"It was May of the year 1907, the year that was destined to bring the greatest number of immigrants to the shores of the United States." 1 Thus begins Henry Roth's remarkable novel Call It Sleep, in which we learn of an eight-year-old Jewish boy from Austria, David Schearl, attempting to find happiness in a land unfamiliar and often frightening to him. But if this moment early in the novel suggests that David's difficulties will derive chiefly from his encounter with an America hostile to him as an immigrant and a Jew, the rest of the novel often complicates that idea. Moments after David's story is provisionally situated within the narrative of early-twentieth-century American immigration, we are told that when compared with other immigrant families, there was "something quite untypical" about the Schearls (CS, 11). We soon learn that their singularity consists in the tension that divides the family: seeing each other for the first time in years, David's parents "stood silent, apart; the man staring with aloof, offended eyes grimly down at the water. . . . And his wife beside him regarding him uneasily, appealingly. And the child against her breast looking from one to the other with watchful, frightened eyes" (CS, 11). Here as elsewhere in the novel, the idea that David's problems will spring from his experience with a hostile nation is confused by the degree to which the problems appear instead to emanate from his experience with his family.
The very suggestion that David's unhappiness might stem from something other than a clash between two cultures distinguishes Call It Sleep from the genre of ethnic novel out of which it grows. Roth began writing his novel in 1930, just weeks after the immense success of Michael Gold's Jews Without Money. And as Marcus Klein has pointed out, the success of Gold's memoir of Jewish life on the Lower East Side of New York appears to have been crucial to Roth's decision to make his own immigrant experience central to his literary efforts. 2 Yet the characters that appear in Jews Without Money are routinely understood to suffer because the land to which they have come has deprived them of their cultural or ethnic heritage. Mikey Gold, the young boy at the center of Gold's narrative, is pointedly made to suffer the humiliation of his American schoolteachers calling him "Little Kike," and he finds himself happy only when enveloped by a Lower East Side that he calls "this remarkable dream of a million Jews." 3 Giving the young boy the advice that the novel often offers its imagined audience, Rabbi Samuel tells Mikey that in the future, he must be mindful of his "tradition," and that he must "be true to it" (JM, 192). And though the reflective narrator claims to have found the advice "weird" at the time, he insists that nevertheless "something deep inside of me responded to it" (JM, 194).
Jews Without Money ultimately develops a more complicated account of its characters' sufferings than this description suggests, and I will eventually return to the nature of those complications. But it is of more immediate importance to note that in its assertion of a cultural identity distinguished from that associated with America, Gold's novel follows the lead of the Jewish novel of cultural conflict as established most clearly by Anzia Yezierska's Bread Givers . In Yezierska's novel the central conflict is between Sara Smolinsky, a young Jew whose desire to become one of the "real Americans" is so intense that successful Americanization seems to her the equivalent of being "changed into a person," and her father, whose embodiment of Jewishness is so absolute that to his family he seems "an ancient prophet that had just stepped out of the Bible." 4 In the course of the novel, Sara's desire to become an American leads her, against her father's wishes, to refuse an arranged marriage and to pursue her goal of becoming a public schoolteacher. But instead of making her happy, Sara's achievements leave her "empty" (BG, 269), and it is only when she returns to her father and marries a fellow Jew who is interested in learning the Hebrew he neglected as a child that Sara is understood to have achieved a kind of fulfillment. 5
If Bread Givers or Jews Without Money is representative of the tradition of the Jewish novel from which Call It Sleep emerges, we can describe that tradition by saying that within it, the assertion of a cultural or ancestral identity serves chiefly as a repudiation of American assimilation. In both Bread Givers and Jews Without Money, to embrace one's cultural or old-world identity as a Jew is to reject Americanization. It has recently been argued that the rejection of assimilation evident in these novels is best understood in relation to an earlier repudiation of assimilation on the part of mainstream American cultural agents, notably the modern American novel. Seizing on how novels as different as The Professor's House , The Great Gatsby , and The Sun Also Rises imagine belonging or group membership to be a function of who you are rather than what you do, Walter Benn Michaels has argued that the American novel of the 1920s participated in a wide-ranging reconstruction of American citizenship on the restrictive grounds of identity rather than behavior. 6 As a function of what you do, American citizenship and identity are available to those who would acquire them by way of assimilation; as a function of who you are, in some genealogical sense, they become unavailable to precisely those who could only acquire them in that way.
As a number of historians of the period have suggested, the interest that these novels have in rethinking the terms of American identity derives from an increasing anxiety in the early 1920s over the numbers of immigrants arriving on American shores. 7 In 1924, that anxiety culminated with the passage of the Johnson Immigration Act, which limited the number of immigrants allowed into the United States to one hundred and fifty thousand a year, as opposed to the approximately one million a year of the period immediately preceding World War I. In a speech to the National Education Association given soon after the bill passed, Calvin Coolidge articulated the link between concerns over immigration and concerns over American identity by citing the Johnson Act as his administration's chief accomplishment in the effort to help America "remain American." 8 Proceeding to inform his audience as to what they might do to further that project, Coolidge promoted an emphasis on "the teachings of history" (AN, 37) that would illuminate how different nations "cling to their customs" (AN, 37), and he particularly exhorted his audience to make an effort to work themselves into the past to "search out and think the thoughts of those who established our institutions" (AN, 56). In Professor St. Peter, Nick Carraway, and Nick Adams--three fictive Americans clearly drawn to the past--it is easy to see three res of whom Coolidge would have approved. And the famous concluding scene of The Great Gatsby, with its transformation of Nick's eyes into "Dutch sailors' eyes" seeing once again the "vanished trees" of the "fresh, green breast of the new world," is as true to Coolidge's exhortation to recover an original American experience as one could imagine. 9
But as novels like Bread Givers and Jews Without Money suggest, the repudiation of assimilation articulated in the 1920s could be affirmed by immigrants as well as by "natives"; the project of recovering and embracing an ancestral past could be undertaken by immigrants like Sara Smolinsky and Mikey Gold as well as by res like Nick Carraway and Nick Adams. Indeed, attending to the terms in which the work of immigrant writers like Yezierska and Gold was often received means recognizing the degree to which the genre had as one of its central aims the preservation of an ancestral or cultural experience perceived as endangered precisely as a result of the assaults of assimilation. In her introduction to Bread Givers, Alice Kessler Harris observes that the novel takes great care "to evoke vividly the religion and tradition of the shtetl." 10 Similarly, Jews Without Money conforms to the pattern when it slows to document, in loving detail, what communal gatherings were like for Jews on the Lower East Side, recalling tables laden with such delicacies as "the sponge cake, the herring, the quince jam, the apples, kraut knishes, fried fish and cheese blintzes . . . the fiery Polish slivovitz, the wishniak, the plum brandy, the Roumanian wine" (JM, 21).
It may have been this aspect of the immigrant or ethnic novel that led a representative fan of Call It Sleep like Leslie Fiedler to describe that novel as the best example we have in American literature of an immigrant "caught between two cultures." 11 But as I have suggested, Call It Sleep resists being understood in terms of the model of cultural conflict developed in so many of the novels from which it draws. Its resistance is first registered in those scenes where David's suffering is understood to derive less from his experiences with a hostile nation and more from his experiences with a divided family. Very early in the narrative, we are invited to consider the obvious tension between David's parents to be his greatest problem, a consideration that quickly acquires force in a scene in which David's father beats him while the boy cries out, "Please, papa! Please! No more! No more! Darling papa! Darling papa!" (CS, 84). In Jews Without Money, the family is routinely understood as a cultural refuge that the immigrant can seek when assaulted by the new world and its hostile culture. In Call It Sleep, the family is itself one of the most powerful sources of the immigrant's suffering, and David is depicted less as a child caught between two cultures than between two parents.
And yet it would not be entirely accurate to say that Call It Sleep traces its hero's sufferings to his family rather than to his experiences with a world beyond it; David repeatedly suffers from experiences that originate outside of his family, and that ultimately have nothing to do with his mother or father. One of the first and most memorable of these is his experience with a young immigrant girl who initiates him into the mysteries of sex: wishing to play along while Annie outlines a new game, David agrees to "play bad" until he discovers that this means sliding his hand under her dress to feel "her skin under his palm" (CS, 53). Horrified, he flees, and for the rest of the novel he expends a good deal of energy trying to suppress the memory of an experience that threatens to overwhelm him, to reduce the world to "a thousand little pieces, all buzzing, all whining, and no one hearing them and no one seeing them except himself" (CS, 55).
Annie, however, is only the beginning; throughout Roth's novel, David has experiences that originate outside of his family, and that occasion in him the same kind of suffering. In this light, it is more accurate to say that David's difficulties are traced to a hostile environment that includes, but extends beyond, his family. This links Call It Sleep even more closely to Jews Without Money, to the distinct variation that that novel works on the immigrant drama of cultural identity central to a novel like Bread Givers. That is, immigrants in Jews Without Money suffer because they have been both culturally and economically deprived. The mindless cruelty of the young boys at the center of Gold's narrative is repeatedly seen to derive from the boys' detachment from their ethnic past, and from the degree to which they have been forced to live in a slum world of "violence and stone," a place where there are "too many cats" and "too many children" (JM, 63). At such moments, Jews Without Money develops a distinctly class-based argument that accompanies its cultural argument concerning the suffering of its protagonists. And insofar as David's world in Call It Sleep is indeed the ghetto outlined in Jews Without Money, Roth's novel extends the line of argument found in Gold's novel to suggest that its hero is caught not simply between two cultures, or even between two parents, but most crucially between two classes, the rich and the poor.
Just such a reading accounts for the other major avenue by which Call It Sleep has come to be appreciated. In addition to being lauded as a novel of culture that captures "Jewish life," Roth's work is routinely praised as a narrative of class that captures what it means for a young boy to be "exposed, shock by shock, to the blows of slum life." 12 And yet here too Call It Sleep resists the models of understanding that so clearly apply to other novels in the tradition of immigrant fiction from which it draws. In Jews Without Money, the suffering of young children is routinely understood as occasioned by experiences highly specific to ghetto life; young girls, for example, are forced by the need for money and the absence of economic opportunity into prostitution (JM, 31). In Call It Sleep, however, David's sufferings are traced to experiences difficult to call ghetto-specific. Early in the novel, for instance, David encounters a funeral while on his way home from school. Realizing what he is seeing, he is reduced to a familiar "sense of desolation" (CS, 61). While there is little doubt here that David lives in a ghetto and that he suffers, funerals occur outside ghettos as well as inside them; they are not specific to ghetto life.
How, then, are we to understand the desolation from which David suffers? Or, more immediately, how does the novel understand this desolation to resist narratives of cultural, familial, and economic deprivation? David's encounter with the funeral leads to an exchange with his mother in which, in response to her asking him what is wrong, he replies quietly, "I don't know" (CS, 62). He wonders about a "dreamlike fugitive sadness" that possesses him; he is haunted by visions of a world, a standard by which everything in the actual world is found either wanting or assaultive (CS, 68). Later, after another experience in which he has been reduced to his familiar despair, David identifies this utopianism as the source of his suffering. "Just don't believe," he counsels himself, attempting to suppress his tendency to see a world other than the one that confronts him; "don't believe, never" (CS, 116). "But," he goes on to wonder, "when would that queer weight, that odd something lodged in his bosom, that was so spiny, ramified, reminding, when would that vanish? Tomorrow, maybe? Maybe tomorrow" (CS, 116). Here, as at other moments, David's suffering is imagined to stem from some obscure and inner sense he has of how the world might otherwise be, a "fugitive" sense that the world he inhabits offends at every turn. And here, as elsewhere, David imagines that if he could escape that sense, he might escape the cycle of hope and despair that his experience has become.
Throughout Call It Sleep, though, that hope is positioned beyond realization, and it is precisely this fact that accounts for David's failure not only to be like the other boys in the street, but to become an American. The other immigrant children who appear are routinely presented as enthusiastic students of the new world into which they have been thrown; they study how to make their way in it, and in the process become "this new breed[:] . . . Americans" (CS, 374). By contrast, David is indifferent. Early in the novel, a boy in his neighborhood finds an abandoned clock on the street. He dismantles it to recover a cog that resembles a coin, and that thus might be used in a "slod machine" to get gum (CS, 21). When he invites David to join him in retrieving the prize, David's indifference causes the boy to eye him "curiously," and after "shrugging off his perplexity," he leaves David alone (CS, 22). Because his mind is tuned to the fugitive sense of an alternative world he carries about with him, David is construed as fundamentally indifferent, and that indifference is understood to keep him from becoming Americanized.
Eventually, and perhaps inevitably, David's indifference is identified by the neighborhood rabbi as a sign of his true Jewishness, since it is taken as a sign of his resistance to the forces of assimilation destroying "Yiddish youth" (CS, 374). But it is important to note the way in which Roth's novel goes out of its way to resist this view of David's behavior. Readers of Call It Sleep will recall the extreme degree to which David is understood to be his mother's rather than his father's son: the young boy's nature is his mother's, not his father's, and there is actually some question early in the narrative as to who his actual biological father is. The other candidate is the "goy" (CS, 196) Genya met and fell in love with in Austria, and though the situation is eventually clarified, the force of the story depends less upon whether it changes David's actual parentage than on the way it illuminates the son's nature by way of revealing the mother's.
In the story in question, Genya is revealed to have been a romantic and an idealist--therefore a problematic Jew. In pursuing her instinctive sense of love and what marriage might be, as opposed to the more traditional sense conveyed to her by her parents, Genya finds herself in love with a Christian; thus, at the very moment she is understood to have satisfied her basic nature, she is understood as a fallen Jew. As the less idealistic sister, Bertha explicates the position of the Jewish community on this question, "even if he was educated . . . and even if he was an organist, he was a goy!" (CS, 196). At this and other points in Roth's novel, Genya is clearly understood to be an idealist, responsive less to the world as she finds it than to the world as she imagines it. And at this and other points her idealism is understood to complicate, not complement, her status as a Jew.
David's situation is rendered similarly: like his mother, he is less responsive to the world he finds than to some alternative world he senses. And like his mother, David undergoes an experience in which he discovers he is a fallen Jew at precisely the moment he most satisfies his nature. Late in the novel David meets a young Polish immigrant, a Christian, named Leo. Because Leo's description of Christ evokes for David the image of an even more powerful agent of world reconstruction than the Hebrew God he has heard about in cheder, David instinctively asks the boy for the scapular hanging around his neck. At this moment David vaguely recognizes that his act involves "betraying all the Jews in his house" (CS, 306). But the desire that animates his act--the desire to bring into being a world other than the one that exists--is sufficiently strong to override that concern. David is as idealistic as his mother, and again that idealism is understood to make David a problematic Jew.
The novel's resistance to interpreting idealism as a sign of Jewishness is nowhere more clearly dramatized than in the rabbi's repeatedly emphasized misunderstanding of David's interest in his studies at cheder. While David's proficiency in Hebrew studies is understood by his rabbi to indicate a profound and rare interest in discovering "what it means to be a Jew" (CS, 210), it is repeatedly construed as a function of the quite different desire to learn about, and make contact with, a power capable of first destroying and then refashioning the world. The Jewish lore that the rabbi understands David to seek as an end in itself is, in other words, routinely presented merely as a means to an end, an end the boy clearly articulates when he asks his mother whether the God he has heard of in cheder is capable of "breaking up" the world (CS, 241). To the rabbi, then, David's indifference to the world around him is a sign of his Jewishness, a sign of his resistance to the process of assimilation that is "Americanization." But to the novel, that indifference is understood to make David a failed or problematic Jew, as well as a failed American.
To observe that David and his mother are both understood to be failed Americans as well as problematic Jews is to note the degree to which Call It Sleep rejects the opposition between American and Jew so central to texts of the 1920s as different as Bread Givers and Willa Cather's The Professor's House. In Call It Sleep that opposition is converted into something like an identity, for Jews and Americans are vaguely identified in terms of being able to accept and adapt to the world in a way that neither Genya nor David can manage. In entertaining a link between the identities of Jews and Americans, Call It Sleep is following another lead established by Jews Without Money in adapting another variation on the tradition of the immigrant novel to which Bread Givers belongs. For in Gold's novel, true Jews are understood to be true Americans, on the grounds that like true Americans, true Jews are hard-working and adaptive. The qualification "true" that precedes both "Jews" and "Americans" in this description is important, because Gold's narrative is populated with false Jews as well as false Americans, and sorting out the difference is vital to the work of the novel.
Early in Gold's novel a distinction is established between the Americans whom immigrants confront and the America that the Founding Fathers imagined. The immigrants are confronted by Americans who are lazy, overfed, and exploitative. The Founding Fathers, on the other hand, are understood to have been hard-working individualists trying to make a place for others like themselves. The immigrants in the novel can thus maintain the paradoxical position of blasting contemporary America while becoming emotional when at one point young Mikey sings:
I love the name of Washington,
I love my country, too,
I love the flag, the dear old flag,
The red, white and blue . . .
[JM, 120].
Similarly, a distinction is drawn between true and false Jews, with the former understood as hard-working and resourceful, while the latter are seen as overprivileged and lazy.
The identification of true Jews with true Americans that Jews Without Money posits is most neatly articulated by Mikey's elision of Buffalo Bill with the messiah. Having roamed outside of his neighborhood and into the province of Italian boys hostile to Jews, Mikey imagines that
it was like the Wild West. Under the fierce sky Buffalo Bill and I chased buffalo over the vast plains. . . . Then a secret message was sent to us from a beautiful white maiden. She was a prisoner in the camp of the Indians. . . . Buffalo Bill and I rode and rode and rode. In the nick of time we saved her. . . .  [JM, 187]
As a Jew surrounded by hostile elements, young Mikey imagines himself as allied with Buffalo Bill: both are rugged individualists, and both are underdogs instinctively opposed to oppression.
In linking Jews and Americans Jews Without Money depends upon a shift in how both forms of identity are conceived. For if Jewish and American identities are conceived in terms of an ancestral past, as they are in texts such as Bread Givers and The Professor's House, then Jews cannot be Americans and Americans cannot be Jews, for the pasts they are understood to possess are clearly different. In order for the link to be made, the identities in question must be grounded differently. The shift in question involves a move away from the idea of shared ancestry or culture, and toward the idea of a shared disposition or psychology. For what enables the identification of Mikey with Buffalo Bill is a shared psychology: a sense of independence and resourcefulness in the face of perceived difficulty. Their pasts have nothing in common. The terms by which the Jew and the American are here identified indicate not only the emergence of new conceptions of American citizenship and theories of national identity in the 1930s, but also the particular concerns that ground this shift.
In 1925 Maxwell Telling, an educator and self-declared patriot, announced that those concerned with the future of America should take time to understand not their culture but their psychology, not the experiences of their ancestors but "the psychological experience of their children." 13 Telling's argument was based on the premise that the challenge facing America was not immigration, as Coolidge and others had suggested, but economic progress. For Telling, World War I had accelerated the national economy to the point that it was in danger of exhausting those who would consume its products. The study to which Telling's remarks served as an introduction, Childhood's Fears: Psychoanalysis and the Inferiority-Fear Complex , went on to argue that fear was the privileged experience in relation to which parents must now raise their children; its presence or absence would determine whether a child would become an "extrovert" or an "introvert," that is to say, an individual capable of embracing and adapting to the world around him, or an individual paralyzed by that world. 14 For Telling and G. F. Morton, the author of the study, resourcefulness or adaptability was the hallmark of a healthy human being and a good citizen, and parents were urged to take special care to promote those qualities in their children at a time when, as Morton put it, "material civilization is going ahead so swiftly that man seems to be losing control of the machinery owing to his own relatively slower advance." 15
The displacement of culture by psychology in the nationalist discourse represented by Telling and Morton turns upon the displacement of racial or ethnic concerns by concerns more specifically economic. The distinction invoked here between culture and psychology, race and economics, is complicated. It is arguable that the race-thinking of the 1920s in America and other nations is economically motivated, and that the concern with "culture" evident in that period is no less an economic issue than depression unemployment. Moreover, it is arguable that the concern with adaptability that marks the 1930s is racially inflected (John Steinbeck's The Grapes of Wrath would be a case in point), and that the psychological discourse emergent in the decade is thus less distinct from the cultural exclusions of the 1920s than might appear. From this perspective, it seems well advised to take account of the strategic rhetorical nature of the distinction between culture and psychology or race and economics invoked by Telling and others. And indeed, to do so is to focus even more directly on the quite real effects that such distinctions produced in American narratives.
From this vantage point, while culture became definitive grounds for American citizenship and identity when the challenge facing the nation was perceived to be racial or ethnic, psychology emerged as a basis for these things when the nation confronted a more specifically economic challenge. We would then expect to find the kind of nationalist discourse represented by Telling and Morton becoming more prominent than that represented by Coolidge in situations where economic concerns were perceived to outweigh, or at least compete with, racial and ethnic concerns. No moment in American history exemplifies such a situation better than the depression of the 1930s, and it is in fact in the context of the Great Depression and its emergent concerns that one can begin to grasp the force of the identification between Jew and American that distinguishes a text like Jews Without Money.
The Great Depression was only getting underway when Jews Without Money was published, but Michael Gold had long viewed America and its concerns in economic terms. As a founding editor of The New Masses, Gold was interested in elaborating a new critique of contemporary America, and in Jews Without Money it becomes clear that the kind of nationalist discourse practiced by Morton and Telling in many ways opened the door for him. 16 To a re like Gold, the initial appeal of the discourse of disposition and psychology lay in its rejection of the criteria that prevented all immigrants and most workers from considering themselves central to the nation. And insofar as this discourse insisted instead upon the centrality of a proper psychological disposition, immigrants and workers became as likely to be "true Americans" as the owners and natives with whom they were typically contrasted.
Moreover, in its particular insistence upon the virtues of resourcefulness and adaptability, the discourse in question allowed Gold to suggest that the experience of immigrants and workers made them in fact more likely to be true Americans than the natives or owners. In his introduction to Jews Without Money, Gold attacks Nazi rhetoric as it had begun to take hold in Weimar Germany--not on the grounds that it was wrong to blame capitalists and "international bankers" for contemporary social ills, but because it had mistakenly identified Jews with these capitalists. "The great mass of Jews in the world today," Gold argued vehemently, "are not millionaire bankers, but paupers and workers" (JM, 6). As "paupers and workers," Jews in Gold's novel possess precisely the virtues of resourcefulness and adaptability that Telling and Morton use to identify their true patriots. And in the course of the narrative, Jewish immigrants are thus imagined to be not just part of an America from which they had previously been excluded, but the very heart of the nation, in that they are conceived to possess precisely the originary qualities needed to rejuvenate a crippled economy.
Public interest in ghetto experience, which was quite small during the 1920s, exploded during the depression, as several historians have suggested; this accounts in large part for the astonishing success of novels of hardship like Jews Without Money, James T. Farrell's Studs Lonigan , and The Grapes of Wrath . 17 From this perspective, it seems clear why Call It Sleep follows Jews Without Money in collapsing the opposition between Jew and American so central to so many novels of the 1920s. Begun in 1930 and published four years later, Roth's novel simply assumes that the experience of becoming an American should be understood as a psychological drama rather than engaged as a cultural drama of assimilation. The failure in Call It Sleep of David and his mother to be simultaneously Americans and Jews is understood as deriving precisely from their failure to adapt to the world into which they have been thrown.
And yet, although Call It Sleep follows Jews Without Money in rejecting the opposition between Jew and American, it diverges from the path of Gold's novel by marginalizing precisely those res who do adapt to and overcome the hardships with which they are presented. In contrast to Mikey's mother, David's mother is never employed outside the home, and creates for herself and her son an environment defined expressly by the absence of those challenges that mark the world beyond their apartment door. And in contrast to Mikey, David avoids the world. Roth's novel, then, precisely reverses the terms of Gold's novel, celebrating exactly the psychological proclivities Gold identifies as at once anti-American and anti-Jewish. I will eventually argue that in doing so Call It Sleep employs the high-modern ration of the irreducibly alienated subject to construct, within a depression-era cultural discourse in which Americanness was increasingly a matter of resourcefulness, an alternative to the idea that good Americans were defined by the flexibility with which they responded to the hardships of the depression. At present, since the reversal that Roth's novel effects is conducted in terms of the novel's celebration of David, the meaning of that reversal is best grasped by examining the nature of that celebration.
Throughout the novel, David is distinguished from other immigrant children not only by his revulsion to the world as he finds it, but by the degree to which his mind is constantly engaged in the business of considering and reconsidering the elements of experience. At home or wandering the streets, David is imagined to be "sifting the mind's trinkets": "Was wondering. Birds? Not birds. Bad words? No. Before that. When? Aunt Bertha, the new man? No. Can't find. Funny. Maybe his name? Mr.--Mr. What. Yes. Maybe. No--But . . ." (CS, 174). The content of the sifting represented here--David is mulling over the pieces of the puzzle that is his mother's past--is less important than the degree to which David is identified throughout the novel with this kind of mental activity, for in that identification lies the novel's most privileged understanding of its young hero. Insofar as he is possessed by an "odd something" (CS, 116) that makes him less responsive to the external world than to an internal one, David is imagined, like his mother, to be an idealist. Insofar as he also possesses a desire to take in hand the disparate aspects of his experience and to refashion them in accordance with that other world, David is also understood to be an artist, and Call It Sleep reemerges as a portrait of the artist as a young man.
Readers of Call It Sleep have long observed affinities between Roth's work and Joyce's, and Roth himself identified Joyce as one of the most powerful models behind Call It Sleep. 18 The techniques used to represent the workings of David's mind are clearly indebted to techniques employed in Ulysses , and the concluding scene of Roth's novel, where narrative techniques give way to theatrical conventions, is obviously indebted to the Nighttown episode of Joyce's novel. And yet, in addition to these affinities, there is the less often remarked matter of David's resemblance to the image of the modern artist that a novel like Ulysses projects. That image, which The Waste Land could also be understood to project, is that of a man sifting through the detritus of the world to see whether it might be refashioned under the sign of some coherence or redemption. In a discussion of Joyce, Eliot, and modernism, Roth claimed that Ulysses, like The Waste Land, had shown him that "literature [could] be created out of junk." 19 And insofar as the young boy at the center of Call It Sleep is distinguished by his tendency to sift through "the trinkets of his mind" with an eye to coherence and redemption--insofar as he is distinguished by precisely the tendency associated with artistry in the work of Joyce and Eliot--the novel not only paints a portrait of the artist as a young man, but paints a quite specific portrait of the modern artist as a young man.
This tracing of literary influences brings to light the double, and conflicted, genealogy of Call It Sleep. On the one hand it is clearly indebted to the tradition of the immigrant novel represented by Bread Givers and Jews Without Money; on the other hand the novel is just as clearly indebted to the modernism represented by Ulysses and The Waste Land. The tradition of modernism represented by Joyce and Eliot is often understood to have assumed as its normative perspective the position of a subject with distinct privileges of class and culture, privileges that at times revealed themselves in moments of explicit anti-Semitism (think of Eliot's "Gerontion"). By contrast, the tradition of the immigrant novel is often understood to have assumed as its normative perspective the position of a subject deprived of precisely the privileges that Eliot's modernism assumes. Moreover, in adopting this latter perspective, the immigrant or ethnic novel is frequently understood to entail a progressive politics that would insist on including in public discourse precisely the voices that Eliot's modernism excludes. To write a novel of immigrant experience in the tradition of Yezierska and Gold is in this sense a politically progressive act, although fashioning that work according to some of the central tenets of what we have come to call high modernism might seem to defeat, or at least complicate, that very purpose.
The novel's involvement with modernism is manifest in its concluding scene, in which David stumbles toward an electrified streetcar rail, iron milk ladle in hand, intending to draw from the rail the sparks he understands to confirm the existence of a divine being possessed of reconstructive powers. In addition to suggesting that David is driven to this act by the "queer weight" (CS, 116) that distinguishes him from others in the novel, the scene unfolds by juxtaposing David's thoughts with the speech of various characters who inhabit the murky world through which he moves, producing an effect similar to that achieved in the Nighttown episode of Ulysses, or to the polyvocal pastiche of The Waste Land. In a typical speech, a laborer named O'Toole delivers himself as follows:
Well. . . . He comes up fer air, see? He's troo. Now, I says, now I'll tell yuh sompt'n about cunt--He's still stannin' be de fawge, see, wit' his wrench in his han'. An I says, yuh like udder t'ings, dontcha? Waddayuh mean, he says. Well, I says, yuh got religion, aintcha? Yea, he says. An' I says, yuh play de ponies, dontcha? Yea, he says. An' yuh like yer booze, dontcha? Sure, he says. Well I says, none 'o dem fer me! Waddayuh mean, he says. Well, I says, yuh c'n keep yer religion, I says. Shit on de Pope, I says--I wuz jis' makin' it hot--an' t'hell witcher ponies I says--I bets on a good one sometimes, but I wuzn' tellin' him--an' w'en it comes t' booze, I says, shove it up yer ass! Cunt fer me, ev'ytime I says. See, ev'ytime! [CS, 410-11]
In one sense, Roth's readers have been right to focus on the affinities between Roth's work and that of Joyce or Eliot. But to restrict the critical attention to the narrative's formal features--especially in the presence of speeches like O'Toole's--is to ignore the suddenly heightened vulgarity of the characters whose actions are juxtaposed to David's. Indeed, speeches like O'Toole's are suddenly offered toward the end of the novel in order to display the degree to which the inhabitants of the ghetto in which David finds himself have been degraded by the conditions in which they are forced to live.
For most of its nearly five hundred pages, Call It Sleep has seemed far less concerned than Jews Without Money and other novels of its kind to focus on the nightmarish aspects of the ghetto that its protagonist inhabits. I have suggested that this derives from the novel's resistance to reducing its hero's sufferings to membership in a particular class. In its final pages, however, Roth's narrative presents the ghetto in as unflattering a light as any depicted in other immigrant novels, and David's flight to the rail is clearly seen as deriving less from an idiosyncratic nature than from the direct effects of his surroundings, which he has perceived more acutely than anyone else. Moreover, the novel's desire to suggest that the condition of the people it depicts derives from a systematic problem with the nation to which they have come is made explicit by a voice that is raised above the din to exclaim, "And do you know, you can go all the way up inside her for twenty-five cents. For only twenty-five cents, mind you! Every American man, woman and child ought to go up inside her, it's a thrilling experience. The statue of liberty is--" (CS, 415).
The statue of liberty appears here as defiled and defiling, and the nation that the statue represents appears as degraded and degrading. In this moment Call It Sleep establishes an explicitly national context for David's actions. Or, to put this point differently, in this moment Call It Sleep brings together its modernism and its politics. Indeed, Roth's novel invites us here to understand David's drive to the rail in the context of a critique of America that calls for revolution on the grounds that the nation has arrived at the point of systematically betraying the promises made to its citizens. In case there is any possibility of missing this, we are given the final words that float through David's mind the moment before he hits the rail: "Machine! Liberty! Revolt! Redeem!" (CS, 419) And in case we are inclined to miss that moment's significance, it becomes manifest in the description of the consequences of David's act. As he hits the rail we are told that all around him "a long burst of flame spurted from underground, growled as if the veil of the earth were splitting" (CS, 420). The apocalyptic tone of this passage is unmistakable, and its revolutionary impact is extended once we recognize that, in addition to producing the sparks that he associates with divine presence, David has interrupted at this moment the electrical power flowing to, and sustaining, the routinized world of the immigrant laborers around him. At the moment he does so the laborers turn toward him--they snap out of the haze in which they exist--to experience a moment of unusual and possibly significant reflection. "The masses," we are told, "stood suddenly mute a moment, for a moment silent, stricken, huddled, crushed by the pounce of night" (CS, 422).
We are to understand that it is precisely David's inability to adapt himself to any aspect of the world that has led to this potentially transformative moment. Throughout Call It Sleep, David has been differentiated from others in terms of that inability. It now becomes clear that the capacity to find one's way in the world is an obstacle, not an avenue, to meaningful change. The workers surrounding David are immigrant boys grown up, immigrants whose adaptation to the world has resulted in finding places within it. But their social niches have violated, not secured, their interests. By contrast, David's inability to accommodate himself to the world is understood at the end of the novel to have brought him to the point of ring in the genuinely revolutionary possibility of redirecting a power currently engaged in sustaining the world to secure that world's destruction.
This is to suggest that, in the end, Roth's novel appropriates the modernist celebration of the alienated subject and turns it not to conservative or apolitical ends, but to distinctly progressive, even radical, ones. The final scene of Call It Sleep employs the high-modern ration of the irreducibly alienated subject in order at once to engage a depression-era cultural discourse in which Americanness was increasingly understood as a matter of adaptation, and to construct within that discourse an alternative to the idea that good Americans were defined by the skill and resourcefulness with which they responded to economic hardships. In Jews Without Money, adaptation is seized upon as a criterion for Americanness because it is understood to allow for the inclusion of those subjects--immigrants and ethnics--previously excluded from mainstream American discourse; adaptation is understood to constitute the basis of a progressive politics. In The Grapes of Wrath and other depression-era novels of its kind, the same criterion is embraced because it can include the poor in American discourse, and is similarly capable of inaugurating a revolutionary movement. In Call It Sleep, however, adaptation is rejected as a form of insidious incorporation; paralysis is embraced as a precipatory form of extreme alienation that can trigger the coming into being of a nation genuinely receptive to its citizen's concerns.
We can see, then, how Roth's text imagines the two traditions from which it draws, high modernism and the novel of immigrant experience, to complement each other. Indeed, Roth's novel imagines the modernist celebration of the irreducibly alienated subject--the subject alienated, in this case, expressly beyond the available therapeutics of cultural or class identification--as constituting an extension of precisely the kind of politics widely associated in the period with the embrace of classed, raced, or cultured subjects. Call It Sleep resists narrative patterns that locate David's suffering in his alienation from his culture or class. And we have seen, when considering the degree to which David is defined in the novel in terms of his sifting mind, how this resistance is bound up with the novel's interest in rendering David as an artist. Yet while David is thus presented as an artist rather than as a "Jew" or a "worker"--while David's experience and suffering are thus presented in precisely the way that an identification of him as a Jew or a worker would resist--this characteristic is understood to make David more rather than less politically progressive. Precisely insofar as he is understood as resistant to the available identifications of ethnicity and class, David is red as an agent of revolutionary change. 20
The logic of Call It Sleep raises a number of concluding questions, the first of which concerns the novel's judgment of the relationship between a certain kind of modernism and a particular kind of radicalism. Indeed, the celebration of resistance or paralysis evident in Call It Sleep speaks to ongoing debates about the political value of resistance or oppositionalism as such that increasingly animate contemporary arguments about the kinds of cultural work that have a right to be called progressive, and the kinds that don't. 21 From one of the two perspectives that dominate this debate, the resistance to identification celebrated in Call It Sleep represents an evasion of the world of social and political affairs. Such resistance is seen as an evasion of the sphere of "interests" with which the world of social and political affairs is identified. 22 From the other perspective, the resistance in question is the basis of any genuine indictment of the world; a resistance to accepting interests formulated in, and thus complicit with, the world is taken to indicate a genuine opposition to the current order of things. 23
The dispute thus turns upon different theories of transformation or change, and upon the place assigned within those theories to ideas of exteriority or totality. 24 And although it is not within the scope of this essay to resolve this debate, a concluding observation regarding it is in order. In recovering the claim put forward in Call It Sleep concerning the political ambiguity of certain cultural or class identifications in the 1930s, we encounter the limits of what may be called a political formalism, in which the social or political import of certain commitments is understood to have been established at the level of theory, and is thus independent of any of the particular social fields in which those commitments might operate. 25 In the absence, for example, of recovering the specific fields of identification in which Call It Sleep elaborates its commitment to a kind of high modern alienation, Roth's novel would be, and indeed has been understood as profoundly conservative on the grounds that the politically reactionary nature of disidentification has been conceptually established. And yet to recover the specific understandings of the Jew and the worker that Roth's narrative resists is to find--or so I hope to have shown--that its commitment to refusing such identifications cannot be so easily understood. Indeed Roth's novel, and the recovery of its original context, provides a provocative argument for the desirability of revisiting the grounds upon which a number of political judgments have been made about a number of literary works and periods. 26 And finally, with respect to the question of what kinds of cultural work have a right to be called progressive, Call It Sleep, and, hopefully, the analysis conducted here suggests that the best answers we can give to those questions will be discovered at the level of what we might call sociality as distinct from theory.
Mark Schoening is an assistant professor of English and American literature at Providence College. He is currently at work on representations of change in modernist poetry, and on meetings between modernism and other forms of aesthetic practice in American literature and culture of the 1930s. This essay comes from the second of those two projects, another part of which appears in American Literary History (winter 1993).
1. Henry Roth, Call It Sleep (1934; New York: Noonday, 1991), 9;hereafter abbreviated CS.
2. Marcus Klein, Foreigners: The Making of American Literature,1900-1940 (Chicago: University of Chicago Press, 1981), 192.
3. Michael Gold, Jews Without Money (1930; New York: Carroll andGraf, 1984), 38; hereafter abbreviated JM.
4. Anzia Yezierska, Bread Givers (1925; New York: Persea Books,1975), 210, 237, and 125, respectively; hereafter abbreviated BG.
5. "Now I was the teacher," Sara reflects late in the novel. "Why didn't Ifeel as I had supposed this superior creature felt? Why had I not the wings to fly with. Where was the vision lost?" (BG, 269) The vision is eventually understood to have been lost when Sara turned her back on her identity as a Jew, for it is seen as regained when she returns to her "blood" (BG, 280) (though this return presents serious complications for Sara's understanding of herself as a woman). See BG, 269-97.
6. See Walter Benn Michaels, Our America: Nativism, Modernism, andPluralism (Durham, N. C.: Duke University Press, 1995).
7. See Klein, Foreigners, 5-38; and Michaels, OurAmerica, 29-40.
8. Calvin Coolidge, America's Need for Education (Boston: HoughtonMifflin Company, 1925), 28; hereafter abbreviated AN.
9. F. Scott Fitzgerald, The Great Gatsby (1925; New York: CharlesScribner's Sons, 1953), 182.
10. Alice Kessler Harris, introduction to BG, xv.
11. See Leslie Fiedler, "Henry Roth's Neglected Masterpiece," TheCollected Essays of Leslie Fiedler, vol. 2 (New York: Stein and Day, 1971), 271-79.
12. Irving Howe, "Life Never Let Up," The New York Times BookReview, 25 October 1964, 1.
13. W. H. Maxwell Telling, introduction to G. F. Morton, Childhood'sFears: Psychoanalysis and the Inferiority-Fear Complex (New York: Macmillan, 1925), 16.
14. Morton, Childhood Fears, 205.
15. Ibid., 215. Since Telling and Morton's text weighs so heavily in myargument for a shift in American discourse from race to psychology, and from culture to economics, I want to be explicit about the degree to which it is representative. My central claim for its representativeness rests on a particular difference between a novel like Bread Givers and a novel like Jews Without Money with respect to the narrative of becoming (or failing to become) an American. The difference is between a narrative in which ancestry is central to the question of Americanization, and a narrative in which resilience is central to that question. Moreover, Morton's book is part of a genealogy of contemporaneous studies that entertain, with varying degrees of explicitness, the hypothesis that the future of the nation has more to do with psychology than race, given that its concerns would soon be more economic than cultural. For instance, in their preface to H. von Hug-Hellmuth's A Study of the Mental Life of the Child, trans. James J. Putnam (Washington: Nervous and Mental Disease Publishing Company, 1919), James J. Putnam and Mabel Stevens argue that since adulthood is nothing but "an extension of childhood," the key to an individual's future lay in his or her "mental life" rather than in his or her ancestry or genetic makeup (viii). By 1925, Morton and Telling are in a position to shape this premise into the more specific argument that, since nations depend upon the adults that run them, and since the psychological traits of adaptability and resilience may be increasingly demanded of adults, the key to the national future might lie in cultivating these particular traits in children. And by 1930 this line of argument is sufficiently established to allow Willard C. Olson, in Problem Tendencies in Children (Minneapolis: University of Minnesota Press, 1930), to state quite simply that an indifference to "environmental demands" constitutes a "behavior problem" ; and to allow Samuel Hartwell, in Fifty-Five Bad Boys (New York: Knopf, 1931), to explain that the term "bad boy" signifies "a maladjusted boy," and that now there was no more important task than intervening in the lives of such bad boys in order to "modify the behavior and emotional habit patterns of children in the direction of normal and healthy reactions" .
16. For a brief account of Gold's life and activities, see Daniel Aaron,Writers on the Left: Episodes in American Literary Communism (1961; New York: Columbia University Press, 1992), 84-90.
17. See Klein, Foreigners, 182-226; and Daniel Aaron,Writers on the Left, 205-13.
18. For one of the moments in which Roth identified Joyce as a literarymodel, see Bonnie Lyons, "An Interview with Henry Roth," in her Henry Roth: The Man and His Work (New York: Cooper Square, 1976), 161. And see, for the beginning of a long tradition of noting affinities between the work of Joyce and that of Roth, Joseph Wolf, "Portrait of the Artist as a Child," Partisan Review 2 (April-May 1935): 95.
19. Roth, quoted in Marsha Pomerantz, "A Long Sleep," JerusalemPost (International Edition), 23 September 1977, 9.
20. One point raised by the description of Call It Sleep advancedhere bears remarking upon. Roth's joining the Communist Party of the United States in 1933 might indicate an embrace of precisely the class identification that I am claiming the novel resists. Roth's membership, however, is profitably contrasted to Gold's. Like most party members, Gold appears to have joined the CPUSA because he was committed to reorganizing America in the interests of workers, and because he understood the party to be the best means to that end. In the wake of problematic events like the Moscow Trials and the Nazi-Soviet Pact, Gold was capable of critiquing the party, and at times of distancing himself from it when it disengaged from the interests to which he was committed. For a concise account of Gold's dealings with the CPUSA, see Michael Folsom, introduction to Mike Gold: A Literary Anthology, ed. Michael Folsom (New York: International, 1972), 7-20. Roth, by contrast, appears to have turned to the party out of a disaffection more general than the economic disaffection that animated Gold. The very events that would qualify the loyalty of party members like Gold left Roth unruffled; when pressed, Roth would explain his allegiance by insisting that it was finally "the product more of intuition than analysis" (Henry Roth, "Where My Sympathy Lies," The New Masses, 2 March 1937, 9). The nature of the "intuition" in question can be recovered by recalling the most immediate thing the CPUSA could be said to have represented at the time Roth joined: a fundamental opposition to everything that America had historically been to that point. To recall this fact is to recognize the degree to which Roth's turn to the party was animated less by his commitment to the interests of a particular class than by his commitment to rejecting--in the most fundamental way possible--the nation he inhabited. We can then begin to understand not only the peculiar logic behind Roth's vexing history with the CPUSA, but the logic by which he comes to understand modernist alienation as an extension of political opposition.
21. For a concise introduction to the kind of debates referred to here,and for an indication of the degree to which they tend to revolve around "postmodern" judgments or evaluations of "modernism," see Charles Altieri, "The Powers and the Limits of Oppositional Postmodernism," American Literary History 2 (fall 1990): 443-81.
22. This line of argument originated in early, and often marxist, analysesof the high-modern insistence that art occupied a sphere of its own, analyses that saw this insistence as deceptive and indicative of a desire to avoid potentially destabilizing debates about the social and political structure of the world. For a more general critique, see Stanley Fish, "Unger and Milton," in his Doing What Comes Naturally: Change, Rhetoric, and the Practice of Theory in Literary and Legal Studies (Durham, N. C.: Duke University Press, 1989), 399-435; and Martin Stone, "The Placement of Politics in Roberto Unger's Politics," Representations 30 (spring 1990): 78-108.
23. Again, we see this in early marxist analyses of modern alienation,which see that posture as a sign of unhappiness without which the urgency of conceptualizing alternative worlds might vanish. More recently, Roberto Unger has made the resistance to identification that this position celebrates the basis of a postfoundational politics that he calls Superliberalism. Superliberalism is defined by its commitment to the heightened artificiality, plasticity, or disposability of all social arrangements, or, as Unger writes, by its commitment to the pervasive "availability to challenge" of structure as such (Roberto Mangabeira Unger, False Necessity: Anti-necessitarian Social Theory in the Service of Radical Democracy, vol. 1 of Politics: A Work in Constructive Social Theory [New York: Cambridge University Press, 1987], 362). Richard Rorty has been one of Unger's most enthusiastic supporters, and Judith Butler has recently elaborated the kind of resistance in question here in a provocative analysis of the work of Drucilla Cornell and Ernesto Laclau. See Roberto Unger, Politics: A Work in Constructive Social Theory, 3 vols.; Richard Rorty, "Unger, Castoriadis, and the Romance of a National Future," Northwestern University Law Review 82 : 325-51; and Judith Butler, "Poststructuralism and Postmarxism," Diacritics 23 (winter 1993), 3-11.
24. For a brief but suggestive description of the role played by images oftotality and exteriority in certain theories of transformation, see Stone, "The Placement of Politics," 81-83.
25. The kind of work I have in mind tends to identify itself aspostmodern, and to proceed under the assumption that current philosophical and intellectual work has conclusively established the politically reactionary nature of commitments to unity, identity, and consensus, and the politically progressive nature of commitments to difference, plurality, and marginality. As Terry Eagleton has recently observed, this stance, while increasingly accepted as a matter of course, is less philosophically sound than it appears: "Nobody on the left," Eagleton writes, "wants to see a plurality of fascist parties, praises a social group . . . just because of its marginality, or mistakes the solidarity of the ANC for some tyrannical totality." As Eagleton goes on to suggest, the formalism of this style of thought testifies not so much to successful theorizing as to unsuccessful practice, or, as he puts it, the formalism of this style of thought is "a symptom of the left's current bafflement, not a solution to it." (Terry Eagleton, "Discourse and Discos: Theory in the Space Between Culture and Capitalism," The New York Times Literary Supplement, 15 July 1994, 3-4)
26. For instance, it has long been argued that the desire forcohesion or community evident in the work of a re like Eliot is reactionary, since that desire involves valorizing sameness over difference, and since that valorization involves compromising an autonomy or "otherness" that difference respects. Yet the same valorization of sameness over difference also informs the work of a re like Langston Hughes (think of his poem "The Negro Speaks of Rivers"), committed as it often is to the formation of a racial community from distinct individuals. To point out the similarities between the formal commitment that Eliot and Hughes share is not necessarily to revise our sense of the political judgments we make about their work, but it does indicate the degree to which the judgments we make will depend upon recognizing the specific natures of the projects to which the two res were committed, and upon recovering the specific fields of operation within which those commitments assumed or failed to assume their force.
On these grounds we may wish to retain our sense that the sameness to which Eliot was committed was conservative, even reactionary, while the sameness to which Hughes was committed was progressive. But what of the resistance to the requirement of racial sameness evident at times in the work of res like Countee Cullen and Jean Toomer? Is that resistance reactionary simply because Hughes's commitment to sameness appears progressive in contrast to Eliot's? And what of the possibility that Eliot's commitment to community derived its force from a resistance to the kind of nationalism understood to have precipitated World War I? Is Eliot's commitment reactionary even if it emerged as a critique of European nationalism? To ask these questions is to point to the limits of approaching them formally, while also indicating the necessity of returning to the work in question in order to examine the grounds upon which political judgments about it have been made. It is to take seriously an insistence most recently associated with the work of Pierre Bourdieu: an adequate analysis of any discourse and its force must be based on a systematic reconstruction of the field within which such discourse is produced and received, with its distinctive forms of organization, production, perception, and so on. For an analysis of the modern period that is attentive to this insistence, see Edward Said on Yeats in his Culture and Imperialism (New York: Knopf, 1993); for an analysis of an earlier period, see Frances Ferguson's inquiry into transcendental thought in Solitude and the Sublime: Romanticism and the Aesthetics of Individuation (New York: Routledge, 1992).
.


Sega Master System
This section of the site is dedicated to the emulation of the Sega Master System. My own emulator has approximately 95% compatibility including sound. The tutorials found here
should contain everything you need to know to emulate the Sega Master System. The coding design I adopted was chosen to make understanding of emulation easier for beginners. I am aware that
there are aspects that could be improved (like sound anti aliasing) and when I come to rewrite this emulator for integration with Zuko I shall do just that.
When you are ready to start learning how to emulate the SMS then use the navigation bar on the right hand side of this page.
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Buffalo Plains [at70], plain, in Imperia, peasants: 459
Last updated Turn #147
Buffalo Plains [at70], plain, in Imperia, peasants: 459
------------------------------------------------------------------------
30: The population grows by four peasants.
Routes leaving Buffalo Plains:
North, mountain, to Imperial Mountains [as70], 10 days
East, plain, to Buffalo Plains [at71], 7 days
South, desert, to Painted Desert [au70], 8 days
Garrison [av0d], garrison, Imperial Empire, with ten peasants,
11 oxen
Border closed.
West, plain, to Buffalo Plains [at69], 7 days
Seen here:
Garrison [dh4g], garrison, uncontrolled, with three pikemen


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HODINKEE Returns to 1986 With Latest Swatch Collaboration
Updated with a SISTEM51 movement.
by Jeff Yeung2019 has been a year of vintage and retro timepieces: from Bulova to Seiko to Timex, brands across the globe have reissued many of their classic models. Now, to wrap up the year, HODINKEE has followed suit, bringing us back to 1986 with its latest collaboration with Swatch.
Named the SWATCH SISTEM51 HODINKEE GENERATION 1986, the playful yet understated timepiece is inspired by the Swatch Emerald Diver released 33 years ago. While the new modern version retains certain design elements found on its predecessors, such as the mixture of red and yellow hour markings and overall rounded silhouette, HODINKEE has decided to opt out the vibrant greens and reds for a more subtle black colorway “to make it more applicable as a daily-wear option.” The case has also been increased in size to a more contemporary 42mm, fit for the 21st century.
Of course, its aesthetics is not the only modernized aspect of the watch. As its name suggests, the original movement of the ’80s design has been replaced with an automatic SISTEM51 movement, a design hailed by the New York-based watch authority as “one of the most interesting mechanical developments in the watchmaking world this past decade.” Consisting of just 51 parts, the SISTEM51 is entirely built in Switzerland with no hand assembly required, and can hold a power reserve of up to 90 hours.
For the watch collectors out there, the SWATCH SISTEM 51 HODINKEE GENERATION 1986 is now available over the HODINKEE’s online store, for $17o USD.
Elsewhere in related news, NASA and Timex are celebrating the Moon landing’s 50th anniversary with a Navi XL timepiece.


{% load static %}
Mixed Data Sources like Weather, Material, Tools, Workforce and Activities.
Advanced Time Series Techniques to Predict process chains in construction
Lorem Ipsum


Next: Termination Test Clauses, Previous: Variable Initialization and Stepping Clauses, Up: The LOOP Facility
The constructs collect, collecting, append, appending, nconc, nconcing, count, counting, maximize, maximizing, minimize, minimizing, sum, and summing, allow values to be accumulated in a loop.
The constructs collect, collecting, append, appending, nconc, and nconcing, designate clauses that accumulate values in lists and return them. The constructs count, counting, maximize, maximizing, minimize, minimizing, sum, and summing designate clauses that accumulate and return numerical values.
During each iteration, the constructs collect and collecting collect the value of the supplied form into a list. When iteration terminates, the list is returned. The argument var is set to the list of collected values; if var is supplied, the loop does not return the final list automatically. If var is not supplied, it is equivalent to supplying an internal name for var and returning its value in a finally clause. The var argument is bound as if by the construct with. No mechanism is provided for declaring the type of var; it must be of type list.
The constructs append, appending, nconc, and nconcing are similar to collect except that the values of the supplied form must be lists.
The append keyword causes its list values to be concatenated into a single list, as if they were arguments to the function append.
The nconc keyword causes its list values to be concatenated into a single list, as if they were arguments to the function nconc.
The argument var is set to the list of concatenated values; if var is supplied, loop does not return the final list automatically. The var argument is bound as if by the construct with. A type cannot be supplied for var; it must be of type list. The construct nconc destructively modifies its argument lists.
The count construct counts the number of times that the supplied form returns true. The argument var accumulates the number of occurrences; if var is supplied, loop does not return the final count automatically. The var argument is bound as if by the construct with to a zero of the appropriate type. Subsequent values (including any necessary coercions) are computed as if by the function 1+. If into var is used, a type can be supplied for var with the type-spec argument; the consequences are unspecified if a nonnumeric type is supplied. If there is no into variable, the optional type-spec argument applies to the internal variable that is keeping the count. The default type is implementation-dependent; but it must be a supertype of type fixnum.
The maximize and minimize constructs compare the value of the supplied form obtained during the first iteration with values obtained in successive iterations. The maximum (for maximize) or minimum (for minimize) value encountered is determined (as if by the function max for maximize and as if by the function min for minimize) and returned. If the maximize or minimize clause is never executed, the accumulated value is unspecified. The argument var accumulates the maximum or minimum value; if var is supplied, loop does not return the maximum or minimum automatically. The var argument is bound as if by the construct with. If into var is used, a type can be supplied for var with the type-spec argument; the consequences are unspecified if a nonnumeric type is supplied. If there is no into variable, the optional type-spec argument applies to the internal variable that is keeping the maximum or minimum value. The default type is implementation-dependent; but it must be a supertype of type real.
The sum construct forms a cumulative sum of the successive primary values of the supplied form at each iteration. The argument var is used to accumulate the sum; if var is supplied, loop does not return the final sum automatically. The var argument is bound as if by the construct with to a zero of the appropriate type. Subsequent values (including any necessary coercions) are computed as if by the function +. If into var is used, a type can be supplied for var with the type-spec argument; the consequences are unspecified if a nonnumeric type is supplied. If there is no into variable, the optional type-spec argument applies to the internal variable that is keeping the sum. The default type is implementation-dependent; but it must be a supertype of type number.
If into is used, the construct does not provide a default return value; however, the variable is available for use in any finally clause.
Certain kinds of accumulation clauses can be combined in a loop if their destination is the same (the result of loop or an into var) because they are considered to accumulate conceptually compatible quantities. In particular, any elements of following sets of accumulation clauses can be mixed with other elements of the same set for the same destination in a loop form:
collect, append, nconc
sum, count
maximize, minimize
;; Collect every name and the kids in one list by using ;; COLLECT and APPEND. (loop for name in '(fred sue alice joe june) for kids in '((bob ken) () () (kris sunshine) ()) collect name append kids) ⇒ (FRED BOB KEN SUE ALICE JOE KRIS SUNSHINE JUNE)
Any two clauses that do not accumulate the same type of object can coexist in a loop only if each clause accumulates its values into a different variable.
| • Examples of COLLECT clause: | ||
| • Examples of APPEND and NCONC clauses: | ||
| • Examples of COUNT clause: | ||
| • Examples of MAXIMIZE and MINIMIZE clauses: | ||
| • Examples of SUM clause: |
Next: Termination Test Clauses, Previous: Variable Initialization and Stepping Clauses, Up: The LOOP Facility


Exchange 2010 SP1 beta: install and configure UM role
It has been a while since the last tutorial, so it gets time to publish a new one. This one will inform you about the new functionality that’s included in Exchange 2010 SP1 beta and then specifically the Unified Messaging role.


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//# Logical AND Operator AND Operator creates expressions that return true only if both operands are true. If either one if false, the overall expression will be false.
When the first value is false, the second value won't even be evaluated, since the result of the expression is already known. This is called "short-circuit evaluation"


The scheme given here does not directly support the nesting of profiling functions, since it provides only a single alternative name for each MPI function. Consideration was given to an implementation that would allow multiple levels of call interception, however we were unable to construct an implementation of this that did not have the following disadvantages
Note, however, that it is possible to use the scheme above to implement a multi-level system, since the function called by the user may call many different profiling functions before calling the underlying MPI function.
Unfortunately such an implementation may require more cooperation between the different profiling libraries than is required for the single level implementation detailed above.


App was developed by fans for fans of Monstercat Music Label. Main features of the app is the visualizing and offline listening Monstercat's music.


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ABOUT US

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Group Number : 21
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Project Title :
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Network Of Books
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No. of Members :
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6
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College :
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C V RAMAN COLLEGE OF ENGINEERING
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Submission To :
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CDAC Center,Pune
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Project Guide :
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Sukanta Bisoyi
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Members :
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Amit Kumar
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Aman Kumar Singh
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Abhishek Kumar
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Rajesh Kumar
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Swagat Kumar Nayak
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Dhaneswar Pradhan
|


| Interface | Description |
|---|---|
| DataProvider<T> |
Provides the actual data to Pager
|
| PagerListener<T> |
Listener to register to get notified about changes to the data in a Pager
|
| PagerNotifier<T> |
Use this to notify the Pager clients that a data is replaced or data getDataSize changed.
|
| Class | Description |
|---|---|
| ListDataProvider<T> |
A List that implements
interface DataProvider |
| Pager<T> |
Provides access to a collection of data paging them as needed. Only a subset of the data is loaded on to memory. This window can be configured using
This can be passed across process using AIDL or Remoter |


Version Control
| REACH | ALL | BY DIVISION | BY STACK |
|---|---|---|---|
| LEADS | Paul Keen |
We use a distributed version control with open source Git. Repository management of our internal code is via Atlassian Bitbucket or GitHub. Repositories are private by default; any public repositories need to have written permission by the Chief Officer Commercial at Qantas or the CTO of Qantas. Repos should be hosted in the Qantas account. It is not permissible for teams to have their own source control unless agreed to in writing.
By default version control setting
-
MFA enabled for all users
-
Forking is turned off
-
Release branch access is restricted
-
Minimum of two pull requests into release branch
Branching
Branching Strategy
We recommend four branching strategies depending on team and application maturity.
- Feature Branching:
Default option for new teams and rapidly emerging environments
- GitHub Flow:
Rapid development with frequent deployment
- Git Flow:
For large teams and monolith applications
- Trunk Based:
For advanced teams with high unit test coverage and automation. Ideally only use if intended for a continuous delivery environment
Branch Naming
The naming of a branch should be in the format:
[Issue type]/[JIRA issue ID]-short-hyphen-case-description
Issue Types
-
release/ for release
-
feature/ for features
-
bugfix/ for bug fixes
-
refactor/ for improvements/refactor
-
improvement/ for random tasks
-
hotfix/ for bug fixes which need to be branched from and merged into
release branch
Commit naming
Commit messages should point out objectively what changes were made to the system using preferably bullet points with the goal, reason or intent rather than what has been done (the diff will show that). Messages should be clear and concise so that other programmers can look it up quickly.
Good practices about commit messages can be found at tpope's blog and Chris Beam’s blog.
All commits on a feature branch should be squashed into a single commit that contains the JIRA ticket number and a meaningful release-notes-like comment in the commit message.
Commit Example
Commit messages should be in the following format:
[JIRA issue ID] [Summary of the changes.]
Summary of the changes should be like the following:
Did <What change did you do?>, so that <Why did you do that (The reason)>
Remove <troublesome gem X>, which was causing <specific description of issue introduced by gem>
> BAD. Don't do this.\ Fixed compiling errors
> Good.\ QAN-1234 Added kangaroo to Qantas logo to keep it consistent with Qantas brand.
Technical Design Review
This happens before a technical story is started. The aim is to discuss your solution approach.
The aim is:
-
Review 1 page solution outline
-
Review with one Developer and QA
-
Discuss Design Patterns
-
Define Data Contracts
-
Define and verify Acceptance Criteria.
Code Reviews/Pull Requests
All production code needs to be reviewed via a pull request. Code reviews are classless: seniority is not required for a peer review although repository ownership can mandate approver authority.
The aim of pull requests are to:
- Catch major defects before they are introduced into the existing
code base
-
Discuss architectural improvements and provide guidance for changes
-
Look for secure coding practices
-
Establish and follow coding standards
-
Give kudos for great work
-
Review Unit Tests
-
Learn from other developers
- Cross Skill yourself
Pull Request Social Contract
Before each review, the Social Contract should be considered:
-
We respect each other at all times
-
We assume good intent
-
Comments are contextual; focused only on the code
-
Every comment should be addressed, never ignored
-
Every peer review is an opportunity of collective learning and
collaboration
Pull Request Preparation
Pull Requests should meet the following criteria:
-
Should have description of changes
- Pull requests should be as small as possible with limited numbers of
scope changes
-
Build must be green and passed tests
- Reviewers should mark the pull request as “need work” even if they
think the proposed changes are minor
-
Should have description of changes in pull request
-
Include all who are involved with that project
-
Should squash unmeaningful commit messages before merge into master
-
Include a brief on what the change is about.
- Should include unit test
Pull Request Reviewers
The guidelines for Pull Request Reviewers are:
- Mandatory 2 approvers (should not include members if pair
programmed)
-
Ideally 1 reviewer outside your team.
-
Reviewed within two working days
- Requested refactoring changes should not change behaviour


Insomnia Version 1.1.0
Insomnia will remind you to take a rest and that you can always come back to the work tomorrow. Inspired by http://sleepyti.me a website that calculates optimal times to fall asleep based on when you want to wake up. The idea is that when you wake up in the middle of a sleep cycle you will feel groggy, however if you wakeup during the transition between sleep cycles you will feel refreshed! This application uses the averages that sleep cycles are 90 minutes each and a person takes 15 minutes to fall asleep from when they begin to try and calculates the times for you to sleep. It will notify you throughout the night when the optimal times to shutdown your computer and start to head to sleep and provide a button to do just that. This application works well with https://justgetflux.com
Downloads
To get the full sourced version run
git clone https://github.com/alexanderepstein/Insomnia
Install
-
Mac: Open up a new finder window and go to the Applications folder. Then drag the Insomnia.app from the Insomnia dmg to the Applications folder. Double Clicking on the app should run it and it could be kept in the dock from here.
-
Linux: Open up a terminal and navigate to the folder containing the downloaded installer files and run
sudo dpkg -i Insomnia_1.1.0_amd64.deb or sudo dpkg -i Insomnia_1.1.0_x86.deb
this will actually install Insomnia as a utility application which can be accessed from your respective distributions application launchpad.
-
Windows: Open up another windows explorer and navigate to your program files folder (x86 or 64 bit is irrelevant). Now drag the entire Insomnia Windows folder you extracted from the downloaded zip in the previous step over to the program files folder. Go into the folder that was just dragged over and find the Insomnia.exe and run it. Now the application will show up in the dock where it can be pinned.
Uninstall
-
Mac: Go to the applications folder and delete the Insomnia application.
-
Linux: Open up a terminal and run
sudo dpkg --remove Insomnia
-
Windows: Open up the program files folder and delete the Insomnia folder.
License
MIT License
Copyright (c) 2017 Alex Epstein
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.
 IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
Helping Out
If you have a feature you would like to add or optimizations to the original code feel free to fork this repository and submit a pull request


Estimates the risk ...
npm i @bitscheme/covid-19-event-risk
For your GCP project, ensure you have enabled the BiqQuery API
import { calcRisk } from "@bitscheme/covid-19-event-risk"
calcRisk(
bigQueryOptions: {
keyFilename: "path_to_gcp_json_key_file",
projectId: "your_gcp_project_id",
},
date: new Date(),
groupSize: 100,
level1: "OK",
level2: "Tulsa County",
)
.then(({score}) => console.log("risk score", score))
.catch((e) => console.log(e.message))
git clone https://github.com/@bitscheme/covid-19-event-risk
npm i
yarn run test
Generated using TypeDoc


Spinosaurus aegyptiacus
Recent research has shown Spinosaurus aegyptiacus is most likely the largest species of carnivorous dinosaur that ever lived, measuring over 50 feet long.Spinosaurus is one of the few dinosaurs known to be able to swim.
Velociraptor mongoliensis
Made famous by Jurassic Park, Velociraptors were actually smaller and slower in real life than in the film, but they still possessed a giant, sharp, hook-like claw on their second finger. Modern research suggests this massive claw was used to keep their victims from escaping their grasp.
Tyrannosaurus rex
The “king of the tyrant lizards” will always be one of the scariest and deadliest dinosaurs around with a bite force three times that of a great white shark - making it the strongest bite force of any land animal that has ever lived.
Mapusaurus roseae
This enormous carnivorous dinosaur grew to lengths of over 30 feet and paleontologists have found direct evidence that this ferocious predator hunted in packs.
Ankylosaurus magniventris
This dinosaur might not seem deadly because it was a plant-eater, but its knobby armored tail was potentially used as a defense mechanism. If it swung around its heavy tail, it could generate enough force to crush bones.
Coelophysis bauri
Don’t let the size fool you. Even though Coeplophysis was only around 44 pounds, fossil evidence shows they hunted in packs. They were also quite agile and boasted blade-like cutting teeth.
Majungasaurus crenatissimus
One of the few dinosaurs that is a known cannibal, Majungasaus had a skull that was different than most other theropods. Their short and stout snout made them well adapted for killing their prey by biting and holding it until it died - much like modern big cats.
Allosaurus
One of the most dangerous dinosaurs of the Jurassic, Allosaurus was an ambitious and fearsome predator. Paleontologists have found fossils of numerous other species of dinosaur, such as Stegosaurus, riddled with Allosaurus bite marks.


./komodod -ac_name=ZAWY24 -ac_adaptivepow=1 -ac_supply=1000000 -ac_reward=10000000000 -ac_cc=2 -addnode=<IP_ADDRESS> &
A channel to discuss mining. For useful links and more info click the pinned messages to the right.
https://piratepool.io/ who is maintaining this pool
paymensts are stucked
there are 100s blocks which crossed 100 confirmations
but no payments done yet
ComputerGenie 👴👴👴20-Oct-18 02:01 PM
@webworker01
dukeleto20-Oct-18 02:56 PM
I can now tell ambient room temp just by how loud my z9m's are
1
hypocalese20-Oct-18 03:22 PM
I believe I have the correct room now
Anyone have SUCCESS with Znomp and mining an Assetchain you created?
A NOMP based stratum for the Komodo platform. Contribute to webworker01/knomp development by creating an account on GitHub.
hypocalese20-Oct-18 03:25 PM
Here is my experience. I'm running two Stratum pools. I have a working Znomp mining Komodo(KMD) perfectly. When I switch to mining the Assetchain I created, I get an error on the miner saying: Get error: End of file, resetting in 5 seconds
@ComputerGenie 👴👴👴 I will check that out.
ComputerGenie 👴👴👴20-Oct-18 03:27 PM
@hypocalese one of the problems with znomp is that it's written for overwinter and all the taxes that some of the other coins have, so it doesn't want to function properly with their new "updates"
hypocalese20-Oct-18 05:09 PM
@ComputerGenie 👴👴👴 Got it working. Thanks. Still dont know root cause but If I figure it out I will let you know.
1
DR3WSKi20-Oct-18 05:57 PM
Anyone know how many asset chains are equihash?
jl777c20-Oct-18 05:57 PM
all of them other than VRSC
DR3WSKi20-Oct-18 06:00 PM
Thx I’m looking to get an asic, thinking about the a9 zmaster


3 Sample Description
bcbio
expects a sample description file that tells it which files map to which samples. The file should be in the .csv format and have at least two columns. An example file for four samples might look like this:
samplename,description
S1.fastq.gz,S1
S2.fastq.gz,S2
S3.fastq.gz,S3
S4.fastq.gz,S4
where file S1.fastq.gz
is mapped to the sample named S1
, and so on. Additional columns can be included in this file and get preserved by bcbio as sample metadata.
The rest of the guide assumes that your sample description file is named alignment.csv
.
3.1 Digital Gene Expression
When working with DGE data, you will typically have two matching files with suffixes R1
and R2
. Only the R1
file needs to be specified in the sample description file. For example, your alignment.csv
might look like
samplename,description
DGE1_XT_S1_R1_001.fastq.gz,MasterPlate
where the matching DGE1_XT_S1_R2_001.fastq.gz
is not listed explicitly.
3.2 Deep RNAseq
In the case of deep RNAseq data, you may have multiple FASTQ files per sample. Prior to running the aligner, these files need to be merged. bcbio
provides a script for doing so, but it needs to know which files map to which samples. Compose a file named toMerge.csv
that provides such a mapping. For example,
samplename,description
/n/scratch2/abc123/myProject/TRA00140445_S1_L001_R1.fastq.bz2,S1
/n/scratch2/abc123/myProject/TRA00140445_S1_L002_R1.fastq.bz2,S1
/n/scratch2/abc123/myProject/TRA00140445_S1_L003_R1.fastq.bz2,S1
/n/scratch2/abc123/myProject/TRA00140445_S1_L004_R1.fastq.bz2,S1
/n/scratch2/abc123/myProject/TRA00140445_S2_L001_R1.fastq.bz2,S2
/n/scratch2/abc123/myProject/TRA00140445_S2_L002_R1.fastq.bz2,S2
/n/scratch2/abc123/myProject/TRA00140445_S2_L003_R1.fastq.bz2,S2
/n/scratch2/abc123/myProject/TRA00140445_S2_L004_R1.fastq.bz2,S2
lists the mapping for two samples S1
and S2
, each having data collected across four sequencer lanes.
Once you have prepared the file toMerge.csv
, run the following command to execute the merge:
bcbio_prepare_samples.py --out merged --csv toMerge.csv
The merging operation might take a while. When it finishes, your merged files will reside in the merged/
subdirectory. You will also have a new filename-to-samplename mapping file toMerge-merged.csv
. For consistency with the remainder of this guide, rename this file to alignment.csv
using the mv
command:
mv toMerge-merged.csv alignment.csv


Adì Sun
look how pretty it his
isnt it?
about me
hi ma kore
my name is
Adì
.
I come from far away
and now
I am here
.
please visit my
website
hi ma kore


Engagement ceremony29th June 2020
Wedding30th June 2020 : 12.30 PM
At post Shreepur, Tal. Malshiras, Dist. Solapur


Grab Frame
Grab Frame (3 sec delay)
Take Photo
simpl.info
Image Capture
Video source:
Choose a camera


Lorem ipsum dolor sit amet consectetur adipisicing elit. Et harum fugit ipsa sed sequi reiciendis. Et, omnis. Aliquid error repudiandae, ullam, unde minima laudantium asperiores quos eaque facilis nemo quo.
Lorem ipsum dolor sit amet consectetur adipisicing elit. Et harum fugit ipsa sed sequi reiciendis. Et, omnis. Aliquid error repudiandae, ullam, unde minima laudantium asperiores quos eaque facilis nemo quo.
Cuypers’ greatest challenges were the mise en scène of the building and finding a solution for the entrance. Right at the beginning of the project he had noted that, seen from the city, the building would ‘sink’ into the deep-lying polder. The passageway flanked by staircase towers automatically formed a gateway motif. But to be effective this gate needed to be at the same level as Stadhouderskade. The construction of the sewage system resulted in a slight raising of the ground, but this was not enough. Using the addition of the Netherlands Museum for History and Art, which included a collection of crypts, and exploiting the growing demand for plant rooms, especially for a heating system, he eventually managed to add a souterrain to the building. This brought it to level with the embankment and the Spiegelgracht bridge, which at his request had been kept as flat as possible to create an optimal perspective on the middle section of the museum seen from the canal zone. En passant he managed to persuade the city council to move a vegetable market, planned in front the museum, as it did not strike him as appropriate for the approach to the Rijksmuseum. And he made proposals for pocket-parks or, as a compromise between ‘profitability and embellishment’, villas with gardens on the former ramparts opposite the museum.


Sadio Mane the key as Liverpool aim to extend record run against Crystal Palace
by Jack LusbySadio Mane has enjoyed a particularly impressive run of form against Crystal Palace, and the No. 10 could be key as Liverpool head to Selhurst Park.
Mane the Key
Mane has scored seven times in 10 games against Palace in his career.
He has scored in four successive league games against the Eagles. No other Liverpool player in history has scored in more than two.
Mane has netted 28 goals for his club in this calendar year in all competitions with Mo Salah next best on 20.
Ending the Palace Hoodoo
Liverpool have won the last four league meetings with Palace, a feat they had never previously achieved.
They have won each of the last five at Selhurst Park in league and cup for the first time in their history, the last four of which have come in the league, scoring at least twice in each visit.
In the Premier League Liverpool have won 12 meetings with three draws and five defeats, with six wins, two draws and two defeats at Palace.
Goals on Tap
In the 20 Premier League clashes there have been 72 goals scored at an average of 3.6 goals per game, with Liverpool scoring in all but two of the meetings.
They have found the net in each of the last 12 top-flight encounters.
There have been two goalless draws in all league fixtures between the teams—in 1979/80 at Selhurst Park and in December 1994 at Anfield.
Liverpool’s biggest win at Palace was a 6-1 victory on the opening day of the 1994/95 season.
The Reds’ biggest-ever top-flight league win came in September 1989 when they beat Palace 9-0. They set a league record when eight different men found the net.
Milestones for Ox and Bobby
Alex Oxlade-Chamberlain‘s next appearance will be his 300th senior club game. He has scored four goals in his last three Liverpool starts (all in cup matches).
Roberto Firmino‘s next appearance will be his 150th for the Reds in the Premier League.
Unbeaten Runs
Liverpool are currently unbeaten in 14 away league games since the defeat at Man City in January, it is their joint-third longest away league run without defeat in history.
It is their only loss on the road in the last 25 in the top flight.
The defeat at City is their only league loss in the last 51 outings.
They are unbeaten in their last 29 league games home and away, recording 24 wins and five draws. That is two fewer than the club record of 31.
The team with the next longest current unbeaten run in the top flight is Wolves with seven.
After the Interval
In the game immediately following international breaks the Reds are unbeaten in the last nine, with seven wins and two draws.
Four of those victories and a draw have come away from home.
This Season’s Scorers
Crystal Palace: Ayew 4, Milivojevic 2, Van Aanholt 2, Townsend 1, own goals 1
Liverpool: Mane 11, Salah 9, Oxlade-Chamberlain 4, Firmino 3, Milner 3, Origi 3, own goals 3, Matip 2, Robertson 2, Wijnaldum 2, Alexander-Arnold 1, Fabinho 1, Henderson 1, Hoever 1, Lallana 1, Van Dijk 1


I'm an ordinary geek, with an extraordinary creativity. Huge games development nerd. Beside studies and my job, at this moment, I'm very intrested in real-time 3D graphics programming. I love playing games and sometimes, I make a try to create my own one. When I want to fight my computer addiction, I play baskettbal. You can call my hobbys a cliché: just watching movies, listening music and hanging out with my friends.


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AssertionException
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Builder
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Case
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CaseBuilder
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DeliveredMoreThanRequestedException
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DownstreamUnsubscriptionDidNotOccurException
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ExpectedErrorNotReceivedException
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ExpectedExceptionNotThrownException
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MyTestCase
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MyTestSubscriber
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TerminalEventTimeoutException
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TestSubscriber2
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TestSuiteFromCases
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TestType
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TestingException
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TestingHelper
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TooManyOnCompletedException
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UnexpectedOnCompletedException
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UnexpectedOnErrorException
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UnexpectedOnNextException
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UnsubscriptionFromSourceTimeoutException
|
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WrongOnNextCountException
|


--- layout: default ---
{{ site.subtitle }}
{% endif %}The Southeast Data Librarian Symposium is intended to provide a low-cost opportunity for librarians and other research data specialists to gather and explore developments in the field of data librarianship, including the management and sharing of research data. In addition to learning about new work in the field, attendees will have the opportunity to network and build partnerships with regional colleagues. It is open to all who wish to attend, including students, data managers and scientists, and those situated outside the Southeast. The meeting is styled after the successful Midwest Data Librarian Symposium, now in its fourth year. The program will consist of workshops and networking opportunities over a two day period. Topics covered may include data visualization; data sharing and re-use; data curation and preservation; and data literacy. Keep an eye out for a survey for interest in workshop topics.


Thank you for your submission
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or click on authorization button
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Mangalore
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In LcmGcf you practice solving LCMs and GCFs of two or three numbers. You setup the characteristica of the quiz, takes the quiz and then enter the score into the Last 10 Scores table. The scores can be exported to Memo Pad.
LcmGcf was created as a response to the wishlist found at: http://www.mpsomaha.org/willow/technology/wishlist.html.
LcmGcf is released under the GNU General Public License v2 and requires Palm OS 3.0 or better.
You can support this project by donating any amount to my Pay Pal account.
You can get Angles, LcmGcf, MathAce, MixedUp, PowerPlay and Simplify in one Bundle.
Thanks goes to Tony Vincent for the nice icons. Tony has a nice website located at http://www.learninginhand.com which focuses on how to use Handheld computers as a teaching aid.
v1.0 (2006-03-11) First public release of LcmGcf. v0.9 (2005-12-30) Beta release of LcmGcf.