military accepting more ex-cons

military accepting more ex-consfrom military.com: More recruits with criminal records, including felony convictions, are being allowed to join the U.S. Army and Marine Corps, as the armed services cope with a dwindling pool of volunteers during wartime.

The military routinely grants waivers to take in recruits who have criminal records, medical problems or low aptitude scores that would otherwise disqualify them from service. Most are moral waivers, which include some felonies, misdemeanors, and traffic and drug offenses.

Defense Department statistics show that the number of Army and Marine recruits needing waivers for felonies and serious misdemeanors, including minor drug offenses, has grown since 2003. Some recruits may get more than one waiver.

The Army granted more than double the number of waivers for felonies and misdemeanors in 2006 than in 2003...

"Our armed forces are under incredible strain, and the only way that they can fill their recruiting quotas is by lowering their standards," said Rep. Marty Meehan, a Massachusetts Democrat who has been working to get additional data from the Pentagon. "By lowering standards, we are endangering the rest of our armed forces and sending the wrong message to potential recruits across the country."

#PumpUpThaVolume: September 29, 2022 ♬


Juan Domínguez
Chief People Officer
View from the Top

Human-Centricity: A Key Retention Differentiator

By Rodrigo Andrade | Thu, 08/11/2022 - 11:57

Q: What characteristics make Clara an “above market” value proposition?

A: At Clara, we focus on people. We serve businesses in Latin America that are often underserved by the mainstream market, helping them develop their own businesses. There is a social component around what we do in Clara. We focus on mid-level financing for medium-sized companies, which are vastly underserved. We provide them with economic and social growth as they focus on growing in Mexico or in another country. At the same time, we offer innovative, digital finance solutions that generate added value.

We offer businesses a series of advantages, such as granting them access to educational platforms, software services and enterprise resource planning (ERP) tools. We tailor our service offering to the unique needs of a client. One of our main products are physical or virtual cards that facilitate payments through the elimination FX costs for our clients

Q: How do Clara’s values work together to create a human-centric culture?

A: We work similarly in and out of our company. We focus on social and economic development with a diverse set of people. We focus on providing a healthy environment with fully remote or hybrid work options, which helps our employees have the flexibility they need to create a work-life balance. We also give our workers the choice of owning a part of the company.

We base our company on the following virtues: simplicity, constant change, authenticity, ownership and clarity. These virtues address the basic needs of human beings, which are: physical health, mental health, a healthy workplace environment, community, economic development and personal development. Every person who works at Clara can take ownership of their training and build their own careers.

Q: How has an emphasis on trust and leadership helped Clara receive the Great Place to Work Certification?

A: First, the company is basically culture-driven because these values were set by the founders even before Clara started operations. This is the only company I know of that has values and culture at the core of how it is led.

Second, our open environment generates trust and honesty, making communication transparent and open. The name of the company speaks for itself. Everybody knows what is happening at all times and we operate under an open environment. We have an all-hands and results meeting every week so everyone knows what is going on.

Q: How is Clara supporting diversity and inclusion?

A: The company is actively working to improve diversity in the workplace. Currently, Claridians come from different socioeconomic contexts, and we are close to reaching gender parity throughout all levels of the organization. To support these initiatives, we established a Women’s Affinity group and a Pride Affinity network to advance and promote their inclusion and career advancement. Furthermore, we invest significantly in creating a safe physical and emotional space for all generations working at Clara.

Q: Clara has grown at an accelerated pace in Latin America. Has this scaling process undermined social cohesiveness or culture transmission?

A: This has been a challenge. At first, we measured culture compatibility during the hiring process but we replaced this approach with of “cultural contribution” model instead; which identifies what each individual employee adds to the Clara’s culture. Our biggest challenge during this scaling process was adapting while maintaining and ensuring congruence within our culture. This is essential, especially when expanding to another country.

Q: What different business skills did you need considering the growth and the scaling of the company?

A: We want people who are ready to start, to grow, and learn. Since Clara serves people through technology there is a learning curve in the technical department, a challenge that demands adaptability and learning agility from potential talent. The goal is to learn collectively so every time somebody brings knowledge, organizational knowledge and know-how multiplies.

Our business is based on the 70:20:10 model, which means that 70 percent of learning comes from the daily experiences on the job, 20 percent from the team and the remaining 10 percent from classes, workshops and learning platforms.

Q: There is a high demand for talent and companies are using different methods to retain their employees. What initiatives is Clara executing to retain its talent?

A: All employees have needs, whether it is to own something, to belong, identify their purpose in their day-to-day activities or the flexibility offered by a hybrid or remote job. We pay competitive salaries, but at the core of our retention strategy is transmitting a sense of belonging and purpose.

Q: What is the “Digital Debt” owed to HR departments amid the digital transformation?

A: Companies around the world have spent significantly on financial systems, customer services and corporate social responsibility (CSR) but there is an eight-year lag in investment in human resources, leaving many companies stuck with manual processes that are highly prone to failure. Incorporating technology in HR will make these professionals more human-oriented by freeing them from the operational activities that take up most of their time.

Q: What talent initiatives/objectives does Clara aim to achieve for 2022-2023?

A: Our workforce grew monthly by 12 percent during the past year so we are concentrating on coverage and efficiency. We are moving from a structure of data engineers, products and user experience, into agile working squads. Our three priorities will be results, geographical expansion and real efficiency to be able to do more with less.

Rodrigo Andrade Rodrigo Andrade Journalist & Industry Analyst


Extensive research shows how increasing greenhouse gas concentrations amplify deadly storms, droughts and heat waves, but reducing them along with other industrial pollution emissions will also affect global weather.

The effects of emission reductions have been studied less than the increase, but understanding how the climate responds to such reductions is also crucial to protect people from extreme climatic factors such as floods, heat, droughts and cyclones.

New research NOAA, published today in Science Advances, shows that the rise and fall of industrial soot – aerosols – play a crucial role in the activity of tropical storms around the world. The study found some twists that should be of interest to politicians, the study’s author said Hiruyuki Murakamiresearcher of tropical storms in the NOAA Geophysical Hydrodynamics Laboratory.

Aerosols often form a reflective shield in the atmosphere that can hold heat higher but reduces the amount of heat that reaches the planet’s surface. Murakami’s modeling study shows that a 50 percent drop in air pollution in Europe and North America between 1980 and 2020 led to warming of the surface of the tropical Atlantic Ocean, where cyclones rose 33 percent over the same 40-year period. he said.

“Reducing air pollution does not always reduce the risk of tropical cyclones,” he said, adding that climate policy should take into account the pros and cons of various impacts from reducing industrial pollution. If policies to reduce greenhouse gas emissions succeed quickly, it could further reduce aerosol pollution, leading to more heating and tropical storm activity.

Princeton University climate researcher and tropical storm expert Gabrielle Centurywho was not involved in the study said the study helps provide a more holistic global picture of how changes in aerosol levels affect tropical storms.

“Given the role that aerosols play in global and regional temperatures, hydroclimates and Atlantic tropical cyclones, it makes sense that they could have a significant impact on the global activity of tropical cyclones,” he said. “Research shows well … that aerosols have contributed to the redistribution of tropical cyclone activity – increasing it in some places and decreasing it in others.”

The study shows that aerosol exposure is not isolated from the Atlantic, he said, but includes a global shift. He noted that aerosols are among the most volatile elements of the climate system, so he expects further research to study the uncertainties associated with their effects.

The study of aerosols and tropical storms helps explain when and where these storms are expected to cause significant damage, allowing citizens and governments to prepare for it, he said.

Murakami said he found the aerosol’s fingerprints by changing the levels and patterns of human emissions in his model, leaving other climatic factors unchanged. The study did not count how much the reduction in aerosols increased ocean warming and tropical storms, he said.

Reducing pollution in the Northern Hemisphere has also helped increase the activity of tropical storms in the Atlantic by changing major wind patterns, he said.

As the number of aerosols decreases the general warming of the surface in medium and high latitudes pushes the jet stream, a band of strong winds blowing from west to east, about 5-9 miles in the atmosphere, to the pole. As these westerly winds weaken over the tropical Atlantic, where many major hurricanes form, he said, surface conditions are more conducive to the development and strengthening of tropical cyclones.

Aerosols have a different effect on hurricanes. And 2020 paper in Geophysical Research Letters found that they doubled rainfall and lightning in urban areas around Houston during Hurricane Harvey, which flooded the area with record rains.

And a The 2021 study in Nature Communications looked back and found that the drop in hurricane activity from the 1960s to the 1980s was probably due to an increase in the number of aerosols at a time when industrial air pollution peaked.

Century said that in the future he expects the greenhouse gas warming effect to become more dominant compared to aerosols.

“Given the relatively short lifespan of aerosols in the atmosphere, as aerosol emissions decrease, the impact of greenhouse gases should become more and more apparent,” he said.

Regional nuances of impact

At the same time, the reduction in pollution in Europe and North America has had the opposite effect on the southern hemisphere, where it has dampened tropical storm activity. The northern hemisphere heats up faster than the southern hemisphere, and as warm air rises, this rising contrast causes more air to rise north of the equator, Murakami said, causing a downward flow of air in the southern hemisphere that slows a tropical cyclone. formation.

Rapid growth in industrial pollution in Asia, especially in China and India, is likely to have also played a significant role in reducing tropical storm activity in the western North Pacific, where typhoons threaten vulnerable island nations as well as Okinawa, Japan and China.

“The important thing is that as the number of aerosols in China and India increased, people did not pay much attention to the effect,” Murakami said. “We’ve clearly found that aerosols reduce the number of tropical cyclones in the western North Pacific.” The effect is the “reverse side” of what is happening in the Atlantic, he said, air pollution is a “key ingredient” for a 14 percent reduction in tropical cyclones in the North Pacific from 1980 to 2020.

“This study shows that reducing air pollution increases the risk of tropical cyclones occurring in the North Atlantic,” he said. “It could also happen if air pollution decreases rapidly in Asia.”

Deep dives into the connection between aerosols and hurricanes are helpful, he said Jim CosinHurricane expert and senior scientist s Climate Servicewhich provides financial climate risk analysis for governments and businesses.

“At this point, any changes we make will have some impact on the climate and local tropical cyclones,” he said. “We know that the reduction of aerosols in the Atlantic has contributed to an increase in frequency and maximum intensity. There are a lot of things that are not good to increase. ”

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Extreme climatic events caused by global warming are increasing globally, and in the United States hurricanes and tropical storms were by far the deadliest and most harmful between 1980 and 2021, killing 6,697 people and causing more than $ 1.1 trillion in losses. that’s more than half of $ 2.1. trillions of total damage from all weather and climate cataclysms over this time period, reports National Oceanic and Atmospheric Administration.

Cosin said for decades, cooling aerosols have masked the greenhouse gas warming effect that amplifies tropical storms.

“But there is no more credit,” he said. “Now we pay the bagpipes. Now it’s coming back to us. “

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It’s hard for me to recollect how I wrote my memoir Crossing the Moon.  It was not exactly a straight-forward procedure!  First it was a long essay that was published in the New York Times Magazine.  That piece was mosaic-like, non-sequential sections that skipped around in time, trying to get at the dilemma I found myself in: almost 39, no child.  I had always wanted to be a writer, and coming of age in the 50s, I had been encouraged to be a virgin, wife, mother first and foremost.  In truth, I also had encouragement to be a writer, but I couldn’t see how I could be both a mother and a writer.  My own mother was a full-time mother, and I assumed that was the way motherhood should be.  I thought of writers as people—not women, really—who devoted themselves to their art, their “work” as we liked to call it in creative writing graduate school.  I had one foot in deeply conditioned domesticity and the other in the women’s movement, which was reinventing women’s lives so drastically it made my head hurt.  It made for a weird split.  I had thought I’d be a writer automatically, given that I had been fast off the blocks as a senior in college in 1969, winning a Book of the Month Club Fellowship ($3,000.  I bought a Chevy Nova with it) and Stegner Fellowship to Stanford.

So off I went to California to be a writer.  And that’s when the trouble began.  The trouble being I didn’t know anything much about writing.  Thus began the long, hard, struggle to learn to write, because my native talent could only take me so far—about as far as California, where I was plopped down in the creative writing seminar with older, more sophisticated folk who knew a lot more about writing, and life, than I did.  I had thought I’d publish my first book before I was twenty-five, then thirty, then thirty-five.  I was almost forty, I hadn’t published a book, and I was afraid if I changed focus to have a child, that would be the end of writing.  I would use motherhood as an excuse and an escape.  But I was about to miss out on having a daughter or son—even befuddled as I was I could see that was a huge life experience to forgo.  The piece in the Times Magazine traced the experiences and ambivalences that had landed me, ambivalent and desperate, in infertility treatment at that late point in my life.

I half-joked that maybe I should have stopped with that long essay on the subject.  But something pushed me on to write a book about it all; the truth was, I hadn’t really had my say. I hadn’t, in that one piece (which got brutally edited to shorten it), been able to express the complexity, richness, sorrow and blessings of being me.  I hadn’t been able to talk enough about growing up in South Carolina, my parents, my experiences in California as the world got shape-shifted by the sexual revolution and the women’s movement.  I hadn’t been able to talk enough about cats, my husband, writing, my sense of loss and continuity that this major life experience forced on me.  I felt like a mess, and I wanted to take control of my story. To tell it my way, to get to tell it all.  I wanted to make sense of my life, and be the one to define my own experience. I had made choices with consequences, and I had gained and lost.  I wanted to honor those gains and losses.   Maybe most memoirs are memorials in a way.

But it wasn’t a straight-forward or easy process to turn that short piece into a book.  A book is so LONG!  I had to find a structure, I had to figure out what to put in and what to leave out, and what order all the material should be in.  I had to get in backstory, which would give meaning to the present action story.  There was just so much material, from my background to deciding I would try to get pregnant, going through infertility treatment, publishing my first book, and finally coming to terms with not having a child.

Who knows how it came about (certainly not me), but finally I decided on a structure of starting the first chapter in the present, in present tense, as I go about my day, mulling over my situation of realizing time is running out to get pregnant, using the routine of the day (CAREFULLY selected moments and incidents ) to allow me to show what was on my mind, almost like the external events were scaffolding that allowed me to build the internal story of my ambivalence, mounting crisis, fear of making a mistake (big with me), desire to do and be what I had staked my life on for so long.  It had to appear natural, as if I were just going through the day, but be intentional, telling, and loaded.

Because my background was in fiction, I started out scenically, in action, “showing.”  This is not the only way to start or write a memoir. Many begin more expositionally, with a narrator (the author’s persona) telling the story, or at least setting it up.  But however you start, you have to find a voice that will let you do both: show and tell.

Here is the opening of my memoir:  “It’s an unseasonably warm afternoon in April, 1986, and I’m sitting on a stone bench outside a Dairy Queen near our house in Minneapolis, considering the two mothers and three children who share my table.  I’m about to turn thirty-nine years old, which is why I’m so interested in mothers and children.”   I load the opening with information, and I hope I hit on both situation and the “story.”

Vivian Gornick makes the brilliant point that every work of literature has both a situation and a “story.” She’s not using story here in the way we usually do, as simply narrative. She means story as what the writer is emotionally concerned with.  “The situation is the context or circumstance, sometimes the plot; the story is the emotional experience that preoccupies the writer.”  (See Gornick’s book, The Situation and the Story.)  She gives the example of a poem by Elizabeth Bishop describing herself at seven during the First World War, “sitting in a dentist’s office, turning the pages of National Geographic, listening to the muted cries of pain her timid aunt utters from within.  That’s the situation.  The story is the child’s first experience of isolation: her own, her aunt’s, and that of the world.”

Once I had established the forward action in the first chapter, some sense of “something is going to happen,” I could catch my breath in the second chapter, going back in time to fill in background. I used a question to frame the backstory: “So how was it, I wondered, that I had arrived at this point in my life: almost thirty-nine years old, no child? When I looked back, I could see why, and even when, I took a sharp turn away from motherhood.  I could also see why motherhood would catch up with me.”

That expository question and paragraph frame the material that is to come, which I treat somewhat scenically.  I’m shaping the material according to the situation and story established in the first chapter.  The situation is that I’m at a crisis point where I have to “do” something, try to get pregnant or not and grapple with what that will mean to my writing; the story is about my identity and self-definition—who am I and who will I become?

After the second chapter, I use a pattern of returning to the present action story (trying to have a child naturally, going into infertility treatment, etc.), in every other chapter (first, third, fifth), and using the even chapters to go back and tell the story of how I came to be in the present action fix.  Eventually when the past and present meet, from that point on the rest of the book is all present action.

This is not to say I wrote it exactly that way. That was the order and structure I finally (desperately, no doubt) lit upon, when I had complied a lot of material in a random kind of way. I knew things I wanted to be in the book – that HAD to be in book.  Not just because they happened (you definitely have to pick and choose, according to what the book is ABOUT), but because of their value and meaning to me.  Because of what they MEANT to me!  I had to figure out how to mesh everything together, to take the mess and mass I had on my hands, and lay it out in some order where readers could receive it.

But enough about me!

All you really want to know is how to write the dang thing.

Let’s say that you’ve gotten some rough draft down.  You’ve written some scenes, not that you know where they’ll come in the book necessarily, you’ve described some of the main players, you’ve captured some key moments, you’ve fooled around with some backstory, wondering what to put in and what to leave out. Maybe you’ve started at the beginning, whatever that is, and run out of gas.  Well, never mind.  Good!  You’ve gotten some words down on paper.  I want to try to tell you what to do next.

I like to garden, and I have hardly ever met a flower I didn’t like and didn’t want to grow. This passion has led to a lot of different plants showing up in my garden, some of which have thrived, and many of which have straggled, or downright died.  But at some point I paid good money to have a landscape designer come in and do an actual garden design. It looked so beautiful on paper!  The garden has never looked as good as the design on paper, with its colored pastel drawings of various size circles representing plants, and then there was the hardscape.  I had never heard the term hardscape, and now I’m its biggest fan.  I love hardscape because it won’t die on you, or get leggy.  It’s the foundation of the garden, the brick paths and in our case, a pergola.  It’s things made out of brick, stone, concrete, and wood.  Not plants – they must be the softscape, though I haven’t heard that word used.  At any rate, Julie, our landscape designer, started with the hardscape and got a kind of geometric pattern down. She cut down our ugly concrete patio to a perfect square, and made a brick path in from the garage into a straight line intersecting with one side of the concrete patio, and resumed the straight line brick walk on the other side leading to the backdoor.  Geometric!  Then she filled in the whole backyard with swirling circles of beautiful plants (at least on paper) – which, I suddenly saw – would not have worked without the hardscape, to give definition and form and shape to the green things.

At a certain point, just writing is a little like gardening without a plan. You may indeed create a beautiful garden by planting things here or there, but you may also sense an underlying lack of order and form.  You may actually waste time and effort at a certain point.  Maybe if you were a little more patient–which I am not–you might sit down and consider things before just rushing to the garden center and buying whatever is in bloom and strikes your fancy, planting it wherever you can squeeze it into the yard.

Bear with me here.  You will get to plant – and write – eventually.  But first let’s just think about the overall garden – the overall book you want to write, now that you’ve had some experience growing plants and words.  So where to start?  How to start, that is the better question.  I’m speaking here about the stage where you’ve generated some material, made contact, as it were, with some of the material of the book  Now, you’re ready to try a complete draft.

It’s human nature to want to start at the beginning, but what is the beginning?  Where to begin?  And how?

Now is the time to pause, and think about the Big Picture, to try to grasp the gestalt of your book as it has been forming somewhere deep in your mind. You want to try to bring this information more to consciousness, and doing some writing on the side, conceptually, is a good way to do that.

Write the answers to these questions to get a firmer grasp on the project as a whole.

First, consider your intentions and audience.

Why do you want to write this?

There are any number of reasons, but what are yours?  To create a text?  To give meaning and coherent to your life? To honor or preserve something, as in creating a memorial? To understand your own experience? To take control of your experience by ordering it and representing it?  To be praised, admired, loved?

To get back at the bastards is probably not a good reason; same with I’ll show those bastards.  At the very least the reader will expect you to have arrived at some earned understanding and wisdom that doesn’t include pure revenge.

Who is the audience for this work?

It’s helpful to be clear on this, because it influences what and how you write.  So take some time to write about your intended audience.  Get clear on who you’re writing for, and why.

If it’s just for yourself, your standards are different (perhaps) than if you hope to publish it publically.

If it’s for family and friends only, they may not need as much context since they know you.

But if you’re aiming for readers, people out there who don’t know you or your story, you have to step up your act.  You have to be in the ballpark of what readers want.  So you might stop a moment and ask yourself what makes a memoir interesting to me?

Is it because of a likeable or appealing protagonist?

Is it because of the story itself?  You want to know about this particular subject matter or experience—becoming a widow, or hiking the Pacific Crest Trail alone.  Or you want to know how the author got through this childhood, or crisis, and what they discovered over the course of the journey.  You want to know what another has made of things, of life.  You want the particulars, this individual’s story, and you want the universals that it represents: love, loss, longing, courage, strength, human nature, anger, pain, resilience…

Is it the craft? Do you value the style or language, or the unique voice and vision?

Do you love self-deprecating humor?

Do you want to be moved to tears?

Do you enjoy the originality?  The depth perhaps?  The creation of a vivid, fully realized time and place?

It’s worth thinking about these in terms of your own memoir.  What do you want a reader to respond to in your book? What will make someone want to read it?  What will they “get” from it?

            Just accept that you can’t please all the people all the time.  Don’t even bother!  But think of that reader out there in reader-land who really is interested in the story you have to tell, who is simpatico, who is waiting for you to tell him or her your story. Write to that person; write with that listener/reader firmly in mind.  Speak to him; tell her.

And while you’re at it, think about what you dislike in memoir: self-pity, victimization, revenge, bathos. The feeling that the author hasn’t “made” anything of his or her experience.  Had the experience but missed the meaning…

Next, take some time to write everything you “know” about this book.  You might want to do this over several writing sessions.

What will be in it?

What will it cover?

What is it ABOUT?

What will make it compelling to you and others?

How long might it be?

What time period might it cover?

Where does it take place?

When might you finish it?

What do you want it to do for you?

What do you want it to do for readers?

Who is the audience for this book?

Write everything you KNOW about this book at this point.  Don’t think too much about it, just free-write and let come out things you know, even if you don’t know you know them until you write them.

Now, write a Prologue or Preface.  This time, speak directly to this interested, sympathetic reader who wants to but doesn’t know anything about you or your book.  Tell how the book came about; explain what you want to do in the book, and why.  Say what you want the reader to “get” from the book.

Next, write a description of the situation as if you’re describing it objectively.  Do a synopsis of the situation.  For example, with Crossing, “a woman ambivalent about motherhood because of her writing ambitions waits until almost 40 to try to get pregnant, goes through a series of infertility treatments, has a failed pregnancy, and has to come to terms with stopping and accepting that she won’t bear children.”  Doesn’t have to be long. Just a capsule description of the situation of the book.

Now write what the STORY is.  Story in Vivien Gornick’s sense.  What is the book ABOUT?  My book is ABOUT choices and consequences; about ambivalence about women’s roles; about the desire to be a writer; about a woman’s identity and self-definition.

Gornick has said that the subject of autobiography is always self-definition (and she adds, “but it cannot be self-definition in the void.  The memoirist, like the poet and novelist, must engage with the world, because engagement makes experience, experience makes wisdom, and finally it’s wisdom that counts.”)  In what way is your memoir a work of self-definition?  In what way does it engage with the world?

Now try some clustering.  Pick a word that is central to your idea of your memoir.  It can be a subject word, or a place, or a person or anything that serves as shorthand to you for your memoir.

Write this word in the center of the page and draw a circle around it.  Then just brainstorm everything that comes to mind when you think of that word, and write those words anywhere around the circled word, drawing lines to connect and letting the new words spawn more words/images/ideas and connect them to the secondary word or to other words on the cluster.  You will have a central word in a circle and a whole page (hopefully) of words connected to that word, each other, or new words.  Just let anything come to you that the words you’re jotting down on the cluster conjure up.  Nothing is right or wrong, just brainstorm and put down as much as you can, as fast as you can.  You’re pre-writing, doing a pre-writing exercise to generate material, so that you don’t have to face the blank page before you’ve tanked up with some ideas, images, energy.

If during the course of the clustering, a voice that gives you a first sentence or paragraph starts up in your head, write that down.  Keep going if you can.

Now try writing some key words, words that seem to you key to your memoir.  You might think of these words as the stars in a constellation, and somehow your memoir will be linking them.  But right now, you’re just writing down the stars. For example, in my memoir, key words would be the past, the future, ambivalence, writing, children, mistakes, cats, death, identity.  They don’t have to mean anything to anyone else, but they mean something to you.  You understand that they will be important words and concepts in your memoir.

Next, as we continue doing some pre-writing, some preparation for the memoir, working on the hardscape, let’s think about Time and Place.

What period of time does this memoir cover?  You don’t have to know for sure, but you probably have a pretty good idea.  And you need to be able to see what point in time you’re going to get to, because life goes on (and on) but a memoir stops at some point in time.  You have to cut it off.

Draw a time line that is linear and chronological, and mark major events or moments on it pertaining to your memoir.  Where does the situation start and end?   It won’t necessarily be written in that chronological, linear order, but it is helpful to grasp that in your mind.

Place.  Place is so evocative of feelings that you want to make sure your memoir is firmly grounded somewhere.  Eudora Welty says, “Being shown how to locate, to place, any account is what does most towards making us believe it…the moment the place in which the novel [or memoir] happens is accepted as true, through it will begin to glow, in a kind of recognizable glory, the feeling and thought that inhabited the novel [memoir] in the author’s head and animated the whole of his [her] work.” (from Welty’s marvelous article “Place in Fiction,” in The Eye of the Story.)

Write a short passage that describes a place of importance to your memoir.  Sometimes starting with place will jumpstart you into the story itself.  It will put you in touch with the felt-sense of the story.

Narrative Structure is something that won’t come until you’ve gotten a good deal of draft material and pre-writing done.  So don’t worry about it. You will eventually find the order of the material and how to structure things.  Each writer has to find what works for his or her memoir, because form is so intrinsic to the author’s overall vision.

Here are two possible narrative forms for you to consider.  One is the classic narrative arc, which a lot of short stories and novels employ, and the other is a more modular form.

The short story writer Alice Adams had a schema for the narrative arc that goes ABDCE.  A= action; B=background; D=development; C=climax; E=ending.  Janet Burroway, in Writing Fiction, does a good job of explaining narrative arc, using Cinderella as an example. There is the initial conflict: Cinderella and the stepmother; complications, which go back and force between the protagonist, Cinderella, and her adversaries or difficulties; the crisis (the slipper fits) and the resolution of the wedding and happily ever after.

You will notice in many memoirs and novels you read, if you look for the backbone, that the story starts with a situation, A-action; contains B, background which is feathered in, not necessarily delivered in a big chunk; moves into D, development, the proverbial plot thickens, in which complications to the original situation occur over the course of a certain length of time; then there is a C, crisis, in which things have to go one way or another; and then a falling away of the tension as things are somewhat resolved, in the E, ending.

My memoir Crossing contains a narrative arc: I start with A, the situation of being 39 and no child.  Then I move into B, background, and get some of that in, then I go on to D, development, as I enter infertility treatment, continuing to filter in B, background, up until I’m just tracing present A, reaching a C, climax, when I have a miscarriage, and have to face starting again with more infertility treatment. There is another C, climax, when I visit a psychic who helps release me from keeping on with what seems a pretty doomed effort, so that I can move to E, ending, coming to terms with not being able to get pregnant, not adopting, and making peace with being childless.  That’s the narrative arc, the structure more or less.

Just to try it out, draw a narrative arc, like a big upside down checkmark, with a long swooping line leading up to a peak, and then a shorter line falling off to the other side from the crisis or climax.  Write at the beginning of the arc a moment when the story seems to really be underway.  You are looking for when things have reached a certain point where there is some forward momentum (if it is that kind of story, and not all are, by any means).  You can then track the forward progression of the action on the arc, the major events or moments, and also see where you might bring in backstory and development. This is very crude, but it’s just trying to stimulate you to see the story as an arc, perhaps.  It may help you see the material as a book, with a beginning, middle and end.  It isn’t just a mass of material, but something that tells a story from one point in time to another, with some sort of shape or progression.

The other form you can experiment with (and this is not to suggest that these are the only two forms; any form that works for you is a fine form!) is a modular or mosaic form.  In this form, you work in blocks or sections, which can be moved around.  It isn’t linear but rather you assemble a design out of smaller, component parts.  An example of this is the essay I mentioned which I wrote that was in the Times, in which I had sections that were not in chronological order, but were ways of getting at the theme and subject in a heightened, short-hand way.  Vivian Gornick’s Fierce Attachments has a modular structure, at least at the beginning.  Often a book will start with a modular structure and then settle into a more traditional narrative arc, as does Fierce Attachments.  You can combine these two forms, for sure.

Eventually you’ll be faced with needing to write an opening for your memoir.  The beginning is the hardest usually (though not always; sometimes it is just “there.”).  You may need to spend a lot of time trying out various openings.  You are looking for the voice that will let you tell/show your story, that takes authoritative command of the story.  You want to strike the right “key note,” an opening that suggests the tone of your memoir, that plunges us into something that will capture our attention, that introduces the key elements, and that contains, however obliquely, the situation AND the story, in Gornick’s terms.

It’s really helpful to look at openings of memoirs and see what they’re doing, and how.  Read them not just as consumers, but as writers.  How are they introducing situation and story?  What is the voice and tone of the memoir?  Do you “hear” the voice?  How is the protagonist introduced?  What is the problem here?  Where and when is the story taking place?  How are you convinced that what you’re reading is really real, happening, or that it did happen?  Is the author showing or telling or a combination of both?  How and when is backstory introduced?

Try a couple of openings:

Begin scenically.  Choose a point in time to dramatize your story.  Try present tense, as if it’s happening “now,” even if it happened long ago.  You’re reliving it in the writing.

Listen to Eva Hoffman’s opening lines to Lost in Translation, her memoir of emigrating to Canada from Cracow when she was thirteen:

“It is April, 1959, I’m standing at the railing of the Batory’s upper deck, and I feel that my life is ending.  I’m looking out at the crowd that, all of a sudden, is irrevocably on the other side—and I want to break out, run back, run toward the familiar excitement, the waving hands, the exclamations.  We can’t be leaving all this behind—but we are. I am thirteen years old, and we are emigrating.  It’s a notion of such crushing, definitive finality that to me it might as well mean the end of the world.”

Notice that she starts in present tense, and how immediate that makes the scene and emotions. We’re with her, feeling what she feels at thirteen as the ship pulls away from the dock in Poland, and all she has known.

But also notice that the language and expression of those emotions comes from the adult narrator looking back – and who is able to TELL us information. The narrative voice combines both showing and telling beautifully, and the adult narrator, who KNOWS the meaning of this monumental experience for the protagonist, her young self in this passage, is able to express what the thirteen year old self could never put in words.  It is WRITING, not REMEMBERING!

Now listen to Natalie Kusz open Road Song, her memoir of moving with her family to Alaska when she was six, of being mauled by sled dogs, losing her eye, and the effects on Natalie and the family of that event.

“Our first months in Alaska, that one long summertime before I was hurt, were hard—in the way, I think, that all immigrants’ lives must be hard—but they were also very grand, full of wood fires and campgrounds, full of people and the stories they told at night when we ate all together, full of clean dust that we washed from our bodies with water carried home from cold springs.  My family—Mom and Dad and we four children—had driven up from Los Angeles in a green Rambler station wagon, our clothes and plants and water jugs packed and pulled behind us in a twelve-foot travel trailer with two beds. We were going for an adventure, Mom and Dad told us, to a place where we could play as loud as we wanted to, where neighbors were far away and everyone minded their own kinds of business.  During the 1968 recession, my father had been laid off from his computer job….”

This is not a scenic opening, though the details—that green Rambler station wagon!—stimulate our visual sense of the story, so that it isn’t dull expository prose.  It’s in past tense, with the author looking back from the perspective of a lot of time having passed, and she tells us immediately what is important, what will come in the book—that she will get hurt—but there is more to the story than that.  It is going to be a story of that Alaska adventure that started out so hopefully, a story of a family starting over.  The tone is nostalgic and affectionate towards her own experience, as if she has long sense come to terms with it.

Now here’s Philip Roth in Patrimony, the story of his father’s brain tumor and death:

“My father had lost most of the sight in his right eye by the time he’d reached eighty-six, but otherwise he seemed in phenomenal health for a man his age when he came down with what the Florida doctor diagnosed, incorrectly, as Bell’s palsy, a viral infection that causes paralysis, usually temporary, to one side of the face.”

He is telling you the story here, not showing it scenically.  He is the authoritative narrator and he isn’t trying to draw you in and make you live the story so much as just receive it.  Hear it.  There will definitely be scenes, but the set-up is expository.  He lays the ground work for the story that is to flow from this opening, of his father developing a facial paralysis which will turn out to be a brain tumor that will cause his death.

Try modeling one of these openings, or one of your own choosing. Study the way the writer begins, and then try to use your own material in a similar opening. Maybe you’ll begin scenically, like Hoffman, or expositionally, like Roth.  Try to find a voice, a moment, an incident, that will in some essential way launch your book.

You may want at this point to sketch out a bit of an outline for the book, in chapters.  It will help you organize the material, and not feel overwhelmed if you can see that it can be broken into parts that are not the whole thing.  You can also see the flow of the book this way.  You might jot down notes for each chapter, the material that you think will come in in that chapter.  Nothing is cast in concrete, but the outline and notes will help you see the whole without having to write it all in one sitting!  As if you could…

Now, just start working on the chapters.  Do the best you can, and make it your goal to write a whole draft.  It will be a first draft, and you should feel inordinately proud for getting the whole thing down!

And now let a little time pass, maybe get some feedback from some good readers, and really begin to write your book.

Good luck!


What schools are D2 hockey?

Is there any D2 hockey?

Division 2 hockey colleges

The NCAA has not sponsored a Division 2 Men’s Ice Hockey Championship since 1999, due to a lack of sponsoring programs. As a result, there is only one collegiate athletic conference that sponsors NCAA’s Division II level hockey, the Northeast-10 Conference.

What is Division 2 college hockey?

NCAA Division II (D-II) is an intermediate-level division of competition in the National Collegiate Athletic Association (NCAA). It offers an alternative to both the larger and better-funded Division I and to the scholarship-free environment offered in Division III.

What is better D2 or D3 hockey?

“D2 tends to be way more structured than D3 and a higher level of play,” Hughes said. “D1 is almost all funded, and the top-15ish teams play incredible hockey, with some Tier 1 and Tier 2 junior players included. D2 programs have mostly Tier 3 and high-school kids along with some Tier 2 players.”

Is there D3 hockey?

The NCAA D3 level has more college athletes than either the D1 or D2 level. There are 80 colleges competing in ice hockey at this level.

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How many D2 hockey schools are there?

Complete List of Division 2 Hockey Colleges. The motto of NCAA Division 2 athletes is “I choose Division 2.” With over 22 DII schools competing in ice hockey there are a lot of athletes that choose to play at this level.

How many Division 2 hockey schools are there?

Division 2 field hockey teams are numbered at 26, which is the lowest of any division. Because of this, proactive recruiting by an athlete and their parents is a necessity with the limited number of schools with a field hockey program.

How many D1 hockey schools are there?

Division I. NCAA Division I has 59 ice hockey teams in the 2021–22 season, two fewer than in 2020–21. Of these schools, 19 are Division II or III athletic programs that “play up” to Division I in hockey, and 16 of the full Division I members are in the Football Bowl Subdivision.

What division is Princeton hockey?

The Princeton Tigers men’s ice hockey team is a National Collegiate Athletic Association (NCAA) Division I college ice hockey program that represents Princeton University. The Tigers are a member of ECAC Hockey. They play at the Hobey Baker Memorial Rink in Princeton, New Jersey.

How many NCAA Division 3 hockey teams are there?

There are 158 Division 3 field hockey teams, which makes this the largest number of programs in any division of the NCAA.

Can D2 schools offer full ride scholarships?

NCAA Division II

The NCAA limits each Division II school to 36 full, or partial, scholarships per year. With this limited availability of scholarships, Division II schools must look for the best all round players to recruit for their schools.

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Can a college be D1 and D2?

Yes. Colleges may play One sport for men and One sport for women at the NCAA D-1 level and all of the remaining sports can be NCAA D-2 or D-3.

How do you become a D1 athlete?

Division I academic eligibility

  1. Four years of English.
  2. Three years of math (Algebra 1 or higher)
  3. Two years of natural/physical science (including one year of lab science if your high school offers it)
  4. One additional year of English, math or natural/physical science.
  5. Two years of social science.

What district is Wayzata hockey in?

WYHA promotes, sponsors, provide facilities for and organizes a program dedicated to recreation, sportsmanship, and excellence in ice hockey for youth in School District 284.

How many ACHA hockey teams are there?

The ACHA currently has three men’s and two women’s divisions and includes approximately 450 teams from across the United States.

What division is Hamilton College hockey?

Hamilton College is located in Clinton, NY and the Ice Hockey program competes in the New England Small College Athletic Conference (NESCAC) conference.


Managing Risks in Complex Projects

Any project comes with some inherent risks, but complex projects often have a greater number and variety of risks. To manage these risks effectively, it is important to first identify them and then create a plan to mitigate or eliminate them. One way to identify risks is to create a list of potential hazards, both internal and external.

Once the risks have been identified, they can be ranked in order of importance. Once the most important risks have been identified, a plan can be created to address each one. This may involve creating contingency plans, modifying the project schedule, or taking other action to reduce the likelihood of a negative event occurring. By taking steps to identify and manage risks, complex projects can be far more successful.

Managing risks is a vital part of project management, but it can be tricky to do correctly in complex projects. There are many different types of risks, and each one needs to be handled differently. Here are some tips for managing the risks in your next complex project.

What is Risk Management in Projects?

Project risk management refers to the analysis or management of risks which arise during a project to assist with the project’s progress. Risk management is not only reactive but is part of determining the risks in upcoming projects and should also be part of an integrated planning strategy.

Any potential risk affects project schedule or performance or costs. Risk is a potentiality. When reality occurs in project management it is considered a problem and has to be resolved.

Early risk detection is crucial for effective project risk management. By identifying potential risks early on, project managers can develop plans to mitigate the impact of most significant risks. However, detecting risks can be challenging, as they often have a low profile during the early stages of a project.

One way to improve risk detection is to use a risk impact model presented for key risks. This model can help identify major risk and assess their potential impact on the project thus contributing to effective risk management. Once risks have been identified, project managers can develop success scenarios point plans to address them.

risk management

How Do you Manage Risk in a Project?

Effective project risk management is essential for the success of any truly complex project. By definition, a complex project is one that has a high degree of uncertainty and a high potential for failure. In such an environment, even the best-laid plans can quickly unravel, and small problems can quickly escalate into major disasters.

As a result, risk management practices must be an integral part of any truly complex projects. By identifying and analyzing risks early on, project manager can develop mitigation strategies that will help to keep the project on track even when unexpected problems arise. In addition, regular reviews of risks and mitigation plans can help to ensure that the complex project stays on course as conditions change over time. By managing risk effectively,project managers can increase the chances of success for even the most complex projects.

What are the five 5 methods of managing risk?

The basic methods for managing risks depends on project complexity and project goals. They include:

  • Avoidance,
  • Reduction
  • Sharing,
  • Retention, and
  • Transfer

What are the 6 Major Steps of Project Risk Management?

Prioritize the Risks

No risk exists in every way. It’s critical that you assess risks to know how much resources are needed to deal with it if it occurs. You may manage it using the simple categorized risk as low or high. It’s easy to understand why we need this perspective. The high risks will apportioned resources to mitigate their impacts.

Analyze the Risk Analysis

Analyzing risks can be difficult in instances where there is no good sources of data. Clearly some data is complex but some industry types have best practices for analysis. It might surprise you to learn that companies have developed an appropriate framework for risks.

As soon as your risk assessment has been assessed, it is possible that your project could potentially have a significant impact on your business and reduce costs by reducing your exposure. Through qualitative and quantitative risks analysis your schedule and finances will change dramatically.

Identify the Risks

Detecting risk can be difficult.However,you will also need to register this information in a risk register to avoid any confusion. How do we brainstorm and communicate ?Depends with organization’s culture. Find people of appropriate experience and conduct an interview so you can collect information necessary for both identifying and addressing risks especially the root cause.

Think about things which could go wrong. Create corresponding data from historical project data. Your potential risks are increasing. Check if risk is related to the cause.

identify the risks

Assign an Owner to the Risk Management

To enhance risk ownership it is prudent to assign somebody to supervise risk management. It should be done if you list all the risk factors. Can anyone identify a risk and determine how and why it occurs and then lead a work towards its resolution? that’s the risk owner.

It is certainly best to give the task to the right person, but also important to ensure all risks take a responsibility.

Monitor the risks

You can’t simply use guesswork to monitor risks.The person that owns the risk has the responsibility to follow it throughout its course. Then the risk assessment should continue to be updated so that the project can be monitored and identified accurately. You will be able to arrange several meetings to deal with the risks and decide if you can communicate with them in advance. You need several communication channels.

Respond to the Risks

Each risk identified is defined in detail as part of your mitigation strategy. Your plan should include a preventive / incident plan. Risks are acted upon as you prioritize them. You get in contact with the risk owners and project team to decide how you can implement the risk management plan.

During the project planning stage in project risk management process what should be the best option if something goes wrong? It seems unproductive, but project managers know that pragmatic thinking helps prevent problems in complex projects. Problems can often arise and you must develop and execute an effective risk reduction strategy to understand how these risks are handled in a project life cycle.

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What Makes a Good Tax Attorney

Tax attorneys are concerned with the law surrounding tax affairs. Accountants handle your finances for you, while tax attorneys handle the technicalities of tax law. Many people, such as those managing personal estates or considering starting a business, find they need specialized advice about dealing with their tax affairs. Tax attorneys also help those who are working with the IRS on an existing case. So if you need help with a tax-related legal case or have claimed deductions or credits incorrectly, a tax attorney can help.

What Qualifications Does a Tax Attorney Need?

Image via Flickr by free pictures of money

If you need help negotiating the legal side of the tax system, a tax attorney will be your guide. To be sure a tax attorney is offering you the best advice, check that he or she is appropriately qualified. To practice any kind of law, your attorney will need to have completed a Juris Doctor degree and have been admitted to the state bar. Tax attorneys also need specialized training in tax law, which usually means they’ll have a master’s in law degree in taxation, also known as an LL.M.

Are Tax Attorneys Also Accountants?

Some tax attorneys have accounting experience, but they will usually be focused on dealing with the legal side of your finances rather than managing your money or advising you on savings and investments. If you have a complex legal matter than involves accounting and tax law, then having a tax attorney with an accounting background will allow you to cover both aspects more effectively.

However, if you are dealing with a legal issue concerning the IRS, such as appealing an audit decision or negotiating settlements, then a tax attorney with expertise in that specific area will be best-placed to represent you.

What Services Should Tax Attorneys Offer Their Clients?

Many tax attorneys cultivate working relationships with the IRS, allowing them to advocate more effectively on behalf of their clients. If you’re looking for the best tax attorney for your specific situation, you might wish to seek out one that has earned a reputation for solving cases similar to yours. Some offer their clients expedited services and quick resolutions, while others handle particularly complex cases and have experience dealing with federal level negotiations.

Can Tax Attorneys Help With Debt Problems?

A number of tax attorneys specialize in helping clients deal with their tax debts. These professionals have a working knowledge of the latest tax relief options and programs such as the Fresh Start Program, which allows taxpayers to clear their debts and minimize the possibility of incurring additional charges and fees. If you owe money to the IRS, a tax attorney will guide you through the process of clearing your debt as quickly and easily as possible.

If you are concerned about tax debt and need help managing your finances, a tax attorney can help you understand your legal position and make sure you are doing everything you can to avoid incurring levies and other penalties.


Sun and moon children's book

Pdf sun and moon, ice and snow book by jessica day george. For children beginning to read on their own, this book is an exciting introduction to space with easytoread text written with the help of a reading expert and vivid, full colour illustrations and photographs on every page. Record her questions in a little book and then research the answers together. This book even has a glossary and science experiments to offer kids a handson learning experience. Learn about the relationship between the sun, moon, and earth by doing these simple investigations. This childrens book takes the newborn jesus perspective, offering beautiful and insightful descriptions of the world from someone newly born into it. Sun and his wife, the moon, lived on earth and built a large house so that the water people could visit. The earth can move around the sun because of the suns gravity because the sun shines equal on the equator, and th. This list of childrens picture books about the moon is about looking at the moon through an imaginative lens. In this video you will be taken on a spectacular adventure to the earth, sun and moon. If you decide to go to the moon is a cute book that takes you on an imaginary trip.

Can you choose the correct words to complete these book titles. Kittens first full moon from kevin henkes is an adorable picture book about a kitten who mistakes her first full moon for a bowl of milk. The book was published in multiple languages including english, consists of 336 pages and is available in hardcover format. But so many poured in that they were forced to move to the sky. Zoom to the moon and be back by bedtime with this exciting little board book, combining illustrations by benji davies and real photographs of the moon. Lively fluharty wrote and illustrated this rhyming, rollicking tale about the moons prideful folly in believing that his radiance and light actually emanate from himself. This book list contains both fiction and nonfiction and is a perfect addition to any lesson on astronomy for kids. Jul 31, 2017 astronomy for kids can be so much fun. Earth s best friend is the third children s picture book in the our universe series written by stacy mcanulty and illustrated by stevie lewis, which stars the moon as an exuberant celestial body with black doe eyes and a sweet smile, who is happy to tell its life story as the best friends with earth. As an amazon associate i earn from qualifying purchases.

Free download or read online sun and moon, ice and snow pdf epub book. If your kids are captivated by the sun, moon, and stars, share these creative picture books that feature those popular features of the sky with them. Throughout the story, grace witnesses and comes to terms with her parents separation. For more kids stories read aloud, join us at the storytime castle channel.

Sun kisses moon hugs paperback book childrens susan bernardo. Oct 07, 2015 these picture books about the moon are some of my favorites for children. Sun moon star is the story of the birth of jesusas told by kurt vonnegut. Picture books about the moon for imaginative children. To be able to comprehend the surface of the moon, or the wonders of the eagle nebula and the whirlpool galaxy, is something truly heavenly. Nonnis moon by julia inserro is one of those feel good books for kids and parents alike. Oct 19, 2018 if so, then you need to put these childrens books about the moon on your reading list. For children who are a little apprehensive about the dark, yankey provides some good reasons, in both words and pictures, to appreciate the dark night and its beauty. My book about the sun and moon printable minibooks. This heartwarming book reassures children that love lasts forever, even when loved ones go away.

The classic love story of two individuals forced apart. Has the excitement of the total solar eclipse sparked interest in the sun, moon, and stars in your home or classroom. Dec 17, 2008 the tale of the sun and the moon is a fable about why the sun is up during the day and the moon is out at night. Human travel to the moon, the mysterious materials that light up the night sky, and the expanse of outer space all seem just. A boy s room contains a whole world, including a private sun, moon and stars, which unfold through fine line drawings with a wash of red and green. Sun, moon, and stars childrens book collection discover. Elphinstone dayrells folktale why the sun and the moon live in the sky provides an imaginative explanation for a natural phenomenon in a way that appeals to young children. Hello sun moon and stars illustrates how you can tap into the cosmic light of the sun, moon and stars to help you be what you wish to be in. If my moon was your sun andreas steinhofel illustrations by nele palmtag 4. There are hidden connections with the world of science and social issues.

The story line seems at first to be a bedtime story. Why the sun and the moon live in the sky by elphinstone. The premise is incredible and, unfortunately, the execution of the novel winnowed away a lot of my gumption to keep reading. Learn about how the earth rotates and model how lunar and solar eclipses occur. Test your knowledge on this literature quiz to see how you do and compare your score to others. When the sun and moon meet in the sky and fall in love, they produce a heavenly daughter, grace. I did love learning more about the court of the sun. So bright and beautiful childrens picture book my cozy moon. With thousands of childrens books, audiobooks, and videos, there is no limit to what children can learn and explore. Sun kisses, moon hugs is pure poetry and a visual feast for the eyes.

Recommended by in 2017 as a favorite book for kids about astronomy. Some of them focus on the moon landing, while others are sweet fictional stories about the moon. Many, many years ago, at the beginning of time, something incredible happened. This post was originally published on february 9, 2015 and has since been updated. Sun moon daughter is a childrens book designed to engage children emotionally about a divorce in their lives. The moon and the sun is a historical fantasy novel about the capture of a mermaid during the reign of louis xiv. The main characters of this fantasy, young adult story are. These picture books about the moon are some of my favorites for children. Jul 18, 2019 with the 50 year anniversary of the moon landing this weekend, this seemed like the perfect time to share some of our favorite childrens books about the moon. Why the sun and the moon live in the sky paperback. The vast unknown spurs our kids to imagine and wonder.

The first edition of the novel was published in january 1st 2008, and was written by jessica day george. You will learn interesting facts about these 3 aspects of the solar system for kids. This readandwrite booklet explores facts about the sun and the moon through lively text, thoughtprovoking writing prompts, and opportunities to draw. Aug 01, 2017 this previously unpublished picture book by beloved childrens book author margaret wise brown uses her signature word pattern from the classic goodnight moon that has soothed generations of. How did astronauts get to the moon and what did they find there.

Each week, the students will participate in a sequence of basic yoga poses, breathing techniques, and learn relaxation skills. Symbols of sleep and sleepiness, they often adorn the walls of nurseries inspiring little ones to close their eyes and let their parents get some welldeserved rest. In this allinclusive childrens class, students can obtain with a consistent practice, beneficial rewards to their lives outside of the yoga class. Young children can discover what it would be like to fly into outer space, walk on the moon and look back at earth. With large, colorful pictures and plenty of fun facts about everything from the sun and moon to galaxies and planets, this big book is perfect for young readers interested in learning more about space. Looking up into the sky fills a child with curiosity. The sun and the moon carolyn cinami decristofano hardcover. Your little gemini was born to investigate, search, and. Adapted from a classic nursery rhyme, this peaceful, repetitive text, about a boy enjoying the beauty of the natural world, is paired with sun drenched, impressionistic paintings. Dayrells personification of the sun, water, and the moon make this book an engaging read for elementary aged children.

The area s natural beauty can be seen at hyeopjae beach and halla mountain and national park, while jeju chusa memorial hall and the museum of sex and health are cultural highlights. Sun and moon by lindsey yankey is one of those books that young children will want to hear and look at again and again and that parents will enjoy reading and sharing with them. A touching story about dementia and the special relationship between grandparents and grandchildren, with a cd audiobook featuring classical music for children by georges bizet and sergei prokofiev. The earth can move around the sun because of the sun s gravity because the sun shines equal on the equator, and th. Elephant magazine taken as a whole, the book shows how dreary life on earth would be without the beauty of the sun by day and the splendor of the moon at night. Sun kisses, moon hugs an adorable paperback book by susan bernardo. Here are a few of the names the sun is known by in other languages. It s somewhat of a platonic love song about two best friends who cant really be. The sun, earth, and moon solar system for kids youtube. This book even has a glossary and science experiments to offer kids. The same sun that travels across your sky each day shines down on people all across the planet. Goodnight moon is the name of a wellknown childrens book, celebrating the decorations in a nursery. So begins a highly enjoyable and quite profound new childrens book from crossway books, cleverly titled fool moon rising. This book will easily become a bedtime favorite for children of any age and really should be a part of every home library.

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Negligence Law in Arizona

arizona negligence law

Negligence Law in Arizona

Accidents that cause serious injuries and expensive medical bills are often the result of another person’s negligence. At Van Norman Law, we have extensive experience identifying and proving negligence cases. We’re dedicated to helping you earn the compensation you deserve when someone else causes you harm, so you can find emotional and financial relief. If you’re considering filing a personal injury claim, continue reading to learn more about the Arizona negligence laws, and how they could apply to your case.

What Is Negligence?

Legally, negligence is when someone fails to exercise a reasonable standard of care, resulting in injury to a person or their property. One example of negligence is when a driver fails to stop and hits a pedestrian in a marked crosswalk

If someone’s proven negligence has caused you harm in Arizona, you are entitled to compensation under tort law. However, because Arizona is a comparative negligence state, the amount of compensation you receive will depend on your own degree of negligence during the accident.

Comparative Negligence Law in Arizona

In contributory negligence states, you cannot receive compensation if you are to any degree at fault for the accident that resulted in your personal injury. However, Arizona follows the doctrine of pure comparative negligence, which means that the victim can still be entitled to damages even when they are partially at fault.

Under Arizona Revised Statute (ARS), 12-2505, the court determines how much the victim and the defendant were each at fault for the accident. To calculate damages, the court will weigh each party’s degree of negligence and remove the victim’s at-fault percentage from their compensation.

For instance, if you are awarded $100,000 in damages for a personal injury claim, but are deemed 50% at fault for the accident, you would only receive $50,000. You can still seek compensation even if you are 99% at fault for an accident. However, you do not have the right to comparative negligence if you deliberately cause or contribute to the victim’s injury.

How Is Negligence Determined in Arizona?

In order to win a negligence claim and recover damages in Arizona, you must be able to prove all four of the following factors:

  1. Duty: The defendant owed a duty to you. For example, doctors owe a duty to their patients to provide proper medical care. Drivers owe a duty to others on the road and must drive safely.
  2. Breach: The defendant breached the duty they owed to you. A doctor who injures their patient or a driver who texts while driving has breached their duty of care.
  3. Cause: Your injuries were directly caused by the defendant’s breach of duty.
  4. Damages: The court can compensate you in some way, such as with money to cover your medical expenses that are a result of the injury.

Other Types of Negligence in Arizona Personal Injury Cases

Vicarious Negligence

Vicarious or “imputed” negligence is when one party is liable for the harm that a different party caused, because they were legally responsible for the victim. For instance, employers are legally responsible for their employees’ safety, and parents are legally responsible for their minor children. In personal injury cases, such as dog bites, the dog’s owner is the one held responsible due to vicarious negligence.

Negligence Per Se

There are some instances where you do not have to prove all four elements of negligence. According to the doctrine of negligence per se, if the act of the defending breaking the law caused your injury, you do not have to provide evidence that the defendant owed a duty to you and breached that duty.

One example of negligence per se is when a driver speeds and hits your car, resulting in your injury. In this case, the first two elements of negligence are proven automatically because, under law, the defendant owed you the duty of driving safely and breached it by breaking the law. You will only have to prove that the car accident caused your injury and that you should receive compensation.

Personal Injury Lawyer in Scottsdale, Arizona

Arizona negligence law is complex and can get confusing. If you were injured due to someone else’s negligence, contact the expert team at Van Norman Law in Scottsdale. We’ll analyze your case and help you prove the negligence involved. When we handle your case, you can focus on rest and recovery. Call 480-481-0616 today to schedule your free consultation.

Images used under creative commons license – commercial use (5/2/2022). Photo by Matt C on Unsplash


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WriteanWritea essayon ONE topic (and all itssubtopics) from the list shown below (min 1000 wordsnot counting your Reference List). Your essayshould be well-organized.

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WriteanWritea essayon ONE topic (and all itssubtopics) from the list shown below (min 1000 wordsnot counting your Reference List). Your essayshould be well-organized. DO NOT DIVIDE THEESSAY BY SECTIONS, THE ESSAYDISCUSSION SHOULD FLOW BETWEENPARAGRAPHS.

THIS IS AN ACADEMICESSAY NOT AN OPINION PIECE. Support your points with class readings and examples from case studies. Do not simply list everything there is on the readings, explain your reasoning and support it with course readings/slides/lectures.

Use a Minimum 6 sources from class, there is no maximum amount. For your core 6 sources you can only use 1 multimedia source (class videos), the remaining 5 must be class provided articles. You can use more multimedia sources and even external articles to supplement (not replace) the core 6 class sources.

Assignment Specifications (Graded)
  • Create a doc or docx file. Times New Roman, Font Size 12, SINGLE SPACE. 1 Inch margins.
  • Identify the Topic you chose to answer, name, date and class in a separate titlepage. No abstract, index, pictures or graphs allowed. This is aessay  it does not have sections. The ideas should flow from paragraphtoparagraph.
  • No lengthy introductions, you can start youressay with a simple statement of about 50 words maximum and then go straight for the answers to the questions. No separate conclusionsorclosing statements allowed, these tend to be redundant.
  • THIS IS NOT AN OPINIONESSAY so use paraphrasingof class readings and support this paraphrasing with APA in text citations, check the APA guides provided on the folder in the course modules.
    • Example:Citing in text means to paraphrase and credit your sources (Brown, 2012).
  • NO “direct quotes”, paraphrase and reference your source in APA in text citations. All your text must be ORIGINAL.
  • Include reference list at the end, in APA style and alphabetical order.
  • Spell-check and re-read your responses, grammar and composition will be graded.

TOPIC #1: In the course of the semester we have studied multiple disasters from all over the world, we have learned that each country faces specific challenges when practicing emergency management. We can thus conclude that Emergency Management is done better when applied to local unique characteristics/ vulnerabilities. Choose 1 case study from Weeks 3-7 and 2 case studies from Week 9-14 (can include your disasterpaper), to discuss:

1.a The importance of emergency management practice tailored to local characteristics. Identify local characteristics (one specific characteristic/ vulnerability per case) that made these 3 cases unique in the world. How did these local characteristics influence the disaster consequences in the 3 cases. (700 words minimum)

1.b For EACH case study (total 3) discussed above describe Emergency Management practices to reduce that unique vulnerability. Which activities in mitigation, preparedness, response and recovery (discuss all 4) can help reduce disaster consequences in each case? (300 words minimum)

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Global pce powder market trend 2022-2029 12 Kinds of Concrete Additives Used in Refractory Castable, Plastic and Ramming Materials(2) by Newsformarselibros

The properties and varieties of concrete additives for refractories, especially refractory castables, ramming materials, plastics and other amorphous refractories are different. The role of an concrete additive is also different due to the difference of the amount of concrete additive, the type of binder used, the ingredients and so on. In the production process of amorphous refractories, the concrete additives mainly used can be divided into the following twelve categories according to their uses:

5. Coagulant

Accelerator can shorten the setting and hardening time of amorphous refractories. The action mechanism of coagulant accelerator is complicated, which varies with the properties of binder and accelerator used. Different binders should use different accelerators of different properties. The accelerators used in calcium aluminate cement binder are mostly basic compounds: NaOH, KOH, Ca (OH) 2, Na2CO3, Na2SiO3, etc.; phosphoric acid and aluminum dihydrogen phosphate binder are used together with activated aluminum hydroxide, talc, magnesium oxide, calcium aluminate cement, etc.; sodium fluorosilicate, aluminum phosphate, sodium phosphate, lime, dicalcium silicate, Glyoxal and so on.

6. Retarder

Retarders can delay the setting and hardening time of amorphous refractories, and the action mechanism of retarders varies with the properties of binders and retarders used. Retarders are mainly used in amorphous refractories bonded with calcium aluminate cement containing fast hardening minerals. The commonly used retarders are low concentration of NaCl, citric acid, tartaric acid, ethylene glycol, glycerol, starch, phosphate, lignosulfonate and so on.

7. Delayed coagulant

The delayed accelerator can cause the binder contained in amorphous refractories to solidify and harden after a certain period of time. For the castable with ultra-fine silica powder as the main binder, calcium aluminate cement can be used as the delayed accelerator, because Al3+ and Ca2+ ions can be released slowly during the hydrolysis process of calcium aluminate cement. After adsorbed on the surface of silica particles, the particles will lose the electric property of coagulation, thus play the role of delayed coagulation.

8. Foaming agent, air entraining agent, and aerating agent

The foaming agent can reduce the surface tension of the liquid and produce a large number of uniform and stable foams. Foaming agents include rosin soap, resin saponin grease, aluminum petroleum sulfonate, hydrolyzed blood, etc., and air entraining agents include rosin heat polymer, Nonionic surfactant, alkylbenzene sulfonate and so on. In addition, there is a kind of aerating agent whose function is to produce bubbles by chemical and physical interaction between aerating agent and water after castable mixing and pouring. It is evenly distributed in the slurry. The commonly used aerating agent is aluminum powder. The aluminum powder is very active and will react with water to release hydrogen, and the escaped H2 gas forms bubbles in the castable. However, the addition of aluminum powder should be appropriate, otherwise the strength of amorphous refractories will be greatly reduced, or uneven connected pores will be caused. This kind of admixture can be used to prepare lightweight porous amorphous refractories.

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Affected by the present complex international situation and the epidemic, the future of global financial markets, futures markets, and stock markets is still highly uncertain. For this reason, I suppose the price of the pce powder would continue to rise.

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