, C), AND (B, C))
where
A
, B
, and
C
, are placeholders for simple conditions.


Ringbrothers unveil one-of-a-kind Ford Mustang
World-famous custom car builder and high-quality billet parts manufacturer, Ringbrothers unveiled the 1969 Mach 1 known as “UNKL”, in the Flowmaster (Holley) booth at the 2019 SEMA Show.
by AutodealerUNKL is the first Mach 1 to leave the Spring Green, Wisconsin, shop after a series of memorable Mustang builds. The widened body and unique race-inspired theme make the most of road and race technology in one car.
UNKL is powered by a 520-cubic-inch Jon Kaase Boss engine making 522kW. A reworked Bowler six-speed Tremec transmission backs the high-powered engine, and a QA1 carbon-fibre driveshaft transfers power to the rear wheels.
The Mach 1’s growl comes from a custom stainless-steel Flowmaster exhaust. Prestone coolant keeps the engine at an even operating temperature, while Motul engine oil and gear oil keep things running smoothly.
Custom BASF paint called Big Boss Blue has been laid over a smooth body, which was shaped with 3M products.
Ringbrothers extended the Mach 1’s body by an inch on each side, which gives it a slightly more aggressive stance than the stock body without compromising the classic look.
ALSO READ: Ford South Africa goes even further
The car’s body is a mixture of carbon fibre and steel panels reshaped by Ringbrothers. Other custom details include billet tail lights, reshaped bumpers and trim and engine-bay accessories that were custom-machined at the Ringbrothers facility.
The name for the build comes from the Ringbrothers owner, who enjoyed a close relationship with his uncle. The build pays tribute to his uncle’s influence on his passion for cars. The race-inspired livery continues that theme and will also serve a practical purpose when the car is used on track.
UNKL uses Detroit Speed Engineering’s Aluma-Frame front suspension system with a cast aluminum cradle, custom-tuned steering rack, tubular suspension arms, and custom-adjustable RideTech coilovers.
The rear is equipped with Detroit Speed’s QUADRALink suspension system and RideTech shocks. Front and rear sway bars are also from Detroit Speed. Stopping power is provided by Baer with huge 6S Extreme calipers.
UNKL rides on a bespoke set of forged HRE Wheels wrapped in sticky Michelin Pilot Sport 4S tires sized 295/35R-19 in the front and 345/30R-20 in the rear.
ALSO READ: Nelspruit Ford establishes a fleet division
The custom interior of UNKL by Upholstery Unlimited feels as race-inspired as the exterior with supportive Recaro seats, Ringbrothers billet components, an Ididit steering column, gauges by Classic Instruments and a cabin kept at a comfortable temperature thanks to a Vintage Air Gen IV Magnum evap kit.
Source: Netcarshow.com


java.lang.Thread.sleep()
that occur inside loops.
Such calls are indicative of "busy-waiting". Busy-waiting is often inefficient, and may result in unexpected deadlocks as busy-waiting threads do not release locked resources.
Example:
class X {
volatile int x;
public void waitX() throws Exception {
while (x > 0) {
Thread.sleep(10);//warning: Call to 'Thread.sleep()' in a loop, probably busy-waiting
}
}
}


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{% extends 'housing/building_list.html' %} {% block "page_title" %}{{ floor.building.name }}{% endblock "page_title" %} {% block "housing_breadcrumbs" %} {{ block.super }}


"""
Defines optimization functions.
.. _`adding optimization functions`:
Extending stk: Adding optimization functions.
---------------------------------------------
New optimization functions are added by writing them in this module.
The only requirement is that the first argument is `mol`. This allows
users to identify which arguments are handled automatically by ``mtk``
and which need to be defined in the input file. The convention is that
if the optimization function takes the argument `mol`, the user does
not have to specify it in the input file.
An optimization function should update the ``rdkit`` molecule in
:attr:`.MacroMolecule.mol`. The return values of optimization functions
are discarded by the GA.
Optimizations can be complicated. If the use of helper functions is
required make sure that they are private, i.e. that their names begin
with a leading underscore. In the event that the optimization is so
complex that it requires its own module or file, place it in the same
folder as this file. Then import the optimization function here. Make
sure that only the optimization functions are imported back into this
file, not any of the helper functions or classes.
"""
import rdkit.Chem.AllChem as rdkit
import multiprocessing as mp
from functools import partial, wraps
import numpy as np
import logging
from threading import Thread
from .macromodel import macromodel_opt, macromodel_cage_opt
from ..utilities import daemon_logger, logged_call
logger = logging.getLogger(__name__)
[docs]def _optimize_all(func_data, population, processes):
"""
Run opt function on all population members in parallel.
Parameters
----------
func_data : :class:`.FunctionData`
The :class:`.FunctionData` object which represents the chosen
optimization function.
population : :class:`.Population`
The :class:`.Population` instance who's members are to be
optimized.
processes : :class:`int`
The number of parallel processes to create.
Returns
-------
None : :class:`NoneType`
"""
manager = mp.Manager()
logq = manager.Queue()
log_thread = Thread(target=daemon_logger, args=(logq, ))
log_thread.start()
# Using the name of the function stored in `func_data` get the
# function object from one of the functions defined within the
# module.
func = globals()[func_data.name]
# Provide the function with any additional paramters it may
# require.
p_func = _OptimizationFunc(partial(func, **func_data.params))
# Apply the function to every member of the population, in
# parallel.
with mp.get_context('spawn').Pool(processes) as pool:
optimized = pool.starmap(logged_call,
((logq, p_func, mem) for
mem in population))
# Make sure the cache is updated with the optimized versions.
for member in optimized:
member.update_cache()
logq.put(None)
log_thread.join()
[docs]def _optimize_all_serial(func_data, population):
"""
Run opt function on all population members sequentially.
Parameters
----------
func_data : :class:`.FunctionData`
The :class:`.FunctionData` object which represents the chosen
optimization function.
population : :class:`.Population`
The :class:`.Population` instance who's members are to be
optimized.
Returns
-------
None : :class:`NoneType`
"""
# Using the name of the function stored in `func_data` get the
# function object from one of the functions defined within the
# module.
func = globals()[func_data.name]
# Provide the function with any additional paramters it may
# require.
p_func = _OptimizationFunc(partial(func, **func_data.params))
# Apply the function to every member of the population.
for member in population:
p_func(member)
[docs]class _OptimizationFunc:
"""
A decorator for optimziation functions.
This decorator is applied to all optimization functions
automatically in :func:`_optimize_all`. It should not be applied
explicitly when defining the functions.
This decorator prevents optimization functions from raising if
they fail (necessary for multiprocessing) and prevents them from
being run twice on the same molecule.
"""
def __init__(self, func):
wraps(func)(self)
def __call__(self, mol):
"""
Decorates and calls the optimization function.
Parameters
----------
mol : :class:`.Molecule`
The molecule to be optimized.
Returns
-------
:class:`.Molecule`
The optimized molecule.
"""
if mol.optimized:
logger.info(f'Skipping {mol.name}.')
return mol
try:
logger.info(f'Optimizing {mol.name}.')
self.__wrapped__(mol)
except Exception as ex:
errormsg = (f'Optimization function '
f'"{self.__wrapped__.func.__name__}()" '
f'failed on molecule "{mol.name}".')
logger.error(errormsg, exc_info=True)
finally:
mol.optimized = True
return mol
[docs]def do_not_optimize(mol):
"""
Skips the optimization step.
This is very useful when debugging so you do not waste your time
waiting for molecules to get optimized. Use this in the input file
in place of an optimization function when necessary.
Parameters
----------
mol : :class:`.Molecule`
A molecule which will not be optimized.
Returns
-------
None : :class:`NoneType`
"""
return
[docs]def partial_raiser(mol, ofunc):
"""
Raises and optimizes at random.
Parameters
----------
mol : :class:`.Molecule`
The molecule being optimized.
ofunc : :class:`.FunctionData`
A :class:`.FunctionData` object representing the optimization
function to be used.
Returns
-------
None : :class:`.NoneType`
"""
if not np.random.choice([0, 1]):
raise Exception('Partial raiser.')
globals()[ofunc.name](mol, **ofunc.params)
[docs]def raiser(mol, param1, param2=2):
"""
Doens't optimize, raises an error instead.
This function is used to test that when optimization functions
raise errors during multiprocessing, they are handled correctly.
Parameters
---------
param1 : :class:`object`
Dummy parameter, does nothing.
param2 : :class:`object`, optional
Dummy keyword parameter, does nothing.
Returns
-------
None : :class:`NoneType`
This function does not return. It only raises.
Raises
------
:class:`Exception`
An exception is always raised.
"""
raise Exception('Raiser optimization function used.')
[docs]def rdkit_optimization(mol, embed=False, conformer=-1):
"""
Optimizes the structure of the molecule using ``rdkit``.
Uses the ``MMFF`` forcefield.
Parameters
----------
mol : :class:`.Molecule`
The molecule who's structure should be optimized.
embed : :class:`bool`, optional
When ``True`` the structure is guessed before an optimization
is carried out. This guess structure overrides any previous
structure.
conformer : :class:`int`, optional
The conformer to use.
Returns
-------
None : :class:`NoneType`
"""
if conformer == -1:
conformer = mol.mol.GetConformer(conformer).GetId()
if embed:
conf_id = rdkit.EmbedMolecule(mol.mol, clearConfs=False)
new_conf = rdkit.Conformer(mol.mol.GetConformer(conf_id))
mol.mol.RemoveConformer(conf_id)
mol.mol.RemoveConformer(conformer)
new_conf.SetId(conformer)
mol.mol.AddConformer(new_conf)
# Sanitize then optimize the rdkit molecule.
rdkit.SanitizeMol(mol.mol)
rdkit.MMFFOptimizeMolecule(mol.mol, confId=conformer)
[docs]def rdkit_ETKDG(mol, conformer=-1):
"""
Does a conformer search with :func:`rdkit.ETKDG` [#]_.
Parameters
----------
mol : :class:`.Molecule`
The molecule who's structure should be optimized.
conformer : :class:`int`, optional
The conformer to use.
Returns
-------
None : :class:`NoneType`
References
----------
.. [#] http://pubs.acs.org/doi/pdf/10.1021/acs.jcim.5b00654
"""
if conformer == -1:
conformer = mol.mol.GetConformer(conformer).GetId()
conf_id = rdkit.EmbedMolecule(mol.mol, rdkit.ETKDG())
new_conf = rdkit.Conformer(mol.mol.GetConformer(conf_id))
mol.mol.RemoveConformer(conf_id)
mol.mol.RemoveConformer(conformer)
new_conf.SetId(conformer)
mol.mol.AddConformer(new_conf)


OPERATION CONDOR A film review by David N. Butterworth Copyright 1997 David N. Butterworth/The Summer Pennsylvanian
Rating: ** (Maltin scale)
In 1990, no longer content performing all of his own stunts, diminutive Hong Kong martial arts star Jackie Chan took another turn at co-writing and directing one of his own features, "The Armor of God II." Retitled and re-released as "Operation Condor," it's the third Jackie Chan movie to reach these shores in the past six months (following "Jackie Chan's First Strike" and the reissued "Supercop"), and it's a decision that ultimately proves you *can* have too much of a good thing.
Chan fans (Chan-atics?) can tell you that the plots of his movies are the least interesting elements.  This leaves plenty of room for what makes a Jackie Chan film worth watching: lots of spirited, high-kicking action, a little low-brow comedy, and plenty of stunts. In "Operation Condor," Chan the director, recognizing his marketability as a lovable action star, gives us a globe-trotting slapstick adventure peppered with chopsocky action sequences, rather than the reverse.
Suffice it to say it's awfully silly.
There's a superfluous James Bondian pre-credit sequence in which Aboriginal-like cave dwellers with picket fences on their heads chase Jackie after he drinks their holy water. "Holy?"
There's a shoot-out in a Moroccan hotel that goes on for days, with Jackie's demure, towel-wrapped co-operative, Ada (Carol Cheng) fighting for her modesty.
And there's a finale in an underground German munitions store that makes full use of a huge fan and some wind tunnel technical effects that grow more jaw-droppingly ridiculous by the minute. It's as if Chan's goofy grin isn't enough; he had to subject it to some face-changing G-forces as well.
Still, the stunts and set pieces, no matter how exhausting, are pretty amazing as usual. Chan rides a motorcycle like it's an extension of himself, this time crashing through a banana warehouse in an attempt to out-maneuver his adversaries. The culminating stunt, when he leaps from the harbor-bound cycle onto a bale of cargo being loaded onto a ship, is almost lost in the mayhem. Fortunately Chan photographs it from two different angles, and leaves both shots in the film! With the agility of a springbok, Chan traverses a 10-foot high wall with an effortless, Z-shaped leap, yet the customary end-credit outtakes illustrate just how difficult it is to nail the landing. And to be fair, there are some very funny bits in and among the frenetic fisticuffs, as when Jackie batters a bad guy who is holding Ada in front of him as a shield.
The obligatory babe role is played by not one, but three!, winsome charmers. The aforementioned Ada. A Brigitte Nielsen-styled blonde (Eva Cobo DeGarcia), who happens to be the grand-daughter of the German officer who buried the hoard of bullion at the end of the war. And a dum-dum with a pet scorpion called Ding Ding, played by a squeaky Shoko Ikeda. By the time these bubbleheads form an alliance and start beating up on the doltish opposition, it's like watching a female version of the Three Stooges.
The film's reworked title, by the way, is every bit as meaningless as the plot. Ada very briefly refers to Jackie as "Condor" during the mission's initial setup--blink and you'll miss it--but for all the thought that went into that decision the movie could have gone by "Operation White-Throated Grebe." In "Operation Condor," as it turned out, Jackie's motto is "Expect the worst. Hope for the best." While this principle holds true for almost any Jackie Chan movie, his latest effort falls precariously somewhere in between.
-- David N. Butterworth<EMAIL_ADDRESS>The review above was posted to the
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