In the period from 1909—1922 when T.S. Eliot was writing and publishing poems such as "The Love Song of J. Alfred Prufrock," "Portrait of a Lady," "Preludes," and The Waste Land—poems that firmly established his reputation as one of the major poets of the century—he was simultaneously composing a long cycle of intensely sexual, bawdy, pornotropic, and satirical verse that has only recently come to light. Centered on the seafaring adventures of a colonial explorer named "Columbo" (Eliot uses a pseudo-Italian version of Christopher Columbus's name) and his encounters with two native inhabitants of Cuba, "King Bolo and his Big Black Bassturd Kween," these poems comically and obscenely portray the history of early European expansion as an orgy of uncontrollable desire and deviant sexuality. Columbo's voyages and his first contacts with the King and Queen of Cuba take place by, through, and for sex, and they re sodomy, masturbation, miscegenation, scatological rituals, and rape as the modus operandiof colonial expansion. Eliot continued to write this extensive cycle throughout his life, and portions of it he shared privately with a homosocially arranged coterie of male writers, including Conrad Aiken, Clive Bell, Bonamy Dobrée, James Joyce, Wyndham Lewis, and Ezra Pound.Taken as a corpus, the poems (untitled by Eliot) allegorize Eliot's concerns with his nascent reputation as a poet, his anxious desire for publicity, his exile from the United States, and his uneasy relation to issues of race, sex, and colonialism. They explode reigning myths about Eliot's asexuality, and they demand radical rereadings of the place of sex, race, history, and desire in Eliot's poetic and critical oeuvre.
Shockingly different in form, kind, and content from Eliot's canonical poems, the Columbo and Bolo stanzas, with sing-song, adolescent rhythms and rhyme schemes that seem more appropriate to schoolboy doggerel than to the poetry of a major literary re, would hardly have done Eliot's literary reputation much good on the London literary scene of the 1910s and early 1920s. Nevertheless, as we will see, Eliot actively tried to get them published. In what appears to be two of the early stanzas—in terms of the New World voyage of discovery that Eliot charts—Columbo is preparing to leave Spain under the patronage of Queen Isabella and King Ferdinand, and the following scene takes place:
One day the king & queen of Spain
They gave a royal banquet
Columbo having passed away
Was brought in on a blanket
The queen she took an oyster fork
And pricked Columbo's navel
Columbo hoisted up his ass
And shat upon the table.
 Columbo returns the queen's "prick" with a contrary but commensurate response, marking his immanent departure of discovery with a gesture of anal excrement. Evidently we are meant to read her "prick" as phallic, since it repeats a phallic moment just seven lines earlier where Eliot writes anti-Semitically that when Columbo went to see a doctor in Spain, "Where doctors are not many / The only doctor in his town / Was a bastard jew named Benny," who "filled Columbo's prick / With Muriatic Acid" (IOTMH, 315). Eliot's rendition of the colonial historical imaginary begins with a mocking critique of its origins, which are now located in the performance of infantile and anal phantasies involving a non-verbal exchange between patron and subject, one whose signification operates as both erotic tribute and offensive rebuke.
Indeed, anal excrement will be the great, expendable form of currency and expression in these poems: it is alternately deposited at formal social occasions, thrown, used as a sexual turn-on, depicted as the goods Columbo brings back to Europe from the New World, and proposed as the substance of a meal. Later on, within the social structure Columbo finds in Cuba, "King Bolo's swarthy bodyguard . . .
 Manly women who "prick" prompt a shocking admixture of resurrection and excrement. Eliot is at once homophobic in his rendering and homoerotically fascinated, and, as will be shown, the homoerotic content of these poems was central to the impetus for their creation and circulation among an all-male group of peers. Queen Isabella, Christopher Columbus's Spanish-Catholic patroness who favored his voyage while others looked more skeptically on his prospects, is red as both an ambiguously female and potentially queer "queen," while she is also the radically and misogynistically (though less dangerous) feminine "whore" who acts as the envoy for Columbus's early trans-Atlantic voyages. Her support of Columbus allowed him to become the major Atlantic explorer for Spanish royalty and "discoverer" of the "New World." Queen Isabella, who lived contemporaneously with the great British "virgin," Queen Elizabeth—another major female re of rule who had to negotiate alternating cultural representations of her as whore and virgin—has been sexualized in more than one account, as it has been difficult for interpreters of colonial history to imagine a powerful queen without also imagining her sexual availability.
In terms remarkably similar to those found in Eliot's better-known poems, the categories of history and sex, and memory and desire, make themselves felt together and inseparably as Eliot proposes that to write a history of New World discovery is also, inevitably, to write a sexuality. In "Gerontion" , he res history both as intensely feminine and corporeal:
Think now
History has many cunning passages, contrived corridors
And issues, deceives with whispering ambitions,
Guides us by vanities. Think now
She gives when our attention is distracted
And what she gives, gives with such supple confusions
That the giving famishes the craving.
(IOTMH, 32-38)
Although it has rarely been read as such, this passage refers rather explicitly to female genitalia as a metaphor for the permutations of history, and the Columbo and Bolo poems corroborate such an interpretation. In The Waste Land , "mixing memory and desire" is claimed initially as April's particular cruelty, but memory is thereafter unable to operate without always already intimating desire—whether for the language of Shakespeare, and the family romance his words invoke ("I remember / Those are pearls that were his eyes"), for the memory of Richmond, where "I raised my knees, / Supine on the floor of a narrow canoe," or for the homoerotic tribute to the drowned Phoenician sailor, to cite only three moments in the poem's complicated network of memory and desire. 2 Likewise, the Columbo and Bolo poems negotiate the intersections of cultural memory and erotic desire to propose, in a more sophomoric vein, that colonial discovery was about sexual conquest, and that to remember the origins of colonialism we would do well to laugh at its physical excesses.
To date, these Columbo and Bolo poems have received almost no critical attention and have been largely unexamined since their respective dates of (still partial) publication in 1988, 1990, and 1996. At present there is only one essay on the poems, apart from a few published reviews treating Ricks's 1996 Inventions of the March Hare (in which the bulk of the stanzas first appeared), and the occasional indications in biographies and critical guides that Eliot wrote some "bawdy" verses about Christopher Columbus. 3 It is difficult to know where to begin with these bawdy verses, since they are as offensive as they are fascinating, as dangerous as they are subversive. They play recklessly on prohibitions, offering a satirical poetics of desire and memory whose comic edge is always in danger of collapsing into the outright racism, homophobia, and misogyny that they ventriloquize, repeat, and critique. Yet to read them without addressing their comic-book humor would be to oversimplify them radically, and would be to refuse the playful interruption they offer to the still-dominant but all-too-narrow reading of T.S. Eliot as a conservative representative of high literary modernism and its critical correlative, the New Criticism.
Given Eliot's desire for their publication, the extended period of their composition, and the range of issues that they tropologically invoke, we cannot simply dismiss them as "mere" juvenilia. The Columbo and Bolo stanzas are not only an occasional literary preoccupation: their composition spans Eliot's entire adult lifetime and the body of work they represent is substantial, totaling at least seventy-five stanzas in all. So far, twenty-nine of these have been published—including nearly ten in Valerie Eliot's 1988 The Letters of T.S. Eliot: Volume One, 1898-1922, seventeen in Christopher Ricks's 1996 Inventions of the March Hare, two in The Faber Book of Blue Verse—and dozens more sit unpublished in archives. 4
In his 1998 review of Inventions of the March Hare, Alex Zwerdling argues that "the cultural dispensation from which Eliot emerged demanded virtual silence on the subject of erotic life. Though he would free himself from it in part, the unpublished poems show that his imagination constantly brooded on the forbidden subject in ways that would have shocked his original readers". 5 Zwerdling also notes that in the sexually explicit sections of the draft for "The Love Song of J. Alfred Prufrock"—"Prufrock's Pervigilium," which appears in Inventions of the March Hare for the first time—one "finds not only 'lonely men in shirtsleeves, leaning out of windows,' but 'women, spilling out of corsets,' standing in the entries of 'evil houses leaning all together' and 'pointing a ribald finger at me in the darkness.'" 6 Zwerdling's remarks might equally apply to the more shocking Columbo and Bolo verses. In these, Eliot goes much further. Instead of synecdoche ("spilling out of corsets" for female body parts) Eliot offers an exaggerated and explicit bawdiness, in which the poems' res are capable of extraordinary cartoon-like feats, and exist without fear of death or repercussions of any kind.  As we discover when reading the Columbo and Bolo verses, Eliot was hardly a passive victim of sexually suggestive finger pointing: he himself shakes quite a "ribald" finger at his original and later readers in these verses.
Eliot not only mocks historical and quasi-historical res of the early colonial era, but he does so while simultaneously parodying poetic form and expression. As in his other poems, Eliot pushes traditional generic boundaries, in this case by mixing aspects of several forms of traditional light bawdy verse, including the limerick and the clerihew, to offer a peculiarly modernist, self-conscious form of pornotropic doggerel. He called his Columbo and Bolo poems "ballads," and imagined setting them to music one day. Jonathan Gill argues that the verses reveal an "affiliation with songs found in any number of popular anthologies of Negro song," and claims that they borrow conventions from minstrelsy song by featuring "phonetic spelling, improper syntax, and highly charged and malleable rhythms," as well as a "double tone". 7 As Francis Teague writes of the clerihew, we might also say that this verse provides "a cockneyed look at the great"—of historical conquest, in this example. The clerihew "differs from other light verse forms by its roughness: while other light verse is polished, the clerihew is deliberately clumsy, and might be said to burlesque a form such as the limerick." 8 In effect, the form thus mirrors the poems' content, burlesquing traditional literary genres at the same time that the poems parodyreceived narrative histories about the legend of Columbus.
Who were Eliot's intended readers? Eliot had been writing the Columbo and Bolo poems at least since he was an undergraduate at Harvard (1906-1909), and it is likely that he shared them aloud with several of his male friends from that time onward. 9 The earliest record we have of their circulation appears in July 1914, immediately before the beginning of the First World War, when Eliot included them in several letters to Conrad Aiken, a slightly younger friend with whom he had worked on The Harvard Advocate. At the time, Eliot was studying German at a summer-language program in Marburg that would soon be cut short by Germany's declaration of war against Russia on 1 August, 1914. Eliot, in other words, began sharing his parody of early European colonialism with others at precisely the moment when Europe was entering the First World War. The Columbo and Bolo poems thus gesture backward to relatively distant historical "origins" exactly when a new era of European national and international politics was unfolding. That is, they look backward while reflecting the preoccupations of the new, using a historical rendition to critique the continued operations of colonialism within the modernist moment whose avant-garde demanded formal and thematic innovation.
Eliot persisted in writing these verses throughout his lifetime, and he gradually expanded the circle of friends with whom he shared them. Although at present we do not have access to the very latest poems, we know from Aiken that Eliot was still writing them until close to his death. Aiken wrote a letter to Eliot and his wife Valerie in December 1964, less than a month before Eliot died on 4 January 1965, expressing regret that this year they would not have their usual exchange of Columbo and Bolo poems: "But o dear we shall miss our annual meeting in New York and the exchange of Bolos and lime rickeys at the River Club or Vanderbilt." 10 Astonishingly, the Bolo verses were the ones Eliot most unceasingly returned to and produced.
Their circulation seems to have been initially prompted by conditions of both literary and personal history—in part by the arrival of Wyndham Lewis's first issue of Blast on the London literary scene in June 1914, and in part by Eliot's growing disillusionment with the academic establishment of which, in 1914, while still a Ph.D. student in philosophy at Harvard, he believed he was destined to be a part. Their circulation thus stems from overlapping public and private desires: evidence of his wish to participate in the public moment of the appearance of Blast's second issue, tokens of a personal desire to parody and distance himself from the pedantic milieu that he was soon to leave.
The circulation of the Columbo and Bolo poems begins, importantly, with mimicry—a mode they will continue to reflect as they alternate between parody, satire, and outright repetition of racist codes and topoi. Deliberately echoing the sort of humor found in Lewis's new journal, in which Lewis alternately mocks ("Blasts") and praises ("Blesses") public res according to satirical moral judgments of them, Eliot begins his letter to Aiken with the following heading:
BLESS
COLUMBO
BOLO BLUBUNG CUDJO
THE CHAPLAIN BRUTUS SQUIRTY PANSY
BLAST
THE BOSUN COUSIN HUGH THE COOK
PROF. DR. KRAPP
A jocular letter ensues that pokes fun at academics and includes one of Eliot's accomplished comic-like pen drawings ( 1). The drawing shows Bolo as a rather large, bald man of ambiguous race, smoking a cigar, decked out with a monocle and a polka-dotted bowtie. Beneath him the caption reads "VIVA BOLO!!" (LOTSE, 43). Bolo seems rather pleased with himself, and appears to be ogling something or someone outside the frame of the drawing. Behind him is a mountain which places him in the rocky landscape of contemporary Germany. (Eliot depicts this again a week later in a letter to his American cousin, Eleanor Hinkley [LOTSE, 48]). Bolo is thus curiously distant, temporally speaking, and present at the same time: he is simultaneously the imaginary King of Cuba from Columbus's day, and a symbolic, timeless re with infinitely changeable historical locations—a gesture that asks, in another way, that we read Eliot's fascination with Bolo as reflective of his own contemporaneity.
Most of those whom Eliot chooses to "Bless" or "Blast" are historical or stock res that he parodies elsewhere in the Bolo cycle. While Christopher Columbus is the most explicitly historical re, King Bolo may also be modeled on a historical re named King Shamba Bolongongo who died in 1628, "ruler of the Kuba tribes, legendary for the number of widows and children he left." 11 Christopher Ricks suggests that Eliot was possibly aware of some early comedic ballads by W. S. Gilbert (of later Gilbert and Sullivan fame), whose poem, "King Borria Bungalee Boo," depicts a "man-eating African swell" with a small tribe of all-male "subjects." 12 Gilbert's ballads, which are disturbingly racist without showing the least evidence that they are aware of being so, recount how King Burria's tribesmen wage war against a tribe of Amazon women ruled by "Queen Loo" in order to satiate their cannibalistic urges.  As in Eliot's Columbo and Bolo poems, appetite and sex are commensurate with each other, and the two ends of the spectrum of war and peace turn out to be a choice between two forms of incorporation: cannibalism or sex, both involved with Eros and Thanatos.
The other res Eliot chooses to "Bless" or "Blast" are again either historical or representatives of a type. The redundantly titled "Prof. Dr. Krapp" is aptly named for the "Krapp" he produces, and is one of several fictional professors whom Eliot mocks at some length in the same letter, and then in his 1920s correspondence with Bonamy Dobrée.  (The OED cites 1929 as the first time "pansy" takes on a queer valence in English, defining it as "effeminate; homosexual; affected;" Eliot's use of the term precedes the OED's example by fourteen years. 13) The fact that Eliot "Bless[es]" "Squirty Pansy" should alert us again to the homoerotic content of the Bolo poems, and to a recurring investment Eliot had at this time with the queer. We might also note the preponderance of the alliterative "B's" and "C's" in Eliot's "Bless" and "Blast" tribute to Lewis: with the exception of "Squirty Pansy" all of his res begin with either a "B" or a hard "C" sound. Taking alliteration to ridiculous limits, Eliot joins in with Lewis's version of cultural critique and adopts Blast's idiom in order to express his own scatological and anti-academic satire of imperialism, one which is also ambivalent towards institutional religion.
Although Eliot "Bless[es]" the Chaplain, his attitude to religion in these stanzas is as vexed as his attitude to colonialism. Sundays in particular seem to be good days for masturbation and rape in the cycle, and they represent the only day of the week that is ever named. The chaplain himself is hardly a re of sexual purity, and he eagerly participates in the "spirit" of sex aboard the ship by whistling at King Bolo's Kween and buggering himself while at sea: "K.B.b.b.b.k. / Was awf'ly sweet and pure / She said 'I don't know what you mean!' / When the chaplain whistled to her" (LOTSE, 126). Eliot's register of buffoonery about the religious may strike us as rather surprising, given his conversion to Anglo-Catholicism in 1927. These poems show us an altogether different side of Eliot, a re more divided in his literary and religious convictions than we might now think, especially in the context of what Ronald Bush has articulated as "the reductive force of his most recent metamorphosis," whereby critics have insisted on reading him as a representative of formalism and orthodoxy. 14 As Michael Levenson argues about The Waste Land, "it has been too tempting for too long to assimilate the poem to the events that came later in the decade, even shortly later, to see it as safely predicting the dispositions of the mid and late twenties: the poem as proto-Anglican, crypto-classical, or neo-monarchist." 15
Immediately after the imitative tribute to Lewis, Eliot appends a Columbo and Bolo stanza to his letter:
Now while Columbo and his men
Were drinking ice cream soda
In burst King Bolo's big black queen
That famous old breech l(oader).
Just then they rang the bell for lunch
And served up—Fried Hyenas;
And Columbo said "Will you take tail?
Or just a bit of p(enis)?"
 Columbo and his all-male crew are evidently enjoying a dessert-like treat when suddenly "King Bolo's big black queen" "burst" upon the scene. This is apparently the queen's preferred mode of entrance, and in another stanza she arrives on board in the same fashion: "King Bolo's big black kukquheen / Was fresh as ocean breezes. / She burst aboard Columbo's ship / With a cry of gentle Jesus" (LOTSE,205). A disruptive element, the queen is immediately sexualized and propositioned by Columbo, as he wonders if she might "take" the strange (evidently native) food he offers. (It is nothing less than parts of a hyena, an animal known for its uncontrollable laughter, which in its own way emphasizes the hysteria underlying the encounter between Europeans and natives.)
Not only have black bodies been red in the white imagination as signifying an excess of sexuality, but, through their ostensible uncontrollability, they have also been situated on the border ground with homosexuality. bell hooks quotes Sander Gilman to propose that "'by the eighteenth century, the sexuality of the black, male and female, becomes an icon for deviant sexuality.'" 16 This date seems rather late, and Jonathan Goldberg, for one, has pointed out that part of the rhetoric of the very first European explorers and colonists involved classifying the native people of color as dangerously sexual, even sodomitical. "'They are all sodomites;' so reads the dispatch sent from Vera Cruz, July 10, 1519, in the first so-called letter of Cortéz." 17 Goldberg then argues that "once made, few reports failed to repeat the charge [of sodomy]." 18 Eliot was apparently well aware of these kinds of homophobic anxieties about New World discovery, and his Columbo and Bolo verses recall these associations only to redeploy them as modernist humor.
Like so many other modernists on both sides of the Atlantic during this period—including James Joyce, Ezra Pound, William Faulkner, and Ernest Hemingway—Eliot was fascinated with ventriloquizing racism. Here Eliot displays the racism of his culture, evidently, taking pleasure in compulsively reiterating the moral abjection of prejudicial discourse, while he repeats it with a palpable, self-conscious mockery that exposes it at its most attenuated and outlandish limits. This is prohibited language which marks the extremity of what can properly be spoken. "King Bolo's Big Black Bassturd Kween"—the most potent moment of naming in the cycle—disturbs because of the element of racial hatred it speaks, while it already troubles that racism by pointing to its own absurdity, turning the critical glance back upon itself to disclose more about the speaker than about the queen. Ventriloquizing as such is a kind of mimicry that takes pleasure in its model but revolts against it through the modes of mockery and parody, correcting it while exploiting it.
This, of course, does not get Eliot "off the hook" of racism. Yet by troping away from the culturally popular racism of the 1910s and 1920s to critique it while he participates in it, his stance toward racial difference appears more complicated. While Eliot evokes stock racist stereotypes that represent the colonies as filled with "savages" and "cannibals," he also inverts and mocks these stereotypes. In the extensive anthropological commentary on Bolo and Bolovian customs he concocts for Bonamy Dobrée, Bolo is hardly a "savage." He is the emblem of all that Eliot deems good about "civilization." Meanwhile, in the stanza above, "Bolo's big black queen" offers the disruptive element to the dessert party, but the obscene sexual advance comes from Columbo's words—as the representative of European politics and language—rather than from her body. Columbo needs no prompting for his lewdness: he is sexually out of control, and his mission centers on sex whether he is on board his ship or in the newly discovered colonies. The white colonial party carries and (quite literally) disseminates the mark of hyperbolic sexuality, and it is precisely their sexual ardor that functions as their most potent motivation for mixing with the native inhabitants. Yet the miscegenation of Columbo and the Big Black Queen operates less as that worried marker of the meeting and mixing of races in the last century than it does as a simple, albeit titillating, historical fact. The stanzas thus offer at least as much judgment on Columbo as they do on the native queen. That is to say that, if there is a moral stance to be taken, the obscenity in this instance lies with Columbo's perception of the queen, and not with the queen herself.
As Eliot expanded the group of friends to whom he sent the Columbo and Bolo material, his correspondents responded in turn by affirming the poems' masturbatory qualities. When Eliot told Wyndham Lewis early in 1915 that he would send him some of his ribald verses, Lewis in turn wrote to Pound: "He told me he had written a lot of filthy sexual verse, which, if he sends it, I shall hang in the W.C.  Well, well." 19 Pound thought of them this way too: in 1922 Eliot announced he was going to send some of his Columbo and Bolo poems to Joyce. Pound retorted, "You can forward the Bolo to Joyce if you think it wont unhinge his somewhat sabbatarian mind. On the hole he might be saved the shock, shaved the sock" [sic] (LOTSE, 505).
Eliot's willingness to circulate these poems only to male writers, while simultaneously parodying the queerness of colonial history, participates in the epistemological pairings of "secrecy/disclosure" and "public/private" that Eve Kosofsky Sedgwick has argued are constitutive of societal structures of gay closeting. 20 Eliot was both very much in the closet about his queer fascinations, and halfway out of the closet because of his willingness to play with homoerotic titillation among the members of his coterie. Columbo and his men are preoccupied with anal eroticism, and regularly sodomize both each other and King Bolo's campily named "Kween."  In another stanza, "Columbo slid along the deck / And raped the smoke-room steward." 21
Eliot, in fact, seems to have arranged his little coterie much as coteries had been arranged in literary circles for centuries. As Wendy Wall writes in her discussion of Renaissance coteries, "the coterie used the circulation of texts to consolidate the bonds formed among an elite and primarily male group." 22 J.W. Saunders, in turn, argues that the Renaissance coterie functioned as:
. . . a finishing school where members polished each other's art, which, like the taste for clothes, or the ear for a compliment, or the aptitude for dancing or fencing or riding, was very much a matter of doing the right things in the right way, in a game where every man tried to dazzle and out vie his competitors. More seriously a group restricted, ideally at least, to those who were equals or near-equals in social status . . . [they] cooperated in the formulation of critical principles, a sense of values. 23
Although Eliot did not explicitly seek criticism from the members of his coterie for his Columbo and Bolo poems, he certainly sought to "dazzle and out vie his competitors" with the shocking content of his verses. Indeed, their circulation participates in and offers a pornotropic extension of the collaborative effort Eliot made with Pound while crafting The Waste Land, a collaboration that Wayne Koestenbaum and others have read as emphatically homoerotic. 24 Their "dazzle" involves what I want to call epistological titillation: the poems evoke the pornographic comic strip to try to shock and impress his male peers with the language of obscenity. There does not, however, appear to have been a commensurate response from all of his male friends, who, apart from Pound and Dobrée, did not reciprocate epistologically in the game of shock and titillation.
As I have suggested, Columbo's principal crewmembers are just as "obscene" as Columbo himself, including the cabin boy, the bosun, and the chaplain (a version of Charlie Chaplin in an early letter to Aiken, LOTSE, 126). Eliot's rendition of colonial exploration thus imagines a pronounced sexual affiliation among sailors that extends the tradition of homoerotic "comradeship" found in sailor fiction. For the most part, the Cuban natives also share the same propensity to anal and excessive eroticism as the colonists, and Columbo's crew thus find uncannily queer mirrors of themselves in the colonies. Offering an inverted version of Bhabhan mimicry, in which the colonized subject responds "through the repetition of partial presence" to "the narcissistic demand of colonial authority," King Bolo and his Queen seem to belonga priori to the same confraternity of anal and scatological eroticism. 25 The stanzas thus level difference by writing the colonial encounter as one in which a radical commensurability and sameness of desires—the game of sex—overrides dissimilarities of race, language, custom, history, region, and religion.
 In only one instance does the speaker self-reflexively comment on the obscenity of the explorers, and this happens when the cabin boy Orlandino is accused by the narrator of "obscene" language:
A child of upright character
But his language was obscene-o.
'Fuck Spiders' was his chief remark
In accents mild and dulcet.
They asked him what there was for lunch
And he simply answered 'Bullshit.'
(IOTMH,316)
Interestingly, the censorious comment does not cite the violently sexual or scatological acts, but notes the obscene words of one of the younger characters. Eliot is establishing a dichotomous and discontinuous set of values between the imagined narrator of these verses and the res who inhabit them: the speaker complains that Orlandino's language is obscene even though the stanzas themselves contain language much more hyperbolically so, thereby creating a mise en abîme that testifies to the almost endless play of possible allegories which these stanzas offer. Meanwhile, Orlandino's character is considered "upright" despite the fact that he is one of the more overtly queer characters in the poems—in a stanza Eliot sent to Aiken in September 1914, "the cabin boy was sav'd alive / and bugger'd, in the sphincter" (LOTSE,59). This valence continues, especially if we take into account the unpublished stanzas at Yale, which are even more expressly homoerotic than those published so far.
In his first Columbo and Bolo letter to Aiken, cited above, Eliot also mocks the projects of anthropology, history, and the academic establishment in general. He glosses his Columbo and Bolo poem to write:
The bracketed portions we owe to the restorations of the editor, Prof. Dr. Hasenpfeffer (Halle), with the assistance of his two inseparable friends, Dr. Hans Frigger (the celebrated poet) and Herr Schnitzel (aus Wien). How much we owe to the hardwon intuition of this truly great scholar! The editor also justly observes: 'There seems to be a double entendre about the last two lines, but the fine flavour of the jest has not survived the centuries.'—Yet we hope that such genius as his may penetrate even this enigma. Was it really the custom to drink ice-cream soda just before lunch? Prof. Dr. Hasenpfeffer insists that it was. Prof. Dr. Krapp (Jena) believes that the phrase is euphemistic (LOTSE,42).
The "double-entendre" refers, of course, to homosexuality, and Eliot mocks the phony earnestness that can attend academic labor. Eliot's disillusionment with the scholarly life began in full force while he was in Germany, and his stock German professorial res function as yet another caricature in this collection of poems.  He writes a remarkable body of pornotropic poetry, then laughs at us for considering it.
Given the strikingly bawdy character of these poems, it is also remarkable that Eliot actively tried to get the Bolo poems published. As it turns out, they are, prima faccia, the first face that Eliot wanted to show the world. After having participated epistologically in a teasing mimicry of Blast—desiring inclusion within its moment—Eliot sent several Columbo and Bolo stanzas to Wyndham Lewis early in 1915 for the second (and, what would be the last) issue of Blast. Lewis, however, rejected them, along with some of Eliot's other racy poems, "The Triumph of Bullshit," and "Ballade pour la grosse Lulu," which did not end up seeing publication until Ricks's Inventions of the March Hare in 1996. Lewis wrote to Pound to justify his decision: "Eliot has sent me Bullshit and the Ballad for Big Louise. They are excellent bits of scholarly ribaldry. I am trying to print them in Blast, but stick to my naif determination to have no 'words ending in -Uck, -Unt, and -Ugger.'" 27
Eliot reacted right away by writing a letter of complaint to Pound in February 1915:
I have corresponded with Lewis, but his puritanical principles seem to bar my way to Publicity. I fear that King Bolo and his Big Black Kween will never burst into print. I understand that Priapism, Narcissism etc. are not approved of, and even so innocent a rhyme as
. . . pulled her stockings off
With a frightful cry of 'Hauptbahnhof!!'
is considered decadent.
(LOTSE,86)
Eliot transforms Lewis's queasiness about offensive language into a teasing charge that Lewis's "puritanical principles" would keep Eliot from finding the "Publicity" he desires. Lewis did, however,publish some of Eliot's other verse ("Preludes" and "Rhapsody of a Windy Night" [sic]) in Blast. 28 Did Eliot consider "Preludes" and "Rhapsody" insufficient for the "Publicity" he hoped to achieve? Or did he find out after his complaining letter to Pound that Lewis would include these two poems? Was he hoping that obscenity would do the "publicity-work" for him?
The young Eliot was hoping for a bit of capital "P" "Publicity" from the Columbo and Bolo poems, and he imagined them as his first "burst" onto the London literary scene. His desire for publication at this time was "keen," and he was willing to risk being dangerously flamboyant to find the publicity he wanted. Importantly, in his complaint to Pound, Eliot gives an exact echo of the language he uses in the Columbo and Bolo verses when he describes the queen's mode of presenting herself; he suggests that his poems cannot "burst" upon the literary scene with the same ease that Bolo's "big black queen" "burst" onboard or "burst" upon the party of colonists "drinking ice cream soda." As elsewhere in his letters, especially to Pound, Eliot proposes that if writing is a sexual act, then publishing is its ejaculative fulfillment. Indeed, Eliot seemed to enjoy the valences of "burst[ing]" into print a great deal, and the term recurs in 1922 when he is about to publish The Waste Land in the first issue of his new journal, The Criterion. In this instance the tables are turned, and he gives Lewis a back seat, writing to Pound: "I think that if the Waste Land [sic] bursts out in the first number and you contribute to the second, that Lewis must remain behind the scenes until the third" (LOTSE, 553).
After he was rejected by Lewis, Eliot persisted in seeking publication for the Bolo poems for a number of years. Even as late as May 1921 Eliot was still hoping that the Bolo poems would find public circulation. Although he did not know Joyce well, he offers him a sample of the Columbo and Bolo poems in a letter of May, 1921. He enviously writes to Joyce after having had a "taste" of the Ulysses manuscript for which he claims to have "nothing but admiration," particularly for the bawdy sections, confessing (as did others), "I wish, for my own sake, that I had not read it" (LOTSE, 455). He compliments Joyce on the news that "even a limited and very expensive edition is to appear," asking "has it been properly circularised in England?" (LOTSE, 455). He admits that he has been having difficulty himself finding the publication and publicity he desired for his own "limited edition":
I wish that Miss Beach would bring out a limited edition of my epic ballad on the life of Christopher Columbus and his friend King Bolo, but
Bolo's big black bastard queen
Was so obscene
She shocked the folk of Golder's Green.
(LOTS0E, 455)
Eliot thus draws an analogy between Ulysses and the Columbo and Bolo cycle. He had already asserted a serious admiration for the scandalous sections of Ulysses in 1919, writing to John Quinn, friend, New York lawyer and patron of the arts, "I should like to do everything I can about it over here. The part of Ulysses in question struck me as almost the finest I have read: I have lived on it ever since I read it" (LOTSE, 314). The ribaldry of the scandalous, masturbatory homoerotic sections of Ulysses are not unlike that of Eliot's verse, and part of Eliot's frustrated admiration for Joyce could be due to the fact that Eliot met the censor before publication and "publicity," while Joyce met the censor after both publication and the immense publicity that is scandal.
As he will do elsewhere, in Eliot's letter to Joyce he blurs the distinction between his "epic ballad" and "Bolo's big black bastard queen:" both it (his poem) and she (the queen) are "so obscene" that they "shocked the folk of Golder's Green." Eliot thus makes Bolo's big black queen perform the allegorical work of obscenity; that is, she functions as a fictional objective correlative for his own desires for publicity. In his letter to Joyce Eliot draws on the shock-value of race and sex as markers of disruption in the precious atmosphere of suburban London and applies them to his unpublishable poetry. In effect, he constructs a tautologous narrative about his inability to publish: the disruptive elements of color and sex are too obscene for the "folk of Golder's Green;" because these elements are in the poems, no one will publish them; therefore both the poems and he himself are as obscene as the "big black queen."
In a letter to Conrad Aiken of 1916, Eliot included two more Columbo and Bolo stanzas as a gloss on his current situation. Here, as elsewhere, he explicitly uses the Columbo and Bolo poems to allegorize details of his own biography:
The news is that I am to be at Highgate School, near town, next term, that I am starting to rewrite my thesis, that my wife has been very ill, that I have been taken up with the worries of finance and Vivien's health, that my friend Jean Verdenal [to whom he dedicated the Prufrock volume in 1917] has been killed, that nothing has been seen of Armstrong who is now a captain in Kitchener's army, that compulsion is coming in, that my putative publisher will probably be conscripted, that we are very blue about the war, that living is going up, and that
King Bolo's big black bassturd kween
That airy fairy hairy un
She led the dance on Golder's Green
With Cardinal Bessarian.
(LOTSE, 125)
King Bolo's queen has by this time moved from Cuba to London, to the fashionable, Jewish neighborhood of Golder's Green, and she is on display as a dancer, paired with a powerful Catholic religious representative. But what work is this queen doing for Eliot? Her status as a foreigner of color with no proper parentage would mark her as a "bassturd" in the strictures of British society of the time, while Eliot again implies that the queen is not female at all, but is in fact a male "queen" or "fairy" in drag. Reminiscent of the women in "The Love Song of J. Alfred Prufrock," whose arms are "downed with light brown hair," (Lines 62-63), Bolo's queen is even more hirsute, lacking subtlety but still warranting the dialogue between erotic attraction and physical repulsion that we find in "Prufrock"—suggesting an androgyny verging on transgenderism which the queerness of Eliot's cycle would support.

(LOTSE, 125)
Eliot here takes a linguistic step to incorporate himself into his poems, playing with sound and meaning by alluding to his feeling of being "keen" for the "een" sound, and thereby effectively, performatively, enfolding himself into their rhyme scheme, and into the poems themselves. It is as if he himself is an extension of the "-een" rhymes in his cycle, or as if he were just as queer as his verses—as if he just might be the "kween of Golder's Green."  She functions as the mark of difference in the middle-class culture of Golder's Green at a moment when even foreignness was akin to obscenity, and the Jewish suburb did not necessarily give shelter to other displaced groups. Eliot himself felt an unwelcome foreigner in London—he was classless in British society, and practically parentless at this time as well, since he had "fled" family when he left America straining relations with his father. In his letters, Eliot was preoccupied with "foreignness," and already in 1914 when studying in Germany, wrote to Conrad Aiken, "I think that this will be a very pleasant exile on the whole,—though I cannot look upon a summer in Germany as anything but an exile" (LOTSE, 41). This attitude changes very little during the first years in England, and he writes to his cousin Eleanor Hinkley in the fall of 1914, "I don't think that I should ever feel at home in England, as I do for instance in France . . . I should always, I think, be aware of a certain sense of confinement in England, and repression" (LOTSE, 61). In a letter to Mary Hutchinson of 1919 he writes, "but remember that I am a metic—a foreigner, and that I want to understand you, and all the background and tradition of you" (LOTSE, 318).
Instead of finding the publicity he desired for them, Eliot shared the Bolo poems privately over the years, usually as a satiric way to negotiate his dealings with the public world of publishing and notoriety, and the very private world of his identity as an émigré. Instead of the Bolo poems, Eliot's first publications, all in 1915, were "The Love Song of J. Alfred Prufrock," "The Boston Evening Transcript," "Aunt Helen," and "Cousin Nancy" in Poetry, "Preludes" and "Rhapsody on a Windy Night" in Blast, and "Portrait of a Lady" in Others. At the beginning of 1915 he was a young struggling poet, lucky to be befriended by the more established Ezra Pound. At the end of the year he was on his way to becoming the T. S. Eliot, the author who would be canonized by the Dial prize in 1922, the subject of intense critical attention in magazines and reviews of the 1910s and early 1920s, and then the canonical re constructed by the New Criticism of the late 1920s and 1930s. These became the early basis of Eliot's reputation, and began to shape the character of English modernism.
How can we negotiate the fact of these poems alongside the body of Eliot's published material? We might think of the Columbo and Bolo poems as a pornotropic parergon for Eliot's work. The term is borrowed from Conrad Aiken's allusion to the Bolo poems in a short essay called "King Bolo and Others" that he wrote to celebrate the occasion of Eliot's sixtieth birthday for a volume of tributes collected in 1948. Aiken's piece actually gives scant attention to the Bolo poems, but refers to them as a knowing insider, participating in the closeting of Eliot's verses that had by now been going on through his career. It is unlikely that any other contributor to the collection, with the exception of Clive Bell, knew the content of these verses.
Although he does not elaborate with a sample from the Columbo and Bolo verses, Aiken does give a rather interesting brief interpretation of the import of the Bolo poems to Eliot's oeuvre. He reminisces about their days together at Harvard:
What did we talk about? or what didn't we? It was the first "great" era of the comic strip, of Krazy Kat, and Mutt and Jeff, and Rube Goldberg's elaborate lunacies: it was also perhaps the most creative period of American slang, and in both these departments of invention he took enormous pleasure. How delighted we were with the word "dinge" for negro! This rich native creativeness was to be reflected, of course, in his poetry, notably in Prufrock . . . 30
Eliding the boundaries between the humor of the comic strip and racist "slang," Aiken brings racism and humor together under the single banner of undergraduate delight. But where did Aiken get this slang from? Why were he and Eliot so excited to borrow racist humor and terminology? As Hortense Spiller proposes, they would not have known many blacks, but "what they did know was that 'dinge' named a limit, a neologism and, therefore, an unnamable, beyond representability." 31 These poems also offer the mnemonic trace of Eliot's American identity. Turning to an allegory of New World discovery precisely at the moment he was choosing the Old World over the New himself, these poems worry the limits of Eliot's self-representation as a racial other, and his genealogical history as an American.
Aiken continues his tribute by asserting that Eliot's delight in slang and comic-book characters "gave rise to the series of hilariously naughty parerga which was devoted spasmodically to that singular and sterling character known as King Bolo, not to mention King Bolo's Queen, 'that airy fairy hairy—'un, who led the dance on Golder's Green with Cardinal Bessarion'" (TSEAS, 22). Quoting from Eliot's 1916 letter, Aiken over thirty years later again effaces race and obscenity from the equation to portray the "queen" simply as "Bolo's Queen" rather than his "big black queen." He thus teases his fellow contributors by offering what could only seem a silly, sophomoric-sounding rhyme without context—evacuating accountability and precluding the possibility that his audience might decipher the meaning of these allusions.
Aiken's notion that the poems operate as parerga is, though, a fitting metaphor: the poems are precisely "an extra ornament in art" (OED) insofar as the parergon is always that which can surprise us and tell us more about what we deem to be central to the text (whether literary or otherwise) than the center itself. Derrida articulates it in this way:
A parergon comes against, beside, and in addition to the ergon, the work done [fait], the fact [lefait], the work, but it does not fall to one side, it touches and cooperates within the operation, from a certain outside. Neither simply outside nor simply inside. Like an accessory that one is obliged to welcome on the border, on board [aubord, à bord]. It is first of all the on (the) bo(a)rd(er) [Il est d'abord l'à-bord]. 32
Eliot's Columbo and Bolo poems situate themselves for us on the
"border" or the boundary of his other canonical poems, touching them by
illuminating the limits of interpretation; neither entirely "outside
nor simply inside," they "inscribe[] something which comes as an
extra, exterior to the proper field . . . but whose transcendent
exteriority comes to play, abut onto, brush against, rub, press against
the limit itself and intervene in the inside only to the extent that
the inside is lacking."
 In
his birthday tribute, Aiken insists on the Bolo poems' value as
social and academic critique: "These admirable stanzas, notable at
times for their penetrating social criticisms were to continue for
years as a sort of cynical counterpoint to the study of Sanskrit and
the treatise on epistemology. Their influence on the development of
a Style will no doubt come in due course to the attention of Herr Dr
Krapp of Wien" (TSEAS, 22). Again, Aiken's audience of fellow
contributors—not to mention his readers—would have had no
idea what he was talking about: who might "Herr Dr Krapp" be exactly? As
it turns out, he is us: academic scholars who are only now uncovering
these poems to give them critical attention. Eliot writes a bawdy
parergon to his poems, and then laughs at us for considering it,
embracing us into the fold of humor and titillation as its newest objects
of satire.
Gabrielle McIntire recently completed her PhD in English and American literature at Cornell University, where she currently teaches. This essay won the Biddy Martin Prize in Queer Studies at Cornell, and is part of a book in progress on the relationship between memory, history, and eros in modernist writing.
1. T. S. Eliot, Inventions of the March Hare: Poems 1909-1917, ed. Christopher Ricks (London: Faber & Faber, 1996), 315. Henceforth abbreviated IOTMH.
2. Eliot, The Waste Land (1930; New York: Harvest / HJB Books, 1988), lines 124-25 and 294-95.
3. Ricks chose his title from the provisional one that Eliot had given his poetry notebook from 1909-1917, even though at a certain point Eliot scratched through his title with single solid strokes, effectively placing his title under erasure. Inventions of the March Hare was more of a notebook than a book, and Eliot makes only one other known reference to it in a letter to Conrad Aiken in 1914 when he jokes, "Do you think it possible, if I brought out the "Inventions of the March Hare," and gave a few lectures, at 5 P.M. with wax candles, that I could become a sentimental Tommy" (T. S. Eliot, The Letters of T. S. Eliot. Volume One, 1898-1922, ed. Valerie Eliot [New York: Harcourt Brace, 1988], 59. Hereafter referred to as LOTSE). Eliot's comment to Aiken says much about the degree to which he was able to mock his own poetic endeavors at this early stage of his career.
On the Bolo poems see Jonathan Gill, "Protective Coloring: Modernism and Blackface Minstrelsy in the Bolo Poems", in T.S. Eliot's Orchestra: Critical Essays on Poetry and Music, ed. John Xiros Cooper (New York: Garland, 2000), 65-84. Gill charts evocative similarities between these stanzas and blackface minstrelsy, arguing that Eliot's poems might be situated directly in this tradition. The essay is illuminating, but scarcely takes up the crucial question of Eliot's stance towards race and racism in these poems, even though his argument concerns the theatrical performance of blackness.
4. I have been able to examine the bulk of these, and although I am not allowed to cite from these sources due to reasons of copyright, they have been central to my analysis, and I refer to them from time to time in this essay.
5. Alex Zwerdling, "Inventions of the March Hare: Poems," 5.2 (April 1998): 163-65.
6. Zwerdling, 164.
7. Gill, "Protective Coloring," 70-71.
8. Frances Teague, "Clerihew," in New Princeton Encyclopedia of Poetry and Poetics, eds. Alex Preminger and T. V. F. Brogan (Princeton: Princeton UP, 1993): 219-20.
9. Until more becomes known about the details of Eliot's life, there is no way of checking dates with absolute certainty. At present there is still a great deal of personal material that is not yet available.
10. Conrad Aiken, Selected Letters of Conrad Aiken, ed. Joseph Killorin (New Haven: Yale UP, 1978), 318. Aiken's phrasing would seem to suggest that Aiken, too, might have composed Bolo verses. I have, however, been unable to find any evidence of this in Aiken's writings.
11. See B. C. Southam, A Student's Guide to the Selected Poems of T. S. Eliot, sixth edition (London: Faber & Faber, 1994), 103. In a rather fascinating historical coincidence that Eliot may or may not have been aware of, Colombo might also refer to another man of that name who lived in the sixteenth century and who was the first (known) person to depict the female clitoris as "the seat of women's delight," a statement that was repeated for two centuries. See Colombo, Realdo, De re anatomica libri XV (Venice: Nicolai Beuilacquae, 1559).
12. W. S. Gilbert, The "Bab" Ballads: Much Sound and Little Sense (Cambridge, Mass.: The Belknap Press, 1970), 90-91.
13. OED, full-text online edition, 1989.
14. Ronald Bush, ed. T. S. Eliot: The Modernist in History (Cambridge: Cambridge University Press, 1991), 198.
15. Michael Levenson, "Does The Waste Land Have a Politics?" 6.3 : 1-14.
16. bell hooks, "Selling Hot Pussy: Representations of Black Female Sexuality in the Cultural Marketplace," in Writing on the Body: Female Embodiment and Feminist Theory, eds. Katie Conboy, Nadia Medina, Sarah Stanbury (New York: Columbia UP, 1997), 114.
17. Jonathan Goldberg, Sodometries: Renaissance Texts, Modern Sexualities (Stanford: Stanford UP, 1992), 193.
18. Goldberg, Sodometries, 193.
19. Ezra Pound, The Letters of Ezra Pound and Wyndham Lewis, ed. Timothy Materer (New York: New Directions, 1985), 68.
20. Eve Kosofsky Sedgwick, Epistemology of the Closet (Berkeley: U of California P, 1990), 72.
21. The Faber Book of Blue Verse, ed. John Whitworth (London: Faber and Faber, 1990), 24.
22. Wendy Wall, The Imprint of Gender: Authorship and Publication in the English Renaissance (Ithaca: Cornell UP, 1993), 14.
23. J. W. Saunders, cited in Wall, 13.
24. Wayne Koestenbaum, Double Talk: The Erotics of Male Literary Collaboration (New York: Routledge, 1989), Ch. 4, "The Waste Land: T. S. Eliot's and Ezra Pound's Collaboration on Hysteria," 112-39.
25. Homi K. Bhaba, The Location of Culture (New York: Routledge, 1994), 88.
26. Eliot was always very sensitive to intimations of his homosexual predilections, and immediately tried to suppress an essay written by John Peter in 1952 that made the case for The Waste Land as a homosexual love story about Phlebas.
27. Ezra Pound, The Letters of Ezra Pound and Wyndham Lewis, 66-67. With an uncanny appropriateness, the OED cites Lewis's letter to Eliot about his poems "The Triumph of Bullshit" and "Ballade pour la grosse Lulu" as the first example of the use of the term "bullshit" in the English language.
28. "Rhapsody of a Windy Night" was the title under which Eliot's poem first appeared. This was corrected to read "Rhapsody on a Windy Night" in later Eliot collections.
29. T. S. Eliot, A Symposium from Conrad Aiken [and Others], ed. Richard March (London: Editions Poetry, 1948), 21. Hereafter cited as TSEAS.
30. The question of whether Eliot here is also invoking anti-Semitism by ring a Jewish neighborhood as the bourgeois thermometer of obscenity would be interesting to pursue.
31. I am grateful to Hortense Spillers for these comments, written in response to an earlier draft of this paper. I would like to take this opportunity to thank her, Eduardo Cadava, Jonathan Culler, Ellis Hanson, Molly Hite and Jodie Medd, each of whom offered thoughtful and incisive comments as I was writing this essay.
32. Jacques Derrida, The Truth in Painting, trans. Geoff Bennington and Ian McLeod (1978: Chicago: U of Chicago P, 1987), 54.
33. Derrida, Truth, 56.


-
Trust People
I was working for a big organization as a research intern for 5 months. It was the first time I was introduced to highly complex systems of trust and distrust. I have never been faced with the fundamental question of “is it rational to trust a person ?” before. In...
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Free
Are we free? Do we think we are free? Do free things think that they are free? When do we think of something as being free? What are the kind things that we think of as being free? How do we arrive to thinking that something is, in fact, free?...
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Muffins Are No Fries
At Tim Horton’s Person: What can I get you? Me: Can I have a Ranch, Bacon Chicken Wrap with Fries? Person: Sure, would you like anything to drink? Me: A latte. Person: Cold or warm? Me: Hot. Time passes by … Person: Sorry we are out of Fries. Me: Its...
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Square One
e e e e e e e e e e x e e e e e e e e e e Front step, left step, back step, right step Back step, left step, front step, right step Back step, right step, front step, left step Front step, right step, back...
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Google Translate Gems
spanish esococoesococo –> I’m little again esococoesococe –> I do not understand chinese esococoesecoce –> I do not drink ice esococoesecece –> I do not know the rules esoporroporro –> That’s the problem esotorroesotorrei –> Red-eye racing esotorroesotorrea –> Ball bearing esotorroesotorres –> Racing cars esotorroesotorreo –> Motorboat esoquesoesoqueso –>...
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Mystery Post
I’ll write this post using the following material: https://plato.stanford.edu/entries/science-theory-observation/ http://philsci-archive.pitt.edu/12915/1/Decoding%20Manuscript_Revised_Web.pdf https://elifesciences.org/content/6/e21397 https://seop.illc.uva.nl/entries/models-science/ http://www.sciencedirect.com/science/article/pii/S1053811916308059


Preshoot.js is a new version of preshoot.js a library inspired from premonish to predict on each object the user is going to execute a function or to change the class of the object.


| Autosomal-recessive PD |
| PARK2 |
Parkin
|
6q25 |
•nonsense and missense mutations, deletions, duplications
•dystonia and dyskinesias common, slow progression
|
| PARK6 |
PINK1
|
1p35 |
•similar to
parkin-associated PD
|
| PARK7 |
DJ-1
|
1p36 |
•similar to
parkin-associated PD
|
| Complex syndromes with parkinsonism |
| PARK9 |
ATP13A2
|
1p36 |
•Parkinsonism, pyramidal syndrome, dementia |
| PARK14 |
PLA2G6
|
22q13.1 |
•dystonia-parkinsonism, pyramidal syndrome, dementia |
| PARK15 |
FBXO7
|
22q12 |
•parkinsonism, pyramidal syndrome, dementia |
| n.a. |
DNAJC6
|
1p31.3 |
•parkinsonism, pyramidal syndrome, cognitive impairment, seizures |
| n.a. |
SYNJ1
|
21q22.11 |
•parkinsonism, cognitive impairment, seizures |


risk communication change climate development adaptation social risks Risk action sustainable management environmental disaster model critical information policy {border-style Climate behaviour natural planning public px;} #ffffff;} sustainability mitigation participation need reduction collab: framework Change community impacts use collective conceptual individual irrigation potential resource understanding (FAO Adaptation Lie agency attitudes cognitive participatory vulnerability Communication Development approaches decision-making ecological implementation integration research resources viewed Sustainable actors article behavioural effective environment existing frameworks health individuals monitoring resilience socio-ecological systems underlying used vol. Accordingly, Research assessment disasters food includes knowledge local people perception process processes px; reduce risks, role {font-family (Rogers Assessment Disaster Renn Science South abatement activities addressing analysis analytical approach change, changes control economic engagement externalities factors font-size hazards impact increase maladaptation model, particular pp. quality support terms water (Evans (Servaes Environmental FAO Global However, Impacts, International Report Routledge, Social University action. associated building case dialogue double; education evaluation future governance human integral interests knowledge, learning management, message new people’s practices precautionary preparedness processes, risks. strategic transformation (Adger (Wardman (eds.) Cambridge Hence, Kasperson New O’Neill Servaes Working advocacy agenda agenda. awareness better border-color border-width capacities capacity change: communication, data degradation discourses early-warning edn., enhance failure farmer focuses important increases levels livelihoods measures mobilisation models opportunities planning. present production programme relevant salinisation solid; state targets {font-style {font-weight (No. (Renn (Rose (UN (UNICEF (UNISDR Adger Environment FAO, Heath June London. Odiyo Paper Press, Public Rome, SDGs UK. actions address administrative adverse advocated agricultural agriculture article, attempt behaviour, bold common communication: communities concentration concept concerning context courier; crisis decisions dimensions dispositions does em; enforcement field given groups influence innovation integrative involves issues land level limits linearity long-term multi-hazard nexus policies, political principle pt;} question risk. significance smallholder soil stakeholders strategies structural technologies technology theory utility weather


--- layout: single title: "Music" permalink: /music0/ date: 2019-01-09 categories: pages bch_donation: - image_path: /assets/img/kutay550_bch_qr.png alt: "kutay550_bch_qr" title: "Donate" excerpt: "If you like my music consider donating Bitcoin Cash! I suffer from a never-ending list of instruments I would like to buy. If you would like to buy high quality versions of any of the songs/albums with BCH send me an e-mail." ---


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1.1
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Files CCore/inc/PlanInit.h CCore/src/PlanInit.cpp
In C++ constructors of global objects are called in undefined order, except objects in the same translation unit initialized in the order of definition. CCore requires, however, the more precise control on this matter. PlanInit is a feature, designed for this. It provides the following:
Here is the usage pattern. Assume, you have the header XXX.h and the source XXX.cpp and you want to create the global object of the type GlobalXXXType using PlanInit. You declare the following global function in the XXX.h:
#include <CCore/inc/PlanInit.h> PlanInitNode * GetPlanInitNode_XXX();
Then in the source file XXX.cpp you define the global object as following:
PlanInitObject<GlobalXXXType,PlanInitReq<GetPlanInitNode_YYY> > GlobalXXXObject CCORE_INITPRI_1 ; PlanInitNode * GetPlanInitNode_XXX() { return &GlobalXXXObject; }
You may provide as many requirements as you need. PlanInit make sure the XXX initialization happens after YYY. Functions GetPlanInitNode_XXX() are required to specify dependencies. In CCore we don't expose global objects, they are hidden in source files and provide functionality using global functions.
The function GetPlanInitNode_CCore() marks the entire CCore initialization. If you are using the PlanInit in your project, make sure to add this node in requirement lists.
The type GlobalXXXType must provide a node tag:
class GlobalXXXType { public: .... static const char * GetTag() { return "XXX"; } };
The node GlobalXXXObject is an Object Pointer:
template <PlanInitObjectType T,PlanInitReqType ... RR>
class PlanInitObject
{
public:
T * operator + () const;
bool operator ! () const;
T * getPtr() const;
T & operator * () const;
T * operator -> () const;
const char * getTag() const;
};
CCore uses initialization priority attributes, implemented in the gcc family of C++ compilers. There are 4 levels of priority, reserved for CCore needs: CCORE_INITPRI_0, CCORE_INITPRI_1, CCORE_INITPRI_2 and CCORE_INITPRI_3. The first is used for most urgent objects. The second is reserved for PlanInit nodes. Finally, PlanInit object initialization happens on the third level. The last level is reserved for the initialization of global objects after the main CCore library is up but before "normal" global objects are coming up.


Warning: scary
Russian researchers in the late 1940s kept five people awake for fifteen days using an experimental gas based stimulant. They were kept in a sealed environment to carefully monitor their oxygen intake so the gas didn't kill them, since it was toxic in high concentrations. This was before closed circuit cameras so they had only microphones and five inch thick glass porthole sized windows into the chamber to monitor them. The chamber was stocked with books, cots to sleep on but no bedding, running water and toilet, and enough dried food to last all five for over a month. The test subjects were political prisoners deemed enemies of the state during World War II. Everything was fine for the first five days; the subjects hardly complained having been promised (falsely) that they would be freed if they submitted to the test and did not sleep for 30 days. Their conversations and activities were monitored and it was noted that they continued to talk about increasingly traumatic incidents in their past, and the general tone of their conversations took on a darker aspect after the four day mark. After five days they started to complain about the circumstances and events that lead them to where they were and started to demonstrate severe paranoia. They stopped talking to each other and began alternately whispering to the microphones and one way mirrored portholes. Oddly they all seemed to think they could win the trust of the experimenters by turning over their comrades, the other subjects in captivity with them. At first the researchers suspected this was an effect of the gas itself... After nine days the first of them started screaming. He ran the length of the chamber repeatedly yelling at the top of his lungs for three hours straight, he continued attempting to scream but was only able to produce occasional squeaks. The researchers postulated that he had physically torn his vocal cords. The most surprising thing about this behavior is how the other captives reacted to it... or rather didn't react to it. They continued whispering to the microphones until the second of the captives started to scream. The two non-screaming captives took the books apart, smeared page after page with their own feces and pasted them calmly over the glass portholes. The screaming promptly stopped. So did the whispering to the microphones. After three more days passed. The researchers checked the microphones hourly to make sure they were working, since they thought it impossible that no sound could be coming with five people inside. The oxygen consumption in the chamber indicated that all five must still be alive. In fact it was the amount of oxygen five people would consume at a very heavy level of strenuous exercise. On the morning of the 14th day the researchers did something they said they would not do to get a reaction from the captives, they used the intercom inside the chamber, hoping to provoke any response from the captives they were afraid were either dead or vegetables. They announced: "We are opening the chamber to test the microphones; step away from the door and lie flat on the floor or you will be shot. Compliance will earn one of you your immediate freedom." To their surprise they heard a single phrase in a calm voice response: "We no longer want to be freed." Debate broke out among the researchers and the military forces funding the research. Unable to provoke any more response using the intercom it was finally decided to open the chamber at midnight on the fifteenth day. The chamber was flushed of the stimulant gas and filled with fresh air and immediately voices from the microphones began to object. 3 different voices began begging, as if pleading for the life of loved ones to turn the gas back on. The chamber was opened and soldiers sent in to retrieve the test subjects. They began to scream louder than ever, and so did the soldiers when they saw what was inside. Four of the five subjects were still alive, although no one could rightly call the state that any of them in 'life.' The food rations past day five had not been so much as touched. There were chunks of meat from the dead test subject's thighs and chest stuffed into the drain in the center of the chamber, blocking the drain and allowing four inches of water to accumulate on the floor. Precisely how much of the water on the floor was actually blood was never determined. All four 'surviving' test subjects also had large portions of muscle and skin torn away from their bodies. The destruction of flesh and exposed bone on their finger tips indicated that the wounds were inflicted by hand, not with teeth as the researchers initially thought. Closer examination of the position and angles of the wounds indicated that most if not all of them were self-inflicted. The abdominal organs below the ribcage of all four test subjects had been removed. While the heart, lungs and diaphragm remained in place, the skin and most of the muscles attached to the ribs had been ripped off, exposing the lungs through the ribcage. All the blood vessels and organs remained intact, they had just been taken out and laid on the floor, fanning out around the eviscerated but still living bodies of the subjects. The digestive tract of all four could be seen to be working, digesting food. It quickly became apparent that what they were digesting was their own flesh that they had ripped off and eaten over the course of days. Most of the soldiers were Russian special operatives at the facility, but still many refused to return to the chamber to remove the test subjects. They continued to scream to be left in the chamber and alternately begged and demanded that the gas be turned back on, lest they fall asleep... To everyone's surprise the test subjects put up a fierce fight in the process of being removed from the chamber. One of the Russian soldiers died from having his throat ripped out, another was gravely injured by having his testicles ripped off and an artery in his leg severed by one of the subject's teeth. Another 5 of the soldiers lost their lives if you count ones that committed suicide in the weeks following the incident. In the struggle one of the four living subjects had his spleen ruptured and he bled out almost immediately. The medical researchers attempted to sedate him but this proved impossible. He was injected with more than ten times the human dose of a morphine derivative and still fought like a cornered animal, breaking the ribs and arm of one doctor. When heart was seen to beat for a full two minutes after he had bled out to the point there was more air in his vascular system than blood. Even after it stopped he continued to scream and flail for another three minutes, struggling to attack anyone in reach and just repeating the word "MORE" over and over, weaker and weaker, until he finally fell silent. The surviving three test subjects were heavily restrained and moved to a medical facility, the two with intact vocal cords continuously begging for the gas demanding to be kept awake... The most injured of the three was taken to the only surgical operating room that the facility had. In the process of preparing the subject to have his organs placed back within his body it was found that he was effectively immune to the sedative they had given him to prepare him for the surgery. He fought furiously against his restraints when the anesthetic gas was brought out to put him under. He managed to tear most of the way through a four inch wide leather strap on one wrist, even through the weight of a 200 pound soldier holding that wrist as well. It took only a little more anesthetic than normal to put him under, and the instant his eyelids fluttered and closed, his heart stopped. In the autopsy of the test subject that died on the operating table it was found that his blood had triple the normal level of oxygen. His muscles that were still attached to his skeleton were badly torn and he had broken 9 bones in his struggle to not be subdued. Most of them were from the force his own muscles had exerted on them. The second survivor had been the first of the group of five to start screaming. His vocal cords destroyed he was unable to beg or object to surgery, and he only reacted by shaking his head violently in disapproval when the anesthetic gas was brought near him. He shook his head yes when someone suggested, reluctantly, they try the surgery without anesthetic, and did not react for the entire six hour procedure of replacing his abdominal organs and attempting to cover them with what remained of his skin. The surgeon presiding stated repeatedly that it should be medically possible for the patient to still be alive. One terrified nurse assisting the surgery stated that she had seen the patients mouth curl into a smile several times, whenever his eyes met hers. When the surgery ended the subject looked at the surgeon and began to wheeze loudly, attempting to talk while struggling. Assuming this must be something of drastic importance the surgeon had a pen and pad fetched so the patient could write his message. It was simple. "Keep cutting." The other two test subjects were given the same surgery, both without anesthetic as well. Although they had to be injected with a paralytic for the duration of the operation. The surgeon found it impossible to perform the operation while the patients laughed continuously. Once paralyzed the subjects could only follow the attending researchers with their eyes. The paralytic cleared their system in an abnormally short period of time and they were soon trying to escape their bonds. The moment they could speak they were again asking for the stimulant gas. The researchers tried asking why they had injured themselves, why they had ripped out their own guts and why they wanted to be given the gas again. Only one response was given: "I must remain awake." All three subject's restraints were reinforced and they were placed back into the chamber awaiting determination as to what should be done with them. The researchers, facing the wrath of their military 'benefactors' for having failed the stated goals of their project considered euthanizing the surviving subjects. The commanding officer, an ex-KGB instead saw potential, and wanted to see what would happen if they were put back on the gas. The researchers strongly objected, but were overruled. In preparation for being sealed in the chamber again the subjects were connected to an EEG monitor and had their restraints padded for long term confinement. To everyone's surprise all three stopped struggling the moment it was let slip that they were going back on the gas. It was obvious that at this point all three were putting up a great struggle to stay awake. One of subjects that could speak was humming loudly and continuously; the mute subject was straining his legs against the leather bonds with all his might, first left, then right, then left again for something to focus on.  Having been the first to be wired for EEG most of the researchers were monitoring his brain waves in surprise. They were normal most of the time but sometimes flat lined inexplicably. It looked as if he were repeatedly suffering brain death, before returning to normal. As they focused on paper scrolling out of the brainwave monitor only one nurse saw his eyes slip shut at the same moment his head hit the pillow. His brainwaves immediately changed to that of deep sleep, then flatlined for the last time as his heart simultaneously stopped. The only remaining subject that could speak started screaming to be sealed in now. His brainwaves showed the same flatlines as one who had just died from falling asleep. The commander gave the order to seal the chamber with both subjects inside, as well as three researchers. One of the named three immediately drew his gun and shot the commander point blank between the eyes, then turned the gun on the mute subject and blew his brains out as well. He pointed his gun at the remaining subject, still restrained to a bed as the remaining members of the medical and research team fled the room. "I won't be locked in here with these things! Not with you!" he screamed at the man strapped to the table. "WHAT ARE YOU?" he demanded. "I must know!" The subject smiled. "Have you forgotten so easily?" the subject asked. "We are you. We are the madness that lurks within you all, begging to be free at every moment in your deepest animal mind. We are what you hide from in your beds every night. We are what you sedate into silence and paralysis when you go to the nocturnal haven where we cannot tread." The researcher paused. Then aimed at the subject's heart and fired. The EEG flatlined as the subject weakly choked out, "So... nearly... free..."


Please, before reading this page, be sure to know what StrapDown.js is
Check out index.html if you don't know yet how cool StrapDown.js is !
StrapDown2PDF is a super cool Bash script designed to print a StrapDown-powered web-page to a PDF document.
To be more precise, StrapDown.js allows you to write pretty HTML pages with the Markdown syntax (more details here index.html).
And StrapDown2PDF can be used (on your laptop, from the command line) to transform the document from HTML (written with Markdown) to PDF (with one intermediate phasis as a LaTeX file).
This page as a PDF is a pretty good example of an automatically compiled PDF file.
Warning: this script is still experimental: the compilation is never perfect.
It is advisable to use the -keep
option, change a little bit the LaTeX file and then compile again.
You just have to use this command, in a terminal:
bash $ strapdown2pdf MyWebPage.html # This will produce "MyWebPage.pdf"
strapdown2pdf even supports multi arguments. For instance, the following command will print to PDF every StrapDown.js-flavored HTML file in the current directory:
bash $ echo "Calling 'strapdown2pdf *.html' will produce a PDF for every .html document in the current directory." $ strapdown2pdf *.html
strapdown2pdf comes with a basic help included ! Just ask with option -h
(as always):
```bash $ strapdown2pdf -h strapdown2pdf -help | [options]
Print a StrapDown-powered web-page to a PDF document, using lunamark and autotex.
Help: -h to print this help message (and quit). -v to print just the version of strapdown2pdf (and quit).
Options: -i|-interactive run PDFLaTeX with the interactive (errorstopmode) mode (default is batchmode). -q|-quiet run strapdown2pdf in quiet mode (no output at all, everything is redirected to /tmp/strapdown2pdf.log). -m|-htm run strapdown2pdf to produce a simple HTML file (which do not use StrapDown.js), written to a .htm file. For important document, producing a .htm autonomous file is a good idea. -d|-discrete run strapdown2pdf is discrete mode, without adding any creditentials in the produced document. -s[0-9][0-9]% change the default scale used by autotex (default is 85%, '-70%', '-75%' or '-80%' are good also) New! -[0-9][0-9]pt change the default police size used by autotex (default is 11pt, '-10pt' or '-12pt' are good also) New! -k|-keep keep the intermediate .tex file. New! -s|-sign sign the produce PDF document with GnuPG (thanks to PDFCompress).
strapdown2pdf v0.8 : Copyrights: (c) Lilian Besson 2011-2014. Released under the term of the GPL v3 Licence (more details on http://perso.crans.org/besson/LICENSE.html). In particular, strapdown2pdf is provided WITHOUT ANY WARANTY. ```
strapdown2pdf now comes with these options:
-interactive
(shortcut is -i
) to run PDFLaTeX with the interactive (errorstopmode) mode (default is batchmode),-quiet
(shortcut is -q
) to run strapdown2pdf in quiet mode (no output at all, everything is redirected to /tmp/strapdown2pdf.log
),-htm
(shortcut is -m
) to produce a simple HTML file (which do not use StrapDown.js, see this example strapdown2pdf.htm), written to a .htm file. For important document, producing a .htm autonomous file is a good idea,-discrete
(shortcut is -d
) to run strapdown2pdf is discrete mode, without adding any creditentials in the produced document,-s[0-9][0-9]*%
(e.g. -79%
) to change the default scale used by autotex (default is 85%, '-70%', '-75%' or '-80%' are good also),-[0-9][0-9]*pt
(e.g. -10pt
) to change the default police size used by autotex (default is 11pt, '-10pt' or '-12pt' are good also),-keep
(shortcut is -k
) to keep the intermediate .tex
file,-sign
(shortcut is -s
) to sign the produce PDF document with GnuPG (thanks to PDFCompress option --sign
).These external scripts are not really mandatory, you could do without it by modifying a couple of lines of the script's code:
These two examples (3 and 4) show how to include MathJax in a StrapDown-flavored HTML page to simply embed some LaTeX equations.
Apparently, now strapdown2pdf have a better support for any (not too complicated) $\LaTeX{}$ code embedded in the Markdown source. Any feedback is welcome, and I will continue to improve this feature.
These are from September, October and November 2014.
Make a version "on the browser" ? Something like, if index.html uses StrapDown.js, then index.html?pdf can be the same HTML page, but using javascript (like texlive.js) to autoproduce a PDF version of the page in the background, asking to download it when it is done.
An example is there. It is so cool I want to use it :)
I added a Squirt button to the two StrapDown.js theme, and therefore I guess it could be possible to do the same for a "Compile to PDF with TeXLive" button !
This project is released under the GPLv3 license, for more details, take a look at the LICENSE file in the source.
Basically, that allow you to use all or part of the project for you own business.


Before Change
negative_url = \
"http://hollywood.mit.edu/burgelab/maxent/ssdata/MEMset/train0_5_hs"
if sys.version_info[0] == 3:
pos_file = tempfile.NamedTemporaryFile("w+", buffering=1)
neg_file = tempfile.NamedTemporaryFile("w+", buffering=1)
elif sys.version_info[0] == 2:
pos_file = tempfile.NamedTemporaryFile(bufsize=0)
neg_file = tempfile.NamedTemporaryFile(bufsize=0)
urlretrieve(positive_url, pos_file.name, _reporthook)
urlretrieve(negative_url, neg_file.name, _reporthook)
positive_sequences = [str(line.strip().upper()) for idx, line in
After Change
negative_url = \
"http://hollywood.mit.edu/burgelab/maxent/ssdata/MEMset/train0_5_hs"
with TemporaryDirectory(prefix="tmp_glm-tools") as dpath:
pos_file = os.path.join(dpath, "pos")
neg_file = os.path.join(dpath, "neg")
urlretrieve(positive_url, pos_file, _reporthook)
urlretrieve(negative_url, neg_file, _reporthook)
with open(pos_file) as posfp:
positive_sequences = [str(line.strip().upper()) for idx, line in
enumerate(posfp.readlines())
if ">" not in line and idx < 2 * 8000]
with open(neg_file) as negfp:
negative_sequences = [str(line.strip().upper()) for idx, line in
enumerate(negfp.readlines())
if ">" not in line and
idx < 2 * len(positive_sequences)]
assert len(positive_sequences) == len(negative_sequences), \
"lengths were not the same: p={pos} n={neg}" \
.format(pos=len(positive_sequences), neg=len(negative_sequences))


/DefaultCollection
.http://tfs.example.com:8080/tfs/DefaultCollection
https://tfs.example.com:8080/tfs/CustomCollection
https://fabrikam-fiber-inc.visualstudio.com
Historically, this field was labeled "Server URL" because earlier versions of TFS did not support team project collections.


{{ markdownify .feature.textline }}
{{ partial "components/subfeatures" .feature.subfeatures }}
{{ if .feature.carousel }}
{{ partial "components/carousel" (dict "carousel" .feature.carousel "page" .page) }}
{{ end }}
{{ end }}
{{ if .feature.gallery }}
{{ partial "components/gallery" (dict "gallery" .feature.gallery "page" .page) }}
{{ end }}


Seek justice, love mercy, walk humbly with your God. Micah 6.8
Seek justice, love mercy, walk humbly with your God.


If you are seeing this page, your static server should be set up! Place anything into the [www] directory, and access it via the current URL (with the correct path, of course).


Our backgrounds are based in Food & Beverage, Fin.Tech, IT , Sevice, Sales and Management Control
After the succesful alpha and beta locations, we are ready to scale up the overall concept, consisting of 3 pilars.
At Minute Bar it's all about sharing Time, Space & Comfort.
For a fixed price per minute
Coffee, tea, lemonades, sweet & salty snacks are all free to grab from the counter. You can bring your own also and share.
Chat with friends, co-work, play a game or read a book. That's up to you!
Assists guests & crew during the day. He's helpful at any time.
Jibo, he can't wait to meet you!
Our community is valuable for the concept. Wanna be part of our incentive program?
Our pricing is simple.
You pay per minute.
Everything else is included.
We are dedicated to make our administration extinct. We continue to build on top of the Ethereum Network.
ENS: minutebar.eth
The concept is in search of local & (inter)national F&B entrepeneurs with teams, for further national & international roll-out.
MINUTE BAR IN THE MEDIA
Teamed up +3 years, starting up Minute Bar, expanding the community and connecting the 3 elements of the overall concept.
Beautiful, innovative, relaxed, affordable place to chill, work and to meet.
Naud Katerberg
Guest
You are the pioneers for Jibo in Europe.
Lynda Smith
Developer Strategy, Jibo Inc.
Laid back! You do your thing here, whether it is reading a book or still have work to finish or just to chat.
Fiona Rozema
Guest
Do you want to contribute or do you have a question/suggestion? Reach out to us!
<EMAIL_ADDRESS>+31 (0)6 27295594


CloudBox v1.0.0 - Add new FTP server
Friendly name:
Host address:
Host username:
Host password:
Host port:
SAVE HOST


CIS Events
2013 Distinguished Speaker Series
Adam Porter - iTree:
Efficiently Discovering High-Coverage Configurations Using Interaction Trees
Friday, November 22, 2013 - 11:15am - Trabant Theater
Refreshments in 102A Smith Hall at 10:30am
ABSTRACT:
Modern software systems are increasingly configurable. While this has many benefits, it also makes some software engineering tasks, such as software testing, much harder. This is because, in theory, unique errors could be hiding in any configuration, and, therefore, every configuration may need to undergo expensive testing. As this is generally infeasible, developers need cost-effective techniques for selecting which specific configurations they will test. One popular selection approach is combinatorial interaction testing (CIT), where the developer selects a strength t and then computes a covering array (a set of configurations) in which all t-way combinations of configuration option settings appear at least once.
In prior work, we demonstrated several limitations of the CIT approach. In particular, we found that a given system’s effective configuration space—the minimal set of configurations needed to achieve a specific goal— may comprise only a tiny subset of the system’s full configuration space. We also found that this effective configuration space may not be well approximated by t-way covering arrays. Based on these insights we have developed an algorithm called interaction tree discovery (iTree).
iTree is an iterative learning algorithm that efficiently searches for a small set of configurations that closely approximates a system’s effective configuration space. On each iteration iTree tests the system on a small sample of carefully chosen configurations, monitors the system’s behaviors, and then applies machine learning techniques to discover which combinations of option settings are potentially responsible for any newly observed behaviors. This information is used in the next iteration to pick a new sample of configurations that are likely to reveal further new behaviors.
We have evaluated the iTree algorithm by comparing the coverage it achieves versus that of covering arrays and randomly generated configuration sets. We have also evaluated its scalability by using it to test MySQL, at 1M+ LOC database system. Our results strongly suggest that the iTree algorithm is highly scalable and can identify a high-coverage test set of configurations more effectively than existing methods.
(Joint work with Charles Song and Jeffrey S. Foster)
BIOGRAPHY
Adam Porter is a professor in the Deptartment of Computer Science,University of Maryland and at University of Maryland Institute for Advanced Computing Studies (UMIACS). He specializes in software development with interests in programmer productivity, quality assurance, and mobile application design (particularly mobile learning tools). He has been honored as Mobile Learning Fellow, 2010, UMD OIT/Center for Teaching Excellence and is an IEEE and ACM Senior Member. His PhD is from the University of California, Irvine, 1991.
Past Seminars
2013 Photo Forensics - Hany Farid


Notice To Consult – The Details
by Soccer LadumaFacing possible retrenchment? Find out what your employer’s notice to consult letter should look like, why it’s important and when you can take legal action.
Facing possible retrenchment? Find out what your employer’s notice to consult letter should look like, why it’s important and when you can take legal action.


Technical blog from Craig Russell.
Beware a silent cast that can cause unexpected behavior
Kotlin has a rangeTo
function which uses the operators in and .. and allows you to achieve some nice things with a concise syntax.
// Define a simple range of numbers, and determine if an input `i` is within that range
if (i in 1..10) {
println("$i is within the range of 1-10")
} else {
println("$i is not in range of 1-10")
}
Here, if we set val i = 5
then we’ll see the output 5 is within the range of 1-10 ; this seems entirely intuitive.
It’s good to check the extremes, too, so setting val i = 1
and val i = 10
also results in it determining that 1 and 10 are both within the range of 1–10 (so both sides of the range are inclusive).
All is working well, so let’s meet the problem. Instead of setting i
to an integer, let’s use a float instead and see what happens.
If we set val i = 5.5
then we’ll see that 5.5 is within the range of 1–10 which is, again, expected.
But what happens if we set the value of i to 10.5? I expect it to tell me that 10.5 is not within range of 1–10.
val i = 10.5
if (i in 1..10) {
println("$i is within the range of 1-10")
} else {
println("$i is not in range of 1-10")
}
// outputs "10.5 is within the range of 1-10"
val i = 10.5
gives the output 10.5 is within the range of 1–10 — uh oh! That’s not right! ❌
I’m still new to learning Kotlin and while most things seem entirely intuitive and it does its best not to surprise me; this surprised me. Through further experiment I realised it was silently casting the float 10.5 down to an integer of 10 and therefore passing the range check.
I shared on Twitter and received a few responses from people offering explanations.
Playing around with #Kotlin. First surprise: that this prints true
— Craig Russell (@trionkidnapper) August 5, 2017
val x = 100.5f
val limit = 100
if(x in 1..limit) println ("true")
Thanks to those who helped me understand. I was at the point where I sort of understood why it was doing that; because the range was an intRange
then the input value needed to also be an integer. It sort of makes sense if you know that’s how it works, though it certainly isn’t obvious from looking at just the code above.
Just when I thought I understood the problem and was ready to move on, Michael Bailey pointed out a further oddity.
The implementation changed, in a breaking way, between Kotlin 1.0.7 and 1.1.3.
val i = 10.5
if (i in 1..10) {
println("$i is within the range of 1-10")
} else {
println("$i is not in range of 1-10")
}
// outputs "10.5 is not in range of 1-10"
In Kotlin 1.0.7, that actually outputs that 10.5 is not in range, which is what I would expect to happen. But the same code run under Kotlin 1.1.3 results in the opposite, as described above.
Digging into the source code helps explain the problem.
@kotlin.jvm.JvmName("intRangeContains")
public operator fun ClosedRange<Int>.contains(value: Float): Boolean {
return start <= value && value <= endInclusive
}
Here, you can see for an input value of type Float on an Int range, it simply compares the value to see if it is >= the start value and if it is also <= the end value. This is exactly the implementation I was expecting when I was using the range operator in this way.
@kotlin.jvm.JvmName("intRangeContains")
public operator fun ClosedRange<Int>.contains(value: Float): Boolean {
return value.toIntExactOrNull().let { if (it != null) contains(it) else false }
}
internal fun Float.toIntExactOrNull(): Int? {
return if (this in Int.MIN_VALUE.toFloat()..Int.MAX_VALUE.toFloat()) this.toInt() else null
With 1.1.3, it silently casts the float to an integer first. This means that 10.5 becomes 10 and then is determined to be in the range.
If you want to try this out for yourself, check out https://try.kotl.in which is an online code playground where you write some Kotlin and get immediate output. It also lets you set the Kotlin version that’ll be used to run the code.
Thanks to Pavlos Petros Tournaris for finding the commit in Kotlin source code where the change was made: https://github.com/JetBrains/kotlin/commit/5773594412660af11357ac9adc6ffcb45138b840
While I’m assured that Kotlin does its best not to surprise you with silent casts like this, it does happen.
Oddly, it feels like the implementation of 1.0.7 is more intuitive, and simple. With 1.1.3, if it isn’t going to use a float, and instead silently cast to an integer, I feel like the API shouldn’t support the float as input in the first place. This would eliminate the chance for error.
If the float as an input is supported, then it should be honoured, and not silently cast to an integer.
This is a breaking change between Kotlin versions that could easily catch anyone out. If you use the rangeTo
operator in this way, you’d be best sanity checking you aren’t passing it floats as an input value anywhere.
Seems like there is already a bug filed for this. It will be interesting to see if it will be marked as intended behaviour or not. https://youtrack.jetbrains.com/issue/KT-18938


This happens to me too often and I always end up googling the answer so this post is probably more of a location I know I can come to find the answer, although by writing it down hopefully it may sink in that I should stop getting too excited on a new project.
You’re all very excited about your new project and you think its about time you committed this to source control. Obviously you’re using Git so you initialise a new repository and commit your files. You then setup a remote repository at Github and it asks you whether you want it create a .gitignore file – you do. So now you have a repository remotely and locally. Easiest thing to do is pull from the remote, setup your remote and push to it. The other scenario might be you’ve committed locally and then realise you need to add a .gitignore file which you do and then commit.
In both cases you will now see the files in your standardised .gitignore file are not being ignored. After a few head scratches you realise its because the .gitignore file should be added to your repo first before any commits.
Long story short you have to remove all tracked files and add them back in using the below commands
git rm -r --cached .
git add .
git commit -m ".gitignore is now working"
The first line unstages and removes the paths to your files from the git index recursively.
The second line adds all your files back in but because the .gitignore is present it will not add files that should be ignored!
The final line commits all your files back to the index.
As much as I’d like to take credit for this knowledge I’m going to have to point you in the direction of the stackoverflow post that has helped me in the past.


| 003:160 Khan | : |
If Allah helps you, none can overcome you; and if He forsakes you, who is there after Him that can help you? And in Allah (Alone) let believers put their trust. |
| 003:160 Maulana | : |
If Allah helps you, there is none that can overcome you; and if He forsakes you, who is there that can help you after Him? And in Allah should the believers put their trust. |
| 003:160 Pickthal | : |
If Allah is your helper none can overcome you, and if He withdraw His help from you, who is there who can help you after Him? In Allah let believers put their trust. |
| 003:160 Rashad | : |
If GOD supports you, none can defeat you. And if He abandons you, who else can support you? In GOD the believers shall trust. |
| 003:160 Sarwar | : |
If God is your helper, no one can defeat you. However, if He abandons you, who would help you? The true believers trust in God. |
| 003:160 Shakir | : |
If Allah assists you, then there is none that can overcome you, and if He forsakes you, who is there then that can assist you after Him? And on Allah should the believers rely. |
| 003:160 Sherali | : |
If ALLAH helps you none can overcome you; but if HE forsakes you, then who is there that can help you beside HIM? In ALLAH, then, let the believers put their trust. |
| 003:160 Yusufali | : |
If Allah helps you, none can overcome you: If He forsakes you, who is there, after that, that can help you? in Allah, then, Let believers put their trust. |
Concepts/Themes Covered: الإيمان > الله جلّ جلاله > التوكل عليه جلّ وعلا Faith> Allah, Glory to his Majesty> Trust In Allah الجهاد > الغزوات > غزوة أحد Jihad> The Holy Battles> Uhud Battle الجهاد > نتائج الحرب > النصر من عند الله Jihad> The War Results> Victory is from Allah العمل > العمل الصالح > التوكل Action(Work)> The Good Deeds>Trust in Allah
This tool uses eight English parallel translations for the Holy Quran imported from Mr. Clay Smith. You can also visit Qurany Concepts for browsing the Quran themes or topics. If you want to search the Holy Quran for keywords, please visit Qurany Keywords.


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Dayanand Pathak
Also, I am a final year student pursuing a 4-year long bachelor of technology degree at HMR Institute of Technology and Management, Delhi.
I am majoring in Computer Science and the coursework includes subjects like Computer Networks, Operating Systems, Database Mangement Systems, Data Structures, Algorithm Design and Analysis, Object Oriented Programming and Web Technologies.


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