Nomads Clinic Pilgrimage 2015
What better way to welcome the new year than with a story about some of our most generous and dedicated supporters, Roshi Joan Halifax, writer Rebecca Solnit and the Nepal Nomads team, who recently made a pilgrimage to one of the most remote regions on earth to share Little Sun light and healing.
Roshi Joan Halifax, Ph.D., (pictured above, centre) is a Buddhist teacher, Zen priest, anthropologist, and pioneer in the field of end-of-life care. She is founder, Abbot, and Head Teacher of Upaya Institute and Zen Center in Santa Fe, New Mexico and is also a great inspiration and long-time friend of Little Sun. Joan started the Nomads Clinic in 1980 and has made annual trips to Nepal and Tibet for thirty-five years.
Joan, along with the renowned writer, historian and activist (and also a great friend of Little Sun), Rebecca Solnit, recently made their annual medical pilgrimage to the Himalayan region and Tibetan Plateau with an incredibly dedicated team that included a doctor, four nurses, and a nurse practitioner; a young lama, and a Nepali nurse; a German acupuncturist; and an amchi, (practitioner of Tibetan medicine) along with renowned K2 and Everest mountaineer Pasang Lhamu Sherpa Akita and her husband Tora Akita, who runs a Sotai and Kai Therapy (Japanese Physiotherapy) Clinic in Kathmandu. The group also included a support team of Nepali mule men, horsemen, cooks, guides, and translators.
The purpose of the pilgrimage was to offer the remote mountain communities free medical care and training. Another key part of this journey was to distribute safe, clean and sustainable Little Sun solar lamps to this part of the world that needs them so very much to get on in every day life – now more than ever since the devastating earthquake.
Rebecca Solnit recently published a beautiful account of the journey for the New Yorker. As she describes in the article, the scale and effort to provide light and care was immense:
“One autumn day, the Nomads Clinic, a medical-service trip, pilgrimage, and adventure expedition, set off from Juphal with six riding horses, and fifty pack mules laden with a month’s worth of food, cooking equipment, camping gear, and clothing. Six duffels were stuffed with medicine and medical equipment—asthma inhalers, deworming pills, vitamins, analgesics, antibiotics. Others held hundreds of solar lights, toothbrushes, sunglasses, and reading glasses, to be given away. It was the 2015 edition of a mobile clinic that Joan Halifax, a seventy-three-year-old American teacher of Zen Buddhism, has been coordinating since the nineteen-eighties, to provide medical care in places where there is little or none.”
The Nomads’ journey, as described by Rebecca, took them through an ever-changing landscape as the team climbed higher and higher into the mountains: from rice paddies and lush forests, to Bhotia fortress hamlets above the Himalayas on the Tibetan plateau, to remote Dolpo.
The northernmost parts of the region, some of the highest villages on earth, are inhabited by Rokpa farmers and Drokpa nomads from Tibet who are cut off from the rest of the world by snow for most of the year. This is a place where fossil fuels are not part of daily life and in much of the region, there are no roads. Anyone or anything that is capable of carrying goods — men, women, children, horses, mules, and yaks — take up a burden on the tiny, twisting trails.
As Rebecca describes in her piece, a sense of spirituality permeates throughout the region and it has been said that Dolpo is one of the “hidden valleys” created by Guru Rinpoche as a refuge for those of exceptionally pure mind. These valleys are nestled between mountains of great beauty – the heart of one of the last enclaves of pure Tibetan culture.
The first clinic the Nomads set up was at Lake Phoksundo “the deepest and clearest lake in Nepal” with an impossibly beautiful turquoise hue. The patients that came to the clinic had digestive troubles, infections, and, often, strained necks and sore joints from a lifetime of carrying big open baskets along punishing mountain passes.
“The abbot welcomed the Nomads Clinic into the temple, and locals asked the doctor and the nurses to treat wounds, address pains, listen to stories. The first evening, a horseman brought in a comrade, who was too sick to walk. “He was such a beautiful man, and he was almost dead when I first saw him,” the doctor, who diagnosed a severe kidney infection and treated him with antibiotics, said. The man, who was in his early forties, had a drawn, sun-darkened face, a faint mustache, the high cheekbones of most of the Nepalis in the region, and a thick coil of crimson strands of wool around his braided black hair. He wore camo-patterned tennis shoes. The next day, he was back on his feet, lingering outside the monastery to make contact with the doctor and the nurses coming from meditation inside.”
The Nomads set up five clinics in all during their month-long journey and treated almost seven hundred people.
The concept behind the clinics was to create a balance and interactivity between the weight of Eastern Medicine and modern Western techniques for healing the body and mind. Western clinicians were also given the opportunity to learn from the Amchis and others about how Tibetan medicine is practiced, and how meditation and spiritual insight are key to the types of medicine and treatment the Amchis give.
Not only was the pilgrimage a chance to provide practical, immediate medical care, but to also create an ongoing, fruitful dialogue about how the two forms of medicine can learn from and help each other to best serve the people who need care in the future. Just like the philosophy behind Little Sun, the clinics bring long-lasting, long-term solutions through knowledge and guidance rather than the limited, short-term fix of charity.
However removed from the rest of the world the region may seem, the effects of climate change are becoming more and more apparent. As Rebecca notes in her article, throughout the region, the snow and the glacial ice are withering away.
“Halifax recalled a Tibetan prophecy, “When the mountains wear black hats, the world will end,” and interpreted the black hats as the peaks without snow and ice. One day, some of the clear, cold streams and rivers flowing through upper Dolpo might dry up for part of the year, or stop entirely. The people who never had coal or electricity might be forced out of this place where the butter lamps are still lit before golden Buddhas in the old painted gompas, and where the barley is harvested by hand.”
Perhaps more than any other region on earth, solar energy is crucial for the survival of the peoples of the Himalayas. And the time to act on this knowledge is now.
1, 2, 7, 12, 15: Becky Gaal
3, 4, 5, 6, 8, 9, 10, 11, 13, 14, 16, 17: Cira Crowell


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There’s no doubt that the illegal transportation of Wanderer slave ship captives from their African homes and their subsequent transplantation in North America is an incredible story in itself. But when the creation of their face jugs in the southern potteries of Edgefield, SC, is considered, it’s an overwhelmingly compelling piece of US history that must be explored in depth and embedded in the collective memory of this country.
I have been on an amazing journey that started when my grandfather discovered a face jug in Philadelphia, PA, in 1950. Upon inheriting that unearthed item, I began my own search for the meaning and provenance of face jugs. The people, their struggles, it’s significance and power is immense. Our upcoming book, written and researched with the collaboration of Dr. Jason Young of the State University of New York, Buffalo, is set to be published by University of Georgia Press in 2016. A wonderfully researched article has been published in “Ceramics in America” with all the recent research and can be found here: http://www.upne.com/0982772225.html by Claudia Arzeno and April L. Hynes.
We are thrilled to collaborate with award winning documentary filmmakers, Christie & Jamie Koelker with StorylineMedia and share the opportunity to be part of exploring the intertwined stories of the Wanderers and their face jugs. On Tuesday, August 11th, and Wednesday, August 12th, we will be filming the first set of interviews with Wanderer descendants and scholars on the subject of African American/Afro-Carolinian culture and experts on Kongolese art and spiritual relics in Aiken, SC.
We are planning an exciting lineup of interviews which will be sharing their individual perspectives on camera, while giving a voice to those courageous survivors whose lives touched so many and whose legacy endures in the vessels they crafted and in the new American culture they created.
The interviews we gather during this first session will be permanently archived in their entirety in the Aiken County Historical Museum. They will also provide us with excerpts to use for gaining more funding for a complete, broadcast-length (or two) movie; a curated website and film festival movies.


Forward in Faith Classic
Carl Richardson served as the speaker for the Church of God radio broadcast, Forward In Faith from 1972-1984. During that time, these powerful messages made an impact that still reaps a spiritual harvest around the world. Many of these "classics" have been requested from our offices throughout the years.
We've digitized some of the more popular sermons and are making them available for you here in quality MP3 format.
We hope you enjoy these classic broadcasts, many with the original music, and that you'll check back often as we add more.
Select a Sermon:
Your Guide for a Happy Year


458th Bombardment Group (H)
Honoring those who served with the 458th BG during World War II
The Mission Archives
Dive into the extensive mission archives of the 458th Bombardment Group. Explore firsthand accounts, photographs, and mission reports, shedding light on the group’s strategic contributions and the challenges they faced during World War II.
Honoring those who served
This site is a tribute to those who served with the 458th Bomb Group during World War II. It is also a tribute to Crew 74, of which my father, Samuel D. Scorza, was the navigator. My father was assigned to the 458th Bombardment Group (H) in October 1943. He had just completed navigation training at San Marcos, Texas, and the group was nearing its final stages in assigning crews to the newly formed squadrons in Tonopah, Nevada. After training, the crews flew the ‘Southern Route’ to England in January 1944, arriving at Horsham St. Faith near Norwich in February. The group flew its first combat mission on March 2, 1944. Crew 74 completed their tour of 30 missions in June 1944…
Liberators Over Norwich
A captivating Account of the 458th Bomb Group. Experience the riveting narrative of “Liberators Over Norwich: The 458th Bomb Group (H), 8th USAAF at Horsham St. Faith – 1944-1945” by Ron Mackay, Mike Bailey and Darin E Scorza. This meticulously researched and highly acclaimed book provides a captivating insight into the heroic missions and untold stories of the 458th Bombardment Group during their crucial role in World War II.


Step into the world of Native Hawaiian cultural practices with the recently published book, “Ka Mano Wai: The Source of Life.” Authored by three esteemed professors at the University of Hawaiʻi at Mānoa’s Thompson School of Social Work and Public Health, this captivating book explores the significance of practices such as mālama ʻāina (caring for the land), mele (songs), and hoʻoponopono (conflict resolution) in promoting health and social justice. Through 16 engaging chapters, the book shares the stories of 14 revered kumu loea, or experts, who play a vital role in passing down ancestral knowledge. With stunning photographs that bring their practices to life, this book is a valuable resource for understanding Native Hawaiian traditions and fostering a deeper connection to their culture.
This image is property of media.mauinow.com.
Chapter 1: Introduction to Native Hawaiian Cultural Practices
Native Hawaiian cultural practices hold deep significance and are an integral part of Hawaiian society. These practices are rooted in the wisdom and traditions passed down by ancestors and have shaped the identity and values of the Native Hawaiian people. In “Ka Māno Wai: The Source of Life,” a groundbreaking book by three professors at the University of Hawaiʻi at Mānoa, Noreen Mokuau, Kukunaokalā Yoshimoto, and Kathryn Braun, the rich history and importance of these cultural practices are explored through the perspectives of 14 esteemed kumu loea, or experts.
Chapter 2: Mālama ʻĀina: Caring for the Land
One of the key Native Hawaiian cultural practices is mālama ʻāina, which translates to “caring for the land.” This practice emphasizes the deep connection between the land and the well-being of the Native Hawaiian people. Through sustainable agriculture, stewardship, and conservation efforts, Native Hawaiians have long recognized the importance of nurturing and preserving the land for future generations. By understanding the interconnectedness of all living beings and their environment, mālama ʻāina serves as a foundation for fostering harmony and balance within Hawaiian society.
Chapter 3: Mele: Songs of Native Hawaiian Culture
Mele, or songs, are an integral part of Native Hawaiian culture. These songs not only entertain but also serve as a means of preserving history, passing down knowledge, and expressing emotions. Mele often contain powerful messages, reflecting the values, traditions, and struggles of the Native Hawaiian people. Whether it’s through hula chants or contemporary compositions, mele play a significant role in connecting individuals to their roots, honoring ancestors, and fostering a sense of community and identity.
This image is property of media.mauinow.com.
Chapter 4: Hoʻoponopono: Conflict Resolution in Hawaiian Society
Hoʻoponopono is a traditional Native Hawaiian practice that focuses on conflict resolution and restoration of harmony within relationships, families, and communities. It involves open communication, active listening, and a commitment to finding mutually agreeable solutions. Hoʻoponopono acknowledges the interconnectedness of individuals and the impact their actions have on others. By engaging in this practice, Native Hawaiians seek not only to resolve conflicts but also to heal and strengthen relationships, promoting overall well-being and social cohesion.
Chapter 5: The Significance of Native Hawaiian Practices in Health
Native Hawaiian cultural practices have a profound impact on health and well-being. The connection between mind, body, and spirit is central to many of these practices. Through practices such as lāʻau lapaʻau (Hawaiian herbal medicine), lomilomi (traditional massage), and ʻai pono (eating in a healthy and balanced way), Native Hawaiians have long recognized the importance of holistic care for maintaining good health. These practices not only address physical ailments but also promote mental, emotional, and spiritual well-being, leading to a more balanced and harmonious life.
Chapter 6: The Connection Between Native Hawaiian Practices and Family Life
Family plays a vital role in Native Hawaiian culture, and cultural practices are deeply intertwined with family life. From the passing down of ancestral knowledge to the celebration of important milestones and events, these practices foster strong family bonds and a sense of belonging. Through activities such as hula, storytelling, and gathering for feasts, families come together to honor traditions, share experiences, and strengthen their cultural identity. Native Hawaiian practices in family life perpetuate a sense of unity, love, and respect for one another, contributing to the overall well-being of individuals and the community.
Chapter 7: Native Hawaiian Spiritual Beliefs and Cultural Practices
Spirituality holds a significant place in Native Hawaiian culture. Native Hawaiians have a deep reverence for the natural world and believe in the presence of deities or akua who guide and protect them. Spiritual beliefs and practices are interwoven into various aspects of daily life, from ceremonies and rituals to the connection with the land and nature. Native Hawaiians seek harmony and balance by acknowledging the spiritual dimensions of their existence, fostering a sense of purpose and interconnectedness with the world around them.
Chapter 8: The Cultural Loss of Native Hawaiian Practices
The colonization of Hawaiʻi had a significant impact on Native Hawaiian cultural practices. With the arrival of settlers and the imposition of Western values and systems, many Native Hawaiian practices were suppressed and marginalized. The cultural loss was profound, and traditions that were once integral to the fabric of society were forced underground. This chapter explores the challenges faced by Native Hawaiians in preserving and revitalizing these practices, as well as the efforts being made to reclaim and restore their cultural heritage.
Chapter 9: Illuminating Native Hawaiian Cultural Practices
“Ka Māno Wai: The Source of Life” sheds light on the rich tapestry of Native Hawaiian cultural practices. Drawing from the knowledge and wisdom of esteemed kumu loea, this book aims to re-illuminate the practices and the individuals who have dedicated their lives to preserving and teaching them. Through captivating storytelling and personal narratives, readers gain a deeper understanding of the historical and contemporary significance of these practices, as well as their enduring impact on the health, well-being, and social justice of the Native Hawaiian community.
Chapter 25: Conclusion and Reflection on Native Hawaiian Cultural Practices
In this final chapter, readers are invited to reflect on the profound significance of Native Hawaiian cultural practices. The journey through the various chapters of “Ka Māno Wai: The Source of Life” has provided insights into the history, values, and transformative power of these practices. From caring for the land and expressing through songs to resolving conflicts and promoting holistic health, Native Hawaiian cultural practices offer valuable lessons for individuals and societies at large. As the book concludes, readers are encouraged to honor and engage with these traditions, ensuring their preservation and continued relevance for future generations. Through shared knowledge and appreciation, the legacy of Native Hawaiian cultural practices can thrive and contribute to a more inclusive and just society.


Complete an individual research essay exploring one prime minister. Explore how the prime minister represented Australia on the world stage. Use at least one primary document such as a speech or letter to support your essay. You can choose up to five images to support your essay. Images must be captioned with the title, year and source (if available).
Information about word length, presentation, referencing and registration is available from the National History Challenge website.
- Research how former Prime Minister Billy Hughes led the nation during the First World War. Start by visiting the Billy Hughes at War website. Using the primary documents on the site, find out about Hughes’ role in 1918 peace treaty negotiations.
- Research one of the following former prime ministers using primary documents provided on the resource page:
- Stanley Bruce and immigration 1920s
- Robert Menzies and trade with Japan 1950s
- Bob Hawke and the environment 1983
- Paul Keating and APEC 1992
- Choose any historic moment when an Australian prime minister met the world. Focus on one key event or issue and include evidence from a primary document.
All entries should consider:
- What issue/event will your essay focus on?
- Who was involved?
- Where and when did it happen?
- What was the significance of the prime minister’s meeting with the world?
- What does it tell us about the job of being prime minister?
- What does it tell us about the personality of this prime minister?
- How did the event/issue impact on Australia?
- How did it impact on the world?
- What happened before the event/issue?
- How did people in Australia and the world react at the time?
- What were the outcomes or implications for Australia and the world?
- Are there links to contemporary issues?
- Use at least one primary document in your research. You may use the documents provided or choose your own.
- Clearly describe the document.
- What is it?
- Where is it from?
- How is it relevant to the issue/prime minister?
- Does the document tell the whole story or is it biased?
- Use the document along with secondary sources to give evidence supporting your essay.


- Catalogue Number
- Title and Date
- Dark coast 1998
- Description of Featured Image
- Two large rock formations, one in front of the other, together form an irregular rectangle of cliffs that dominates the composition, finishing near the left margin; below is a narrow strip of choppy sea. The further section of rock has a deep crevice at the upper right through which the sky is visible.
- Where Made
- Alphington, Melbourne
- Medium Category and Technique
- Intaglio Print: Etching, burnishing and drypoint on copper
- Wove paper. Identified papers: No papers identified.
Image size: 88 x 114 mm
Matrix size: 88 x 114 mm
- Artist’s Record Number
- EX.8. Amor’s intaglio record books do not contain an entry for this work.
- Printer(s) and Workshop(s)
- All impressions printed by Rick Amor in his Alphington studio.
- Summary Edition Information
- Four states. Nominal edition of ten, but only three impressions printed and numbered, 1998.
- State Library of Victoria, Melbourne: three state impressions, numbered 1 through 3; bon à tirer impression; ed. 2/10.
- National Gallery of Australia, Canberra: ed. 1/10 (2007.620).
Dark coast, with its pronounced abstract quality, is based on a painting of the ocean cliffs and the sea that Amor made on site at Port Campbell, Victoria. He adapted the painted view to the smaller format of the etching plate by focusing on the cliffs, to the exclusion of their ocean setting, and by shifting the horizon downward and allowing the dark, irregular rectangle of rock to occupy virtually the entire pictorial space. The cliffs’ surfaces are depicted in a cubistic manner, with areas of parallel hatching going in various directions, suggesting not only form but weight.
Throughout his work on the plate, and especially from the second state onwards, as he began to burnish back areas of sky, Amor kept his focus on the cliffs, and wiped the state impressions cleanly. Only in the artist’s proofs printed as part of the edition did he experiment with plate tone. This experimentation survived into the edition, which, though tiny, is variably printed.
- Port Campbell, Victoria
Record last updated 14/09/2017


I just can’t do books any other way than holding bound paper in my hands. I’ve tried audio books, fortunately I didn’t buy any, only to be disappointed, but I’ve sampled some free choices from the corners of the web (LibriVox, LearnOutLoud, etc.) and it is just not for me. I can barely pay attention sitting, listening in front of the PC, let alone try and listen while driving. Another reason is I haven’t found a voice I enjoy listening to.
A couple times in the last week my daily dose of SciFi site directed me to some free electronic books, one was Suvudu Free Book Library with pdf files that look like a scan of a book (other formats are available) and today’s site was Baen Free Library which has been around since 2002 and offers downloads in various formats including HTML. So far none of the formats I’ve tried have been comfortable to me. The second place offers books in a Microsoft Reader format, but I’m not sure I even want to install the software for it.
Guess I’m going to keep patronizing the local used book store…
Miata Top Transitions since 10/24/08: 144


Detecting and (Re)Solving Conflicts in French Crime Fiction:
Jean Anderson, Angela Kimyongür and Alistair Rolls
Victoria University of Wellington
University of Hull
University of Newcastle
It is estimated that some twenty per cent of all books sold in France are crime novels (Gorrara, 2009, p. 4). Add to this fact the current ubiquity of the crime genre in popular culture—bande dessinée, the graphic novel that has such a strong tradition in France and Belgium, as well as film and television—and it becomes clear that crime narratives possess a powerful cultural voice, one that has the potential to go beyond their value as entertainment. Above all, they offer the perfect framework within which to explore conflict of all kinds. While the form, in its French embodiment, has evolved considerably from its American-inspired beginnings when Gallimard’s Série Noire was established by Marcel Duhamel in the aftermath of the Second World War, its central topoi of investigator versus criminal, of good versus evil, of past crime versus present justice, are inherently conflictual.
There is little doubt that French Crime Fiction receives critical attention of a quality commensurate with its global literary standing; it is not here that conflict is to be found. And yet, as Claire Gorrara points out, there is a disparity between Anglo-Saxon scholarship’s focus on anglophone crime fiction and that which is brought to bear on “European crime fiction in languages other than English” (2009, p. 1). Gorrara speaks further of an “ambivalent reception of European authors [that] has generated controversy and a sense that an unacknowledged form of literary protectionism is in place” (2009, p. 2). This seems right: such silos proliferate beyond the publishing industry and the mediatised world of literary criticism, extending to the departmental structures of our universities. Logically enough, in order for French crime fiction to be apprehended as such requires practitioners, readers and scholars to accept and/or craft the genre’s selection criteria. At first glance, it does not appear overly problematic to seek to make the French of French crime fiction coincide with that country called France. This is precisely how Gorrara understands the term, and as a result she finds herself compelled to add the following nuance, in all likelihood so as to define a logical space for Georges Simenon’s major role in the development of French crime fiction (and, reflexively, French Crime Fiction, in which the Belgian author has his own chapter, by the late Christopher Shorley, but also figures in both Gorrara’s introduction and David Platten’s opening chapter): “The main focus [of her volume] is on European francophone writing traditions with a preference for showcasing debates that have animated metropolitan French culture” (Gorrara, 2009, p. 11). While Gorrara goes on to discuss the development of the genre in an extra-European francophone context, she does not dwell on those instances of writing that have animated metropolitan French culture, and which are arguably and, we wish to suggest, conflictually, ‘French’ in terms of setting, broader context and influence, but which do not pass the test of being francophone. Paradoxically perhaps, by seeking to steer a course away from the French-versus-francophone debates that have been such a focus of French (and Francophone) Studies in recent decades, and which have, inter alia, caused us to consider which term might better be considered the over-arching one or whether either or both can be inclusive of the fields of study in which we academics, who are the interested parties, conduct our research, Gorrara creates a space for other discussion. Of interest in this special issue of The Australian Journal of Crime Fiction, for example, is the question of whether the term ‘French’ might be considered applicable to crime fiction set in France or to crime fiction ‘originally written’ in a language other than French and then (influentially, conflictually and even, perhaps, ‘originally’) translated into French. Certainly, both Gorrara and Platten devote significant passages of their respective contributions to French Crime Fiction to the pioneering work of Edgar Allan Poe, for example.
Gorrara sees France’s contribution, that is, the contribution of French writers, to the development of what we recognise today as crime fiction reflected in the influences and choice of settings of Poe’s “The Murders in the Rue Morgue”, in which she discerns a “cross-fertilisation of cultural influences” (2009, p. 5). Platten, for his part, notes that this story “is widely accepted as the first detective fiction” (2009, p. 20), while taking care to acknowledge that Poe’s stories were not necessarily the first to give pride of place to detection in their plots. Stephen Knight goes further than Platten in his desire to debunk what he considers the myth of Poe as the “originator of crime fiction” (2015, p. 33), devoting two chapters of his Secrets of Crime Fiction Classics to authors who precede Poe: William Godwin and Charles Brockden Brown. Additionally, Knight (2015, pp. 55-64) includes a study of Émile Gaboriau’s Monsieur Lecoq in the “Beginnings” section of a study of crime fiction that, while deliberately inclusive of non-anglophone traditions (there are also chapters on Simenon, Umberto Eco, Mánuel Vazquez Montalbán and Stieg Larsson), remains predominantly focused on Anglo-American writing. While Knight’s careful scholarship provides an important reminder that Poe may not have pioneered crime fiction, we should like to argue here that the juxtaposition of Poe’s work with that of European francophone authors in critical works like French Crime Fiction is more important than is generally understood by readers or even consciously intended by authors; indeed, one of the conflicts that is of interest to us here is Poe’s position as a pioneer of French crime fiction.
For scholars like John T. Irwin, Poe can be credited with the invention of a sub-genre of crime fiction typically referred to as “analytic detective fiction”, which distinguishes itself from the predominant adventure-oriented mode of the early crime novel by having analysis as its principal focus (1999, p. 27). Indeed, for Irwin the genre is highly reflexive and, as such, appears in fact to be more strictly concerned with the analysis of analysis. The same genre is referred to as the metaphysical detective story by Patricia Merivale and Susan Elizabeth Sweeney, for whom a number of its practitioners were from the outset “proto-postmodernist[s]” in their approach (1999, p. 4). Merivale’s particular interest extends to a range of authors, including leading French author of the nouveau roman, Alain Robbe-Grillet, alongside Borges, Nabokov and others. The origins of the genre, from Merivale’s perspective, are predicated on the absence of an omniscient (God-like or authorial) arbiter of meaning at the centre of the text (she cites Chesterton’s famous dread of atheism’s centreless maze); the stories that result from this bring together, under creative tension, closure and non-closure: as she puts it, “[t]he secular allegory becomes negatively hermeneutic: the lack of solutions stands for the lack of answers to any question of essence, knowledge, or meaning” (Merivale, 1999, p. 103). This nexus of closure and non-closure leads Merivale, inevitably, towards a discussion of the postmodernist detective story, in which the idea of closure is ultimately rejected out of hand; but along the way, interesting cases of border-crossing come up, notably in the slippage between the identity of the detective and that of the murderer. “A model liminal case”, Merivale notes (1999, p. 103), “is Samuel Beckett’s Molloy, where detective Moran shadows Molloy until his own identity breaks down, until, indeed, the detective becomes essentially indistinguishable from the man he was sent in search of.” This liminality extends to the taxonomical issue of Beckett’s writing, which Merivale posits at the point where high modernism becomes “indistinguishable” from postmodernism (1999, p. 103). Of course, to bring us back to our French conflicts, there is another case of liminality here, for Beckett, who wrote his works in French as well as English, sits famously at the juncture of the Anglo-Saxon academic disciplines of Literary Studies and French Studies. Furthermore, the metaphysical itself, in critical theory circles, conjures the Yale School of deconstruction, in whose seminal essays the text finds its metaphysical readings shot through with the nihilistic seeds of their own undoing. For J. Hillis Miller (1979), for example, the metaphysical reading of a text (through the lens of which it is typically said to have meaning, and which distinguishes it from other ‘texts’) plays host to its own Other. So, as textual meaning is proliferated rather than dissolved according to this model, each actualisation of it, which is to say, each reading, only closes the text to the same degree that it opens up other (re)readings. The power of this understanding of the metaphysical is to extend the kind of analytical reading of crime fiction practised by Irwin, Merivale et al. beyond the generic boundaries of metaphysical or analytic detective fiction, where the analysis of analysis is reflexively staged by authors whose concerns parallel those of their critics, to crime fiction more broadly, where those very traditional structures at play (red herrings, emphatic narrative closure, essential Meaning reflected as detectival Truth and detection couched as a mise en abyme of authorial control) can be seen to lend themselves to irony and, ultimately, deconstruction. And at the heart of crime fiction’s deconstructive turn is this tension between crime fiction and French crime fiction (see Rolls 2009).
After all, deconstruction itself owes much to Yale’s hosting of Jacques Derrida, a number of whose key essays on différance and the living-on, or after-life, of text are so often predicated on the tension between the original authorial act of writing (and thus Derrida’s mother tongue: French) and the interpretive act of translation (the language in which the essays are ‘originally’ published: English) as well as that between the self and Other, and the inside and the outside of the text (the famous hors-texte, or rather his famous denial of its existence). Deconstruction, like poststructuralism, is then taken up as a critical tool for reading literature in Anglo-Saxon universities, where critical theory and textual analysis are systematically incorporated into literary studies whereas they remain divorced from them in the French system. While Derrida, Roland Barthes and Julia Kristeva are undoubtedly household names in France, it is beyond France that they made their mark on literature.
Arguably, the one area of literary analysis in France that has accommodated this kind of decentring textual analysis, and this quite recently, is the self-styled detective criticism of Pierre Bayard. In his popular essays on Agatha Christie’s The Murder of Roger Ackroyd, William Shakespeare’s Hamlet and Arthur Conan Doyle’s The Hound of the Baskervilles, Bayard plays on the rejection of closure that is the cornerstone of the metaphysical detective story, precisely as suggested above, by reopening these classic cases of crime fiction, providing new solutions and, cleverly and more or less ironically, disculpating famous villains. Somewhat perversely, and perhaps most powerfully in his study of the case of Roger Ackroyd, Bayard takes as his starting point the problematic nature of narrative closure, only, via a psychoanalytically informed dismantling of Christie’s solution, to build what appears to be an equally hermetic case against his alternative suspect. Such irony as can be perceived here lies in the way in which he uses the rejection of closure in order to inoculate his own text against such criticism; indeed, in his later studies the terms ‘work’ and ‘author’ seem deliberately over-used, and consequently overvalued, to the extent indeed that they ultimately evoke their deconstructive homologues, ‘text’ and ‘reader’, thereby enabling a simultaneous vulgarisation of poststructuralist theory and (wilful) reorientation of the hermeneutics of non-closure and non-self-coincidence. Whether his motivation or the impact of his work be considered avant-garde or reactionary, Bayard positions the rereading implicit in crime fiction at the limen of the critical (the work of textual analysis, in which each rereading is a reconstitution of what Barthes termed le texte scriptible, and as such a writerly act, or demonstration of literature’s inherent tendency to eschew self-coincidence) and the creative (popular essays that effectively rewrite the solution previously written by the crime fiction author, actualising one line of flight of the virtual(ised/ising) text). His work also constitutes a crossing of borders insofar as it repatriates ‘French theory’, which explains, of course, how his essays can appear simultaneously avant-garde (to French readers of literary analysis still relatively unused to theoretical analysis) and reactionary (to Anglo-Saxon readers for whom the author’s death—in France—is old news indeed).
The liminality that is most crucial here, however, is that which sees Edgar Allan Poe, whose “The Man of the Crowd” and Dupin stories inspire the critics of the metaphysical detective genre, become indistinguishable from his French translator, Charles Baudelaire. As Merivale remarks, “The Man of the Crowd” is a title that could apply just as easily to any of Baudelaire’s prose poems as it does to Poe’s short story; indeed, the prosaicising move that represents the new critical lens of the former’s Parisian poetics during and immediately following Haussmann’s modernisation of the city’s streets in the mid-nineteenth century is such that the latter’s story, if translated into French, could easily sit in Paris Spleen: “[a] substantial group of critics, those who […] follow the line of thought originated by Baudelaire and Walter Benjamin, see the Baudelairean flâneur in the narrator and the problem of urban modernity—the City of Dreadful Night—in the crowd” (Merivale, 1995, p. 105). While this is clearly true, this comparison lends itself to a model of crime fiction historiography that sees an Anglo-Saxon pioneer’s work taken up in France, in translation, where it informs subsequent writing, both critical and fictional. The intertextuality here is more nuanced, however, since Baudelaire considered himself less to have been inspired by Poe’s work than to have found his own poetic ideas expressed by the latter (in what Bayard (2009) might consider a case of anticipatory plagiarism) while they were still forming in his own mind. In this way, Baudelaire’s investigation of his own originality in his translation of Poe uncannily foreshadows the breakdown of self-recognition and crisis of identity at play in Beckett’s Molloy. It is certainly true that the model of the detective, especially Merivale’s gothic gumshoe, who follows his prey in erratic circles until the question of who is pursuing whom is superseded by a fusion of the two characters into one, can be mapped perfectly onto the new Parisian prose-poetics whose oxymoronic foundations speak Paris insofar as the modern metropolis simultaneously coincides with itself (objectively, from the vantage point of the artist’s garret, essentially, poetically) and fails to coincide with itself (subjectively, at street level, existentially, prosaically); it is equally true, on the other hand, that the Dupin stories already display the double movement of prose poetry (the aspiration of things towards the ethereal always already counterposed with the satanic pull of abstract ideals streetwards). Dupin, for example, may well embody (the myth of) the armchair detective—this is patently the case in “The Mystery of Marie Rogêt”, which distances itself from the historical account of the death of Mary Rogers in New York in 1841 by mapping it onto Paris, in an act proleptic of its own subsequent translation into French, and in which the case is solved entirely at one remove, through an analysis of secondary material pertaining to the events—but in “The Murders of the Rue Morgue” it is nonetheless the case that objective ratiocination is always doubled by the quasi-visceral pull of the crime scene; indeed, the detective accuses the Prefect of Police of being too objective, “all head and no body” (Poe, 1986, p. 224). If Poe’s Dupin stories are Parisian by virtue of their setting, they are all the more so in terms of their poetics; metonymically ever-present-absent in Baudelaire’s short stories, the Paris of Baudelaire’s prose poems is always already purloined, that is to say, unnamed, unperceived, because it is always right in front of your eyes.
Thus, when Baudelaire translates Poe into French, he is doing more (or perhaps less) than rendering their text in a foreign language; in his own eyes, Baudelaire is writing his own prose poems as he translates Poe’s Paris. Like the eponymous hero of Poe’s “William Wilson”, Baudelaire’s great Other turns out to be, literarily if not literally, himself. Indeed, the ending of that tale has as much to do with textuality as it does with psychology: “[N]ot a line in all the marked and singular lineaments of his face which was not, even in the most absolute identity, mine own!” (Poe, 1986, p. 178). What Baudelaire creates, via Poe (to see the usual model reversed), is a French, and specifically Parisian, model of crime fiction that is written both originally and in translation at the same time, which therefore captures the simultaneous self-coincidence and non-self-coincidence so painstakingly built into Poe’s Dupin stories. As has been argued elsewhere (Rolls and Sitbon, 2013), this model of taking foreign texts and recontextualising them as French by translating them ‘originally’ is taken to another level a century later when France is again traumatised by urban change on a massive scale. Following four years of Nazi occupation during the Second World War and then liberated by Allied forces, and thus immediately re-occupied by American money and culture, Paris is again unrecognisable (and at the same time, of course, also recognisable) in its own mirror image. It is not by chance, or simply out of a new-found French passion for American hardboiled crime fiction and film noir, that Marcel Duhamel is able in 1945 to create a massively successful new crime series, founded on French translations of American thrillers, at Gallimard, Paris’s most famous publishing house. The translations are arguably creative exercises in rewriting; and the original novels are not always (and certainly not in those early years immediately following the Liberation) genuine American thrillers. More than that, however, what emerges from those early Série Noire titles—Peter Cheyney’s La Môme vert-de-gris and Cet homme est dangereux in 1945 (originally, Poison Ivy, 1937, and This Man Is Dangerous, 1936, respectively) and James Hadley Chase’s Pas d’orchidées pour Miss Blandish in 1946 (No Orchids for Miss Blandish, 1939)—is a set of reoriented texts that use what is typically considered the passive mode of translation in order to take a (wilfully created myth of) the American crime novel and actively transform it into an allegory of the French national identity for a new, post-war context. American dames thus change camps, transforming (if read between the lines, obliquely) into double agents; translation itself becomes an act of resistance; and all-American heroes share victory in Europe (and in France in particular) with the citizens of the target culture (see Rolls and Walker, 2009).
While it is evident that French crime fiction can be seen to emerge from, and in, the Série Noire when French authors begin to write original crime fiction in French (for an excellent account, see Gorrara, 2003), it is important to remember the pioneering role of series editors like Duhamel and translators like Baudelaire, in whose hands American crime fiction became French. And in reassessing Poe’s foundational role in the development of the crime fiction genre, it is worth wondering whether the term ‘French’ should not sit alongside ‘analytical’, ‘metaphysical’, ‘deconstructive’, ‘anti-detective’, ‘ontological’ and so on (Merivale and Sweeney, 1995, pp. 2-4). This grafting of a more powerfully Franco-French context onto the beginnings of the Série Noire also allows another conflict, otherwise considered to be markedly absent from those early classics (be they translated or originally written by French authors), which is to say, the Second World War, to be reassessed as present, albeit allegorically, in the post-war Zeigeist. As Gorrara’s (2012) longitudinal study of French crime fiction as a barometer of the nation’s remembrance of the horrors of Occupation, Liberation and, especially, the Holocaust, French Crime Fiction and the Second World War, clearly demonstrates, it took decades for French authors, and French people more generally, to feel able to articulate memories of the war openly. By revealing the Frenchness of the hardboiled novels translated in Paris in the immediate post-war period, one is able to read between the lines and to discover this important memory work occurring in French crime fiction as early as 1945. Thus, a conflict of historiography and taxonomy can reveal the uncanny purloining in novels read in their tens of thousands of a conflict as major as the Second World War.
Gorrara (2012, p. 9) offers a nuanced questioning of the over-simplistic view that writers and artists were all complicit in a deliberate erasure of the realities of Occupation from works of culture, and thus from public consciousness in France. This view arose from the influence exerted by Rousso’s seminal 1987 work on the period, The Vichy Syndrome: History and Memory in France since 1944, according to which a period of repression, running from 1954-1977, effectively suppressed any memories of the Occupation differing from the Gaullist narrative that defined the period as one of widespread, united resistance to the Nazi invader. What is clear is that the Second World War, and more precisely the period of Occupation from 1940 to 1944, has held, and continues to hold, a particular fascination for writers of French crime fiction. This fascination, and the ways in which crime narratives seem so well suited to the exploration of this problematic period, have been attributed to three factors: firstly, the parallels between the very tangible moral ambiguities of the Occupation period and the tendency of noir fiction to focus on the uncertain, the unresolved and the morally problematic; secondly, what Gorrara has called “the productive intersections” (2012, p. 13) between the investigative framework of the crime genre and continuing historical and judicial investigations into some of the hidden realities of the Second World War (notably the French state’s reluctance to acknowledge the role of the Vichy government in the Jewish deportations from France). These intersections can be seen in the way that contemporary writers frequently use the stratagem of investigating the war from the perspective of the present day, foregrounding a detective whose role it is to uncover the present-day repercussions of past conflicts. This technique allows both the revelation of often uncomfortable truths about the conflict, truths not so readily available to the author writing crime fiction during the war, but also demonstrates how the memories associated with the war are very much alive in the present day. Finally, the importance of memory work within the crime genre, as the protagonist attempts to remember and reconstruct a hidden or forgotten past, reflects the wider framework of French society as it attempts to come to terms with memories of the war (Gorrara 2012, pp. 12-14).
While the Second World War offers a particularly potent source of inspiration in French crime fiction, it is not the only conflict to do so. France’s colonial conflicts and the problematic memories associated with those struggles have also provided a rich seam of source material for crime writers to mine, for very similar reasons. Just as the scars inflicted by the experience of the Occupation on French society took time to heal and needed to be processed through culture as well as through judicial process, France’s colonial conflicts continue to weigh heavily on its present. Memories of the repercussions of decolonisation figure in the work of a number of crime writers, with a particularly strong showing of crime novels set in Algeria, both pre- and post-liberation. Perceptions have been that the Algerian people were the sole victims of the Algerian War of Independence, first subjected to French colonial rule and subsequently to the violence inflicted on them during the fight for independence. While revelations of the brutality, torture and rape inflicted on the Algerian population have now been acknowledged as an integral part of the narrative of war, both during and after the conflict, examination of a range of crime novels suggests a more nuanced view that also gives voice to the French settler population of Algeria, the pieds noirs, displaced from the country of their birth after the war, and to the French conscripts dispatched by their government to fight a brutal war, groups that can equally be deemed victims of the conflict, in their different ways (see Kimyongür, 2014). Yasmina Khadra, whose work is here discussed by Mohamed Aït-Aarab, extends this view of the consequences of colonialism into the present day, with his analysis of continuing conflict in postcolonial Algeria. Initially acclaimed as Algeria’s answer to Agatha Christie, Khadra would later reveal his real identity as Mohammed Moulessehoul, a high-ranking military officer writing under a pseudonym to bypass censorship and take aim at the corruption rampant post-independence.
Other African former French colonies have produced crime fiction with an anti-(neo)-colonial focus, some of it by writers better known for more ‘classic’ forms: in the case of Cameroon’s Mongo Beti, Trop de soleil tue l’amour (1999) is overshadowed by his breakthrough 1956 novel Le Pauvre Christ de Bomba, or his initially censored anti-colonialist essay, Main basse sur le Cameroun, autopsie d’une décolonisation (1972); Congolese Alain Mbanckou’s African Psycho (2003), about a serial killer or, most recently, Tais-toi et meurs (2014) both merit closer attention alongside his often controversial non-fiction writings; Malian Aboubacar Eros Sissoko’s Mais qui a tué Sambala? (2011) juxtaposes the investigation of murderous crimes with political machinations, as does Senegalese Abbas Ndione’s La Vie en spirale (1988; reprinted in the Série noire in 1998); and Driss Chraïbi, arguably Morocco’s best-known francophone writer alongside Tahar Ben Jelloun, brings a fierce humour to his Inspecteur Ali series (1981-2004), in which Moroccan and western values clash repeatedly.
Thanh-Van Tran-Nhut, whose work is also featured here, returns to her Vietnamese origins in creating as her principal investigator Mandarin Tan, a young, Confucian-trained magistrate: on a superficial level her fictional world, seventeenth-century Viêt-Nam, an empire called Dai-Viêt, has little to do with the kinds of postcolonial conflicts that preoccupy these African writers. There is nevertheless a similar, political focus: the country is on the brink of civil war as two families, one from the North and the other from the South, vie for control. National stability is at stake with a weakened Emperor and rampant corruption within the Confucian administration. The internal crisis is intensified by armed clashes at the borders with Champa, an Indianized nation, and by the massive arrival of Westerners. While French Jesuits arrive with hopes of evangelising the population, Portuguese and Dutch merchants aim to profit from the natural riches of the area. Crimes are investigated against a background of the struggle for ideological and material control of the territory.
One characteristic that many contemporary French crime writers share is a broadly left-wing perspective on the conflicts they record and a vision of the noir embodiment of crime fiction as an ideal format for the investigation not merely of individual and historical crimes, but, more expansively, of the dark underbelly of French society. A generation of crime writers, including novelists such as Didier Daeninckx, Thierry Jonquet, Dominique Manotti, Patrick Pécherot, Jean-Claude Izzo and Maurice Gouiran have used the form in order to produce a version of crime fiction that could be described as socially or politically motivated. Indeed, in a 1997 issue of Les Temps Modernes dedicated to the roman noir, Jean Pons (p. 9) described it as “an engaged form of writing”. Several of the writers listed here are or have been politically active on the left, and have produced noir novels that display a social, political or ethical conscience. Unlike narratives by writers of classical detective fiction, where the disorder engendered by crime is dispelled and order restored by the investigating figure, many of these contemporary novels reveal a society in which disorder is what Dominique Manotti (2009) has described as “the truth of this tragic world”, a world in which crime is pervasive and resists reassuring resolution at the novel’s end, a society in which the police are not necessarily the guardians of law and order we assume them to be. Some of the most powerful expressions of contemporary socio-political conflict in France have been seen in the well-documented tensions experienced in the suburbs of major cities such as Paris and Lyon, tensions often linked to France’s frequently problematic relationship with its religious and ethnic minorities. Life in the troubled banlieues and its frequent accompaniment, tensions between police and ethnic minority youths, have found their way into contemporary crime fiction. Such representations are not just the work of established novelists such as Thierry Jonquet and Dominique Manotti, but also that of younger writers such as Rachid Santaki, Barouk Salamé and Karim Miské, whose origins are found in those ethnic minorities and who approach the problems of the banlieue from a rather different perspective. The conflict elaborated in French crime fiction is, therefore, not simply a backdrop offering local colour and the guarantee of authenticity, but is an integral part of a narrative that goes beyond entertainment to offer a frequently political perspective on contemporary France and the francophone world.
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 See Bayard (1998, 2002 and 2008, respectively). For a study of Bayard’s irony, see Gulddal and Rolls (2015).
 See especially Bayard (2010).
 Barthes (1973) develops the terms le texte lisible (the readerly text, which is transparently meaningful like the metaphysical in the deconstructionists’ parlance) and le texte scriptible (for whose meaning the reader assumes responsibility, in what the deconstructionists would consider a nihilistic act promoted by the text itself) in his semiotic study of Honoré de Balzac’s short story “Sarrasine”.
 All translations from the French in this article are translated by the authors’ own unless otherwise specified.
 Paris is only referred to directly in the final prose poem, the “Épilogue”, in which it is addressed as the capital, because it is always seen from the inside. This is Baudelaire’s ironic masterstroke, for Paris is only named in the poem, and vilified as purgatory, prison and brothel, because the epilogue, unlike the prose poems that precede it, takes the form of a verse poem. Paris, as poem, is thus always already idealised in form no matter how abased in content. In the prose poems themselves the fact that they are set in Paris, which they nonetheless embody, is (only) made evident by the full title Le Spleen parisien: Les Petits Poèmes en prose. For an excellent chiastic reading of the full title see Covin (2000, especially pp. 51-2).
 For an excellent reading of “William Wilson”, see Sweeney (1999, especially pp. 249-51).
 Baudelaire’s translation can be found in Poe (2010, p. 97).
 Such authors include Didier Daeninckx, Maurice Gouiran, Thierry Jonquet and André Fortin.
 For a discussion of the ideological role played by memory within French crime fiction, see Kimyongür (2011).
Jean Anderson is Associate Professor of French at Victoria University of Wellington, where she was founding director of the New Zealand Centre for Literary Translation 2007-2011. Recent publications are in French and Francophone contemporary and late 19th-century women’s writing, crime fiction, literary translation and television crime series. She is co-editor, with Carolina Miranda and Barbara Pezzotti, of The Foreign in International Crime Fiction: Transcultural Representations (Continuum, 2012) and Serial Crime Fiction: Dying for More (forthcoming, Palgrave Macmillan 2015). She has translated or co-translated the work of several Pacific writers, including Chantal Spitz and Moetai Brotherson (Tahiti) and Patricia Grace (New Zealand).
Angela Kimyongür is senior lecturer in French in the School of Languages, Linguistics and Cultures at the University of Hull. Her earlier research focused on the fiction of communist writer Louis Aragon and she has authored two monographs and numerous articles on his work. Recent publications include: Rewriting Wrongs: French Crime Fiction and the Palimpsest, eds. Angela Kimyongür and Amy Wigelsworth, Cambridge Scholars Publishing: Newcastle, 2014. ‘Crime in popular fiction: Remembering the Algerian War of Independence in contemporary French crime fiction’, Australasian Journal of Popular Culture, 2014; ‘Dominique Manotti and the roman noir’, Contemporary Women’s Writing, 2013. She is currently working on a monograph about the politics of contemporary French crime fiction. Countering Crises in 21st century French and Francophone culture: engagement in evolution, eds. Helena Chadderton, Angela Kimyongür and Imogen Long, will appear with University of Wales Press in 2016.
Alistair Rolls is Associate Professor of French Studies at the University of Newcastle, Australia. He is currently President of the Australian Society for French Studies and co-leader, with Jesper Gulddal, of Detective Fiction on the Move, a University of Newcastle strategic research network. His recent publications include Paris and the Fetish: Primal Crime Scenes (Rodopi, 2014) and If I Say If: The Poems and Short Stories of Boris Vian (University of Adelaide Press, 2014), which he co-edited with Jean Fornasiero and John West-Sooby. With Rachel Franks, he is currently co-editing Crime Uncovered: The Private Investigator, which will be published by Intellect in 2016.
The Australian Journal of Crime Fiction
Vol 1 No 1 Special Issue 2015
'Detecting and (Re)Solving Conflicts in French Crime Fiction' Special Issue Editors: Jean Anderson, Angela Kimyongür, and Alistair Rolls


Help a child read! Donate to our Books 4 Kids program
Please remember: a book may be a lonely child’s only friend
Books for Kids helps children by helping children read. We’re always accepting monetary donations and donations of children’s books, young adult fiction and other literature. The programs we support distribute all donated books to children free of charge.
What We Do
Books for Kids collects new and good quality used books for less-fortunate children and teenagers, and distributes them through over 50 agencies and organizations in the Portland Metro, Eugene and Medford areas. These include children’s hospitals and related foundations, shelters, schools, centers and agencies that reach out to children and families in need, and children’s advocacy and support organizations.


Elegant Explorer’s Nook: 3-Tier Children's Bookshelf & Organiser
Elevate your child’s reading corner with Baby Stork’s Keezi 3-Tier Kids Bookshelf, a piece where form meets function in the realm of childhood imagination. This tastefully designed bookshelf is a treasure trove for books, magazines, and cherished reading materials, curated to inspire young minds. With its spacious three-tiered layout and an integrated, removable storage box, it seamlessly combines expansive book storage with a secret spot for toys and keepsakes.
Designed to complement refined playrooms and family spaces, this bookshelf also shines in educational settings, marrying style with practicality. Meeting the highest safety standards (EN71 certified), crafted from eco-friendly materials, and featuring smooth, safe edges, it creates a secure and inviting environment for your child’s reading journey.
Championed by Baby Stork for its quality and aesthetic, this bookshelf transcends mere storage, transforming any space into a captivating storytime alcove. Its ease of assembly and simple maintenance ensure that your focus remains on fostering a love of reading in an environment that’s both beautiful and brain-friendly.
Durable and practical storage
Eco-friendly and non-irritating
Spacious 3-tier open shelving
Comfortable low shelving
Integrated movable storage box
Safe smooth rounded edges
Easy to assemble
Easy to clean
Recommended for 3 years and above
EN71 European Safety of Toys certified
Material: 12mm thick particle board
Overall dimensions: 60cm(L) x 30cm(W) x 70cm(H)
Colour: White and grey
1 x Keezi Kids Bookshelf
1 x Assembly Manual


Our senior in-home care resources section provides articles, news, and helpful information on topics ranging from Medicare, Medicaid, in-home care, respite care, hospice, adult daycare, and many other topics. We continually update this resource collection with helpful content.
Conway, AR Greenbrier, AR Heber Springs, AR Greers Ferry, AR Little Rock, AR Lonoke, AR North Little Rock, AR Sherwood, AR and all of Central Arkansas region
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Sins Against Science: How Misinformation Affects Our Lives and Laws
Misinformation has had dramatic and dangerous effects, as evidenced by numerous events of the late 2010s and early 2020s. Reading a steady stream of misinformation leads to distrust, potentially leading to conflict in one’s family and workplace, and even to civil unrest. At the heart of many such matters is scientific illiteracy. Many enjoy a life of ease and convenience because of science–and since science also crosses courtrooms, classrooms and cultures–it has great potential to debunk misinformation and untangle the confusion surrounding culturally relevant issues (including vaccines, sexual identity, race and evolution, alternative medicine, and human reproduction, among others.) This work addresses those issues and relevant popular stories, conspiracies, and misleading headlines that circulate across media platforms. Bringing accurate scientific knowledge into people’s agendas is challenging, and the book works by using science and facts as a basis of every deliberation over laws and policies. The chapters, respectfully and scientifically, unravel complex relationships surrounding the issues. Weaving together history, politics, human biology, and law, it demonstrates how our lives are dependent on understanding the nature of things.


Sex Signals - How to Meet & Attract Women - Updated Edition - pdf
SEX SIGNALS - How to Meet & Attract & Understand Women's Signals - Updated Edition
Do you want to have Confidence knowing what women mean when they signal you? This is the Book to Buy.
This is my Brand New updated Advanced book on Sex Signals to give you the edge in knowing when a woman is giving you the hidden, subtle body language cues that let you know she wants to be approached, asked out and taken sexually!!
This book is 29 pages loaded with stories and examples and more in depth teachings!! This is a major supplement to “Crack the Female Code”.
The Power is in knowing what to look for!
Be the guy who can read her body language and know when to make the Move!
Buy Sex Signals Now and Catch a Clue. (You'll see what I mean.)
"This is a pdf download. Simply click on link you receive in email."


|Usagi Miyamoto||Eras: 16th Century - appears later as a ghost|
Usagi Miyamoto is the man who forged the Daikatana, and a member of the Miyamoto clan. He is ancestor to Hiro Miyamoto, and son of Inshiro Miyamoto.
Usagi forged the Daikatana under request of the Mishima clan, but once being aware of it's power, cast it into a volcano, where it lied dormant until being found by Kage Mishima much later.
As Hiro goes on a quest to recover the Daikatana, Usagi's spirit accompanies him throughout time, and even helps him, such as blowing up a power box in the Sewer System.
At the end of Daikatana, Usagi's spirit enters Hiro Miyamoto's body - allowing him to defeat Kage Mishima. He gains complete control over the Daikatana, and the ability to time travel to a particular location and time.
His origin story is explored in the Daikatana comic.


Create the perfect reading nook!
Fall is here. This means curling up with a good book by your window, watching the leaves fall or warming up by the fire. Better Homes & Gardens shows us how to style a nook for reading chairs! An accent chair can be the perfect addition to any room, and easily create your new favorite reading spot!
Also, be sure to check out our Wayfair Item of The Week for a great deal on this incredible accent chair, perfect for creating a reading nook: Contreras Arm Chair
By the Fire
Tis the season for a loud crackling fire! Regardless of what kind of fireplace you have, adorn it by creating a corner with the perfect accent chair. Pair your new chair with a fuzzy knit blanket, and throw pillow to tie in the rest of the room! Nothing like curling up with a good book by the fire!
**Create an outdoor reading space by your firepit (like this one HERE ) and enjoy the crisp fall weather!
In the bedroom
Cozy up your bedroom with a gorgeous accent chair. Place it by a window to allow natural light to flow through and splash across the pages of your current novel. Again pair it with a cozy blanket and accent pillow for a splash of color.
Rocking chairs make for the perfect reading chair in a child’s bedroom. Rock them to sleep, or read them a nighttime story! The perfect chair can really bring your child’s room together and add the perfect touch!
In the Office
If you work from home, be sure to create a corner or space where you can place an additional chair. We recommend something comfy, or brightly colored. When the day gets busy, you can take a few moments to yourself to sit her, unwind, and refocus!
In the Library
Whether you have an actual library, den, or space dedicated to books this is the perfect space for a reading chair. Pick something bold, or totally your taste to create an inviting space to read. Choose patterns or textiles that will make it easy for you to get lost in the pages!


I miss the days of reading to my son. He’s fifteen now and too old for that, right? And what would we read together, anyway? He liked Of Mice and Men but thought it was too sad. He read To Kill a Mockingbird and didn’t understand “what the big deal was.” *Gasp* *choke* I think they switched him at birth.
He loves funny so I got us a book called Spanking Shakespeare. I guess I should have inferred from the title that it’s not a story about a famous writer getting whipped. So we couldn’t read that together. When I passed it on to him, hinting at the content, he said, “Why don’t we both read it and pretend we didn’t? And then we’ll make a pact to never talk about it again.”
Last year in a rare moment of togetherness we were stretched out across his bed, staring at the ceiling, when I said, “Remember when we used to have read-aloud marathons? And we read all the Junie B. Jones books? And then Weird School?”
“Yeah,” my son said. “And I’d eat potato chips and ketchup?”
“I miss those days, don’t you?” I said. He mumbled something (let’s pretend it was ‘yes’) then escaped to play a video game with friends. And the moment was gone, like a spark in the night.
Or so I thought. A week later, on the first night of Hanukah, I found a gift waiting for me. It was wrapped as only my son Ari would, so crooked and crumpled that I thought maybe my husband had taught the dog to wrap. When I opened it I found a book with a tiny post-it on the front that said, “I’ll explain.” And then Ari said, “Mom, remember when we were talking about the read-aloud days? And you said you missed that so much? I found this book on my shelf and I haven’t read it yet. So I thought maybe you could read it to me over break.”
For awhile we got back into reading together. But mostly we don’t. He rolls his eyes and disappears into his room when I suggest it. I tell myself I’ll find the perfect book, maybe a mystery or something funny that doesn’t embarrass both of us, but I never do. Another month goes by and he’s off on his bike, off to wherever he goes, that place of growing up and finding his own fun.
He goes out and probably never thinks about books. Or home. Off to that place of secrets where I’ll never know him. But I’ll always have my read-aloud heart.


I am currently in the throes of editing the first in what I plan to be a series of ebooks on Greek Mythology.
In the Beginning was Chaos is a book focusing on the creation myths of ancient Greece, an area which is often overlooked, compared to the many retellings and explorations of the myths of heroes such as Herakles and Theseus and story cycles such as the Trojan War.
This book will focus both on the inter-generational conflicts between the gods, culminating in the victory of Zeus and his siblings, and on the stories of emergent humanity, including the tale of Pandora, Prometheus’ defiance of Zeus on behalf of humanity, and the Greek version of the Great Flood myth that echoes that of biblical and other Near Eastern mythology.
The book should be available on Amazon Kindle within the next couple of months. There will be further announcements when a release date is imminent.


When you come bring the cloak which I left at Troas with Carpus, and the books, especially the parchments. 2 Timothy 4:13
If he will speak without premeditation or pretend to do so, and never produce what they call a dish of dead men’s brains–oh, that is the preacher! How rebuked are they by the Apostle! He is Inspired and yet he wants books! He has been preaching at least for thirty years, and yet he wants books! He had seen the Lord, and yet he wants books! He had had a wider experience than most men, and yet he wants books! He had been caught up into the third Heaven and had heard things which it was unlawful for a man to utter, yet he wants books! He had written the major part of the New Testament, and yet he wants books!
The Apostle says to Timothy, and so he says to every preacher, “Give yourself unto reading.” The man who never reads will never be read. He who never quotes will never be quoted. He who will not use the thoughts of other men’s brains proves that he has no brains of his own.
Brothers and Sisters, what is true of ministers is true of all our people. You need to read. Renounce as much as you will all light literature, but study as much as possible sound theological works, especially the Puritan writers and expositions of the Bible. We are quite persuaded that the very best way for you to be spending your leisure is to be either reading or praying. You may get much instruction from books which afterward you may use as a true weapon in your Lord and Master’s service. Paul cries, “Bring the books”–join in the cry.
(Charles Spurgeon Sermon NO. 542 PAUL—HIS CLOAK AND HIS BOOKS)
We are quite persuaded that the very best
way for you to be spending your leisure
is to be either reading or praying.
*Emphasis Mine, Pictures Not Mine


Garden State Journal | Tuesday, May 20, 2014 | Interview with World Class Musician- Turned Novelist Ian Finkel
Celebrated musician and world renowned Xylophonist, Ian Finkel grew up in an entertainment family. Entertaining others is in his blood, and he has performed on every stage imaginable. With his new partnership with Amsterdam based publisher More4Many, he is expanding his ability to reach audiences by writing three deliciously off-beat, fun to read books, Three Is The Charm, Sex Stories by Wife Told Me and Transmutation Blues.
GSJ had an opportunity to speak with Ian as he explores the exciting and boundless world of fiction.
GSJ: You are a renowned musician, what made you decide to take the leap to be a novelist?
IAN FINKEL: I have always been telling stories to everyone and though they were true, they were unbelievable. I just had to put them in print.
GSJ: Which do you like more; music or writing? And why?
IF: I love writing and music equally....there is a parallel that runs between them....a good novel is like a symphony it’s all in its developments.
GSJ: You have three books about to be released? Can you give us a little description of each book?
IF: My first book has been out for a little while, it is called Three Is The Charm. It is about three prostitutes in the meat packing district in Manhattan in the 1950's. Despite its protagonists, quite a few people that have read it have said it is a love story, which it is. The second book is called Sex Stories My Wife Told Me (not my wife!!!! the protagonist in the book), it is a book about possession. It follows a postman, who always wanted to be a comedian, his wife who is the sweet "girl next door type," after 30 years of marriage starts to write very filthiest stories which she reads to him. The third book is a collection of short stories called Transmutation Blues, it’s about people changing their careers mid-life (for example a bouncer in a night club changes and sell birthday cards in a card shop, a model becomes a restaurant inspector etc.).
GSJ: How long did it take you to write each book beginning to end?
IF: Each book took me several months to write. I think out the whole thing then begin to write it.
GSJ: How did you get them published by More4Many Books?
IF: I met the publisher, Ms. Denise Notermans, on a cruise ship where I was performing, she saw me sitting alone writing and introduced herself to me. We started to chat and she asked me to send her my stories. Luckily she has a quirky taste and loves a fun story, we hit it off and the rest is history.
GSJ: What has been the biggest lessoned learned when you decided to write books?
IF: As one writes, he learns, very similar to music, that it takes years to become a virtuoso, there are no short cuts, you have to practice all the time.
GSJ: What do you hope people think or feel, when they are done reading a Ian Finkel novel?
IF: I would hope that after reading some of my books, the reader will come to the conclusion that, though the characters in the story are very different from them the stories are about love and respect
GSJ: When writing a book, does your music background com into ply at all, is it useful?
IF: Indeed, the discipline one develops in the practice of music can carry over into writing.
GSJ: Who are your influences as a writer? As a musician?
IF: There are so many writers I could mention, but Charles Bukowsky, Hugh Selby and Willian Burroughs come to mind at first. As a musician of course I adore Jasha Heifetz and Earl Father Hines.
GSJ: You come from a performing family, was it fun growing up in that kind of environment?
IF: I was fortunate to grow up in Brooklyn and my father (Fyvush Finkel) took me and my brother to see all the greats.
GSJ: Did you ever feel competition with your brother?
IF: there is no competition between my brother (Elliott Finkel) and me as we are very different in our music and writing, though we do perform together quite a bit we respect each other's strong points and use them to achieve what we are going for.
GSJ: What do they think of your books?
IF: If you mean the THEY is my family, yes they firmly believe I am nuts ,but they do enjoy my stuff.
GSJ: What is up next for you?
IF: I am continuing my appearances as a performer and I will also keep on writing about the truth as I see it. What I will try to do is to combine my performing skills with the writing and when I do readings such as the one coming up at the Warwick Hotel try to put them all together into a performance of literature and music. Ian’s books can be ordered from or downloaded by visiting: More4manywebshop.com and for more information about Ian Finkel, author/musician/performer please visit www.ianfinkel.com
(original article link)
The Warwick Hotel, NYC |
Tuesday, May 20, 2014
I guess when you have books with titles like “Three is the Charm,” “Sex Stories My Wife Told Me,” and “Transmutation Blues,” you can’t expect a humdrum book launch. And Entertainer/Novelist Ian Finkel does not disappoint. Son of Fyvush Finkel, the international performer plays the xylophone (a bit of jazz, Latin, and James Brown, thank you very much) in between reading snippets from his unconventional books.
“Three is the Charm” exposes the 1950’s street life of three working girls, while “Sex Tales My Wife Told Me” turns the marriage of a retired couple on its ear when the wife reveals an unexplored raunchy side. “Transmutation Blues” tells of the journey through unemployment from various points of view. Each book is peppered with dark humor, wry comments, tongue-in-cheek observations, and characters that push the envelope but still remain touchingly human. Enhance those qualities with the curmudgeonly readings fromIan Finkel and a delightful time was had by all.
All three books are available on Smashwords.com, and More4manywebshop.com.
- Laurie Lawson -


Nushala had always been a wanderer, the forest was her home. Her parents had both been slaughtered by a group of orcs when she was just a mere child. Frightened and alone the young maiden found herself in one of many enchanted forests. On the verge of starvation an ent, a shepherd of the forest, found her and took her in. Aldershadow taught Nushala ways of the forest and how to survive on her own. He was kind to her and protected her as if she was his own sapling.
However Nushala's life was peaceful after Aldershadow rescued her but all good things must come to an end. Sadly war came upon the quiet forest as an army of elves began waging a war upon a large group of goblins. The battle led into Aldershadow's home and soon half the forest was set a blaze. With his last dying breaths he found a elf soldier and begged for him to take the wounded Nushala . That elf was Haemir. A brave young warrior who was still fresh off of training. However as soon as he laid eyes upon the red haired maiden he was immediately enchanted.
Haemir took Nushala back to his home and cared for her until she was able to make the decision on her own weither she wanted to stay or not but by that time she had already fallen head over hills for her rescuer.
They married shortly after and within the year had their daughter, Terlytih. A beautiful girl with fire locks like her mother and elvish features like her father. She grew up loving nature and knowing how to wield a sword.
She grew up knowing the ways of the forest but also knowing that the world wasn't as safe as her mother wanted her to believe. Nushala opposed war. She hated killing. And being married to a warrior wasnt the best situation but she loved him and now had a child with him. No matter how many times Haemir tried to convince his beloved that violence was necessary she still didn't believe him.
Her stubbornness was to be her downfall.
As Terlytih grew so did her confusion on what was right and what was wrong. Her mother in one ear teaching her the peaceful ways of the forest and her father in the other telling her she had to fight to protect her home and the ones she cherished so dearly.
At the age of 10 Terlytih's world was shattered. One day Haemir and his men had captured a woodland Sprite who had been accused of murdering multiple their people. And why had it done so? Because they had been cutting down its home for supplies. Nushala couldn't bare to see a creature of the forest in a cage for simply defending its home so she made the decision to release the prisoner. Doing so was treason in the elvish city. Punishable by death. Haemir begged the elders to spare his beloved even after she admitted to committing the crime.
The elders never cared for Nushala. She wasnt an elf and they didn't approve of their marriage but didn't want to risk losing such an assist to their army. But this was their chance to finally be rid of the wretched female. They denied Haemir's plea but instead of death they did allow Nushala to be banished from their realm.
Haemir's heart broke as his wife was dragged out of the city. Never even getting to say goodbye to her daughter Nushala was thrown out of the realm and her memory wiped clean of all she had known of her time spent with the elves, including her husband and Terlytih.
Terlytih was raised by her father alone after that. She grew into a lovely young elf, the spitting image of her mother almost.
The young elf maiden was raised a fierce warrior due to her father but still held her mother's teachings close to her heart and avoided violence unless provoked or it was extremely necessary.
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This free, inspirational learning resource uses the film Viceroys House to shine a light on the true story of the partition of India and enables students to develop key historical skill such as critical analysis of sources and debate skills and learn about local, regional and international governance as well as understand some of the effects partition had on millions of lives.
Use the power of cinema to help young people aged 11-18, to engage with the end of an empire and the complexities that led to the creation of modern India as it commemorates its 70th year of independence, and the birth of Pakistan.
The resource, designed for use in the history classroom includes:
- Teachers’ notes and curriculum link
- PowerPoint presentation featuring the film trailer, archive imagery and an interview wit the film’s director to engage students
- Quote cards to support an interactive activity
- Student handout to encourage young people to take action
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Lots of fans ask me, “Will you publish a cookbook someday?” And the answer is…I already have! Click on the image below to order it!
In 2007 while appearing on Rachael Ray’s “So You Think You Can Cook?” I began writing my first cookbook. I was in a rush to get it published so that I could maximize exposure while I was still on the show. It’s not a lengthy cookbook, and it’s not an advanced cookbook. It’s a book that takes you through the steps of learning how to cook and bake, and it’s entirely appropriate for beginners. But it’s also a very readable book…most of my fans tell me that when they get the cookbook, they sit down and read it, cover-to-cover. This is because of the theme, which will be continued in all my future cookbooks: “Every Recipe Has a Story.” I don’t just list off mundane recipes. Each recipe is special. Whether it was passed down through the generations of my family, or whether I made it up. So each recipe is preceded by the story of how it came into being. Packed with both entertaining and practical how-to photos, this is a really fun cookbook to have around. Just please remember that it was written with a Rachael Ray audience in mind! (Not necessarily a Gordon Ramsay audience.)
I am working on future volumes for the series, including:
The Wandering Foodie: This second volume will contain recipes from the fascinating people I’ve met in my travels across all seven continents. You’ll see photos from some amazing and exotic places, and you’ll learn how to make all those things you’ve heard of and love, but wouldn’t have a clue how to make, like creamy hummus, babaganouj, tamales, or caipirinhas. Expand your world and bring global cuisine to your dinner table!
Your Daily Bread: Bread baking is my specialty, and this isn’t your average bread book. It contains tips and tricks for getting professional-style loaves in your home oven, as well as information on how to build your very own wood-fired bread oven in your backyard for less than $100. America has forgotten how to bake the delicious, hearty loves that our ancestors enjoyed a century ago. And I’m bringing it all back for you!
Pumpkin a’Plenty: You know exactly how much I love pumpkins, and this will be the KING of all pumpkin cookbooks. From stuffed pumpkin blossoms to pumpkin seed brittle to my legendary pumpkin carrot cake, this cookbook brings every part of the pumpkin plant to all 3 meals. Also included are full menus and recipes from my annual Fall Dinner Party that draws people from around the world.
Cookbook self-publishing is an expensive and time consuming endeavor. I hope to have another volume out in time for the holiday season in 2012.


This entry might be shorter than my other reviews because this was a really short book. Definitely one that can be read in about a day due to the length. It’s packed with a lot of interesting stories and I loved it, yet my only qualm with the book was that I wish it were longer.
Readers go through the eyes of Marjane Satrapi once again as she shows us what Iranian women talk about together. It’s really interesting how similar Iranian women and American women are to each other. Topics covered in the book are affairs, plastic surgery, forced marriages, awful men, true love and dealing with loss. All subjects women of any nationality can relate to.
The book is written in a very Sex in the City kind of way where the women are sitting around drinking tea while they gossip about their scandalous friends and the crazy things they’ve done. Okay, it’s a more refined, less-middle aged feeling Sex and the City. In my opinion, it wasn’t as annoying when the Iranian women in Marjane’s family talked about scandalous subjects as it is when American women do. This may be a bit of a culture shock on my part realizing that even though our two cultures seem vastly different, maybe we have more underlying similarities than I thought.
It’s another really great book done by Satrapi, and I recommend it to anyone interested in different cultures or have read Marjane Satrapi’s work before. This book will not disappoint.


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Picture Book Illustration One-on-One
Picture Book Illustration One-on-One is a private session tailored to students who would like to obtain in depth constructive guidance, refine on illustration skill and how to improve on key areas for their current picture book project. In this 1-hour session, our facilitator will assess on one of the following aspects: design, composition, artistic medium, story, characters and the overall presentation of the illustrated scene. Hands-on illustration techniques will be catered based on individuality, as well as how to effectively improve on style, technique and aesthetic.
Each session is conducted and facilitated by children's book author and illustrator, Tull Suwannakit.
- Learn how to effectively improve on illustration style, technique and aesthetic
- Strategically refine design element , composition, artistic medium, story, characters and the overall presentation of the illustrated scene
- Learn how to resolve key illustration issues
- Learn from an award winning published children's book author and illustrator, Tull Suwannakit. www.TullSuwannakit.net
- One-on-one private illustration session
- Hands on illustration techniques carefully designed and tailored to the student
- Appropriate art materials for the illustration
Basic to intermediate