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Date Created: 11/01/15
INSTRUCTIONS AND EXAMPLES ON HOW TO FILL OUT THE PRODUCTION JOB DEFINITION FORM Note When responding to a question using a check box doubleclick the check box to display the Check Box Form Field Options dialog window Select the Checked option within the Default value area and then click OK Submitter Selfexplanatory Job Name Example gruehgp Date Will automatically ll in the creation date and time What is the ECS mem name Example gruehgpshl Job description Enter a brief description of what the job does Example Report of Student with status changed to paid for term indicated in the PARM In what scheduling tables is the job located Enter schedule tables Examples adsjobs burjobs gacjobs regjobs Below indicate the PARMfar the job if none need to be changed check the Not applicable box List ONLY the parameters and options for thisjob that PS may need to change or optionally list all the parameters for the job but mark in the comments eld the ones that PS may need to change I Not applicable Parameter Valid Values Description Comments andor Example of Control Options PARM3 Term CHANGE as indicated when a new request yyyy10lst Semester form is received yyyy202quot l Semester 200010 Example for year 2000 lst Semester PARM4 Amount owed CHANGE as indicated when a new request 250 Example for 25000 form is received PARMS Health Insurance Detail Code CHANGE as indicated when a new request 3956 Example form is received PARM6 Type of billing CHANGE according to request form Anyone that owes money will be selected S Only Students who owe money will be selected E Only employees who owe money will be selected Above are examples on how informationfor parameters should be entered Whenfilling out the explanationforparameters remember to do thefollowing 0 Give an example 0 Give the de nition of the PARM 0 Ifthere are specific values required list all values including blanksenter 9 You need to list ONLY the parameters and optionsfor thisjob that PS may need to change or optionally list all the parametersfor thejob but mark in the commentsfield the ones that PS may need to change What are the run considerations and job dependencies ifany for this job Examples PROD must be down DISOB must runfirst ifscheduled the same night Thisjob must run before 2am The following are selfexplanatory information is marked as an example be sure and give an answer for each entry What provisions have been made if this job fails Note UA must make notification provisions for any job that fails and needs attention on a non working day or after hours Job can be rerun D Yes D No if no is marked indicate job action below Job can wait until the next working day if it fails Yes D No if no is marked indicate job action below Ifjob fails job will page D Production Support I UA I Client I NCT s D No One If job fails job will email D Production Support D UA D Client D NCT s D No One Ifjob succeeds jobw will email I Production Support I UA I Client I NCT s D No One Use UA Notes eld below to enter any information that will help someone who may be contacted to rerunrecover this job What instance is thisjob using Check one D PROD D REPT D DMRP D LEGC D Other Other Enter other here Does thisjob FTP across the rewall D Yes D No Does thisjob produce output that will be printed at the Print Center in Gaskill Ifyes indicate the type or title of forms Note Default paper size is 85 X 11 D Yes D No Give an example of what type of output the job will print If always the same list the type of form if not indicate something like Job willproduce Bursar bills Bursar will indicate what type ofbillingform to be used when they call PS to ask when they can run the job UA Notes Example of UA Notes Do not rerunjob UA will have to review where the job bombed and what needs to be done REFERENCES Texts and Translations The following editions and translations have been used throughout The translations however have been frequently modi ed to re ect my interpretation The translations are for the reader39s aid only and do not of themselves constitute any evidence for the argument Allen T W ed Homeri Opera 5 volumes Ilias 3rd edn Oxford 192039 Odysseia 2nd edn Oxford 191739 Hymni Cyelus Fragmenta Oxford 1961 Fraenkel Hermann edArgonautiea Oxford 1961 Freese J H ed and trAristotle Art othetorie London 1975 Hadas Moses tr Heliodorus An Aethiopian Tale Ann Arbor 1967 Hughes Merrit Y ed Complete Poems and Major Prose of John AIilton New 5 Kassel RAristotelisDe artepoetiea Oxford 1965 Keyes C W ed and tr Cicero s De republiea London 1970 Lattimore R tr The Iliad Chicago 1951 tr The Odyssey New York 1965 Mandelbaum A tr The Aeneid ofVirgil New York 1961 Mynors R A B ed Opera Vergilii Oxford 1969 Rieu E V tr The Voyage ofthe Argo Bungay 1959 Schmidt M C tr Hesiod and Theognis Bungay 1959 Sinclair J D ed and tr The Divine Comedy of Dante Alighieri New York 1975 Solmsen F ed Opera Hesiodi Oxford 1970 West M L ed Iambi et Elegi Graeei 2 vols Oxford 1972 LSJ Liddell H G and R Scott edsA GreekEnglish Lexicon 9th ed Oxford 940 Critical Works References 201 Adams R M Ikon John Milton and the Modern Critics Ithaca 1955 Adkins A W H Merit andResponsibility Oxford 1960 Ahrens Ernest Gnomen in griechischen Epos Halle 1937 Althusser Louis For Marx tr Ben Brewster New York 1969 Anderson W D quotNotes on the Simile in Homer and his Successors Classical Journal 53 195758 8187 12733 Anderson W S The Art ofthe Aeneid Englewood Cliffs 1969 Andersson T M Early Epic Scenery Ithaca 1976 Arend Walter Die typischen Szenen bei Homer Berlin 1933 Armstrong J l quotThe Arming Motif in the Iliad American Journal of Philol ogy 79 1958 33754 Auerbach Erich quotFiguraquot in Scenes from the Drama of European Literature tr Ralph Manheim Minneapolis 1984 in Gesammelte Aufsatze zur romanischen Philologie Bern 1967 Austin Norman Archery at the Dark ofthe Moon Berkeley 1975 Autentrieth GA Homeric Dictionary tr R P Keep Norman 1958 Bakhtin M M The Dialogic Imagination ed Michael Holquist tr Caryl son and M Holquist Austin 1981 Barthes Roland SZ tr R Miller New York 1974 Basset S E Poetry ofHomer Sather Classical Lectures 15 Berkeley 1938 Belsey Catherine quotProblems of Literary Theory The Problem of Meaningquot New Literary History 14 No 1 Autumn 1982 17582 Beye C R Epic and Romance in the Argonautica of Apollonius Carbondale 1982 Bourdieu Pierre and JC Passeron Reproduction in Education Society and Culture Sage Studies in Social and Educational Change 5 tr R Nice London 1977 Bourdieu P Outline ofa Theory ofPractice tr R Nice Cambridge 1977 Bowra C M From Vergil to Milton Oxford 1949 Pindar Oxford 1964 Brink C O and F W Wallbank quotThe Construction of the Sixth Book of Polybiusquot Classical Quarterly 4 1954 97122 Broadbent J B Some Graver Subject London 1960 Brooks R A quotDiscolor Aura Re ections on the Golden Bough in Steele Commager ed Virgil Englewood Cliffs 1966 pp 14363 Carspecken J F quotApollonius Rhodius and the Homeric Epic Yale Classical Studies 13 1952 33143 diCesare M quotParadise Lost and the Epic Tradition Milton Studies 1 1969 3 0 TheAltar and the City New York 1974 Chantraine P Dictionaire etymologique de la langue grecque Paris 1968 Charity A C Events and their Afterlife Cambridge 1966 Chomsky Noam quotReview of B F Skinner39s Verbal Behavior repr in The Structure ofLanguage ed J Fodor and J Katz Englewood Cliffs 1963 89 Aspects ofthe Theory ofSyntax Cambridge 1966 quotFormal Discussion repr in SelectedReadings in Chomsky ed J Allen 202 NARRATIVE SEMIOTICS IN THE EPIC TRADITION and P van Buren London 1971 Clark J quotThe Medea Sirnile of Apollonius39 Argonautica Classical Philology 68 1973 31015 Clarke Howard Homer sReaders Newark 1981 Claus D quotAidos in the Language ofAchilles TAPA 105 1975 1328 Clausen W quotAn Interpretation of the Aeneid in Virgil ed S Commager Englewood Cliffs 1966 pp 7588 Clausing Adolf Kritik und Exegese der homerischen Gleichnisse im Altertum Parchim 1913 Coffey M quotThe Function of the Homeric Simile American Joumal of Philol ogy 781957 11332 Cole T Democritus and the Simrces of Greek Anthropology American Philo logical Monographs 25 1967 Commager Steele ed Virgil Englewood Cliffs 1976 Cook Albert The Classic Line Bloomington 1966 Culler Jonathan Structuralist Poetics Ithaca 1975 Deconstruction Ithaca 1975 Damon Philip Modes ofAnalogy in Ancient and Medieval Verse University of California Publications in Classical Philology 15 No 6 Berkeley 1961 Davis C T Dante and the Idea ofRome Oxford 1947 Davison J A quotThe Homeric Question in A Companion to Homer ed A Wace and F Stubbings London 1962 23465 Derrida Jacques quotWhite Mythology in Margins of Philosophy tr A Bass 39 o 1982 Dietrich B C Death Fate and the Gods London 1965 Dodds E R The Greeks and the Irrational Berkeley 1951 Donlan Walter quotReciprocities in Homer Classical World 75 No 3 Feb 1982 13775 Eagleton Terry Literary Theory An Introduction Minneapolis 1983 Eco Umberto A Theory ofSemiotics Bloomington 1976 The Role ofthe Reader Bloomington 1979 quotThe Theory of Signs and the Role ofthe Reader Bulletin ofthe llIidwest Modern Language Association 14 No 1 Spring 1981 3545 Semiotics and the Philosophy ofLanguage Bloomington 1984 Eliot TS The Sacred Wood New York 1930 On Poetry andPoets New York 1957 Erbse Helmut ed Scholia Graeca in Homeri Iliadem 5 vols Berlin 196778 Fenik B Typical Battle Scenes in the Iliad Hermes Einzelschriften 21 Wies baden 1968 Ferry Ann Milton s Epic Voice New Haven 1973 Fish Stanley Surprised by Sin New York 1967 SelfConsumingArtifacts Berkeley 1972 Is There a Text in This Class Cambridge 1981 Foucault M Discipline and Punish New York 1979 Fraenkel Hermann Die homerischen Gleichnisse Gottingen 1921 Wege und Formen fru39griecisches Denkens Munich 1968 Early GreekLiterature and Philosophy tr Moses Hadas Oxford 1973 Noten zu den Argonautica des Apollonios Munich 197 Freccero J quotThe Laurel and the Fig Tree Diacritics 5 Spring 1975 3440 References 203 quotMedusa The Letter and the Spirit Yearbook ofItalian Studies I 1972 l 8 l Fries Carl quotZur Gleichnissprache des Iliasdichters Philologische Wochen schrift 55 1935 7658 Frisk A Griechisches etymologisches Woerterbuch Heidelberg 1973 von Fritz Max The Theory of the Mixed Constitution in Antiquity New York 1954 Frye Northrop Anatomy ofCriticism Princeton 1971 Giamatti A B The Earthly Paradise in Renaissance Epic Princeton 1970 Godzich Wlad quotReview of U Eco s A Theory of Semiotics and Jean J Nattiez39s Fondemonts d39une semiologie de la musiquequot szrnal of the History of Music Winter 1979 11732 quotIntroductionquot to P de Man Blindness and Insight Minneapolis 1983 Goody J and Ian Watt quotThe Consequences of Literacy in Literacy in T radi tional Societies ed J Goody Cambridge 1968 30445 Goody J R The Domestication ofthe Savage Mind Cambridge 1977 Gotoff H C quotThe Transformatioons of Mezentius TAPA 114 1984 191218 Greimas A J Se39mantique structurale Paris 1966 Grose Christopher Milton s Epic Process New Haven 1973 Hadas M quotThe Tradition of a Feeble Jason Classical Philology 31 1939 l Hansen W The Conference Sequence University of California Publications in Classical Philology 8 Berkeley 1972 Harding D P Studies in the Classical Background of Paradise Lost Urbana 962 Hartman G quotMilton39s Counterplot ELH 25 1958 112 Havelock Eric Preface to Plato Cambridge 1962 The Literate Revolution in Greece and its Cultural Consequences Princeton 19 Heiserman Arthur The Novel Before the Novel Chicago 1977 Holland Norman Five Readers Reading New Haven 1977 Holoka J quotHomer39s Originality A Survey Classical World 12 1973 257 93 Hornsby R A Patterns ofAction in the Aeneid Iowa City 1970 Jameson Fredric The Political Unconscious Ithaca 1981 Jaynes Julian The Origin of Consciousness in the Breakdown of the Bicam eral Mind Boston 1976 Johnson W R Darkness Visible Berkeley 1976 Keyes C W ed and tr Cicero De Re Publica London 1977 Kirk G S Songs ofHomer Cambridge 1962 Klein T M quotApollonius39 Jason Hero and Scoundrel QUCC 42 1983 11526 Knauer G N Die Aeneis und Homer Hypomnemata 7 Gottingen 1964 Knight Douglas quotThe Dramatic Center of Paradise Lost South Atlantic Quarterly 63 1964 4459 Knott J R Symbolic Landscapes in Paradise Lost Milton Studies 2 1970 7 5 Krischer Tilmann Formale Konventionen der homerischen Epik Munich Kullmann Wolfgang quotZur Methode der Neoanalyse in der Homerforschung 204 NARRATIVE SEMIOTICS IN THE EPIC TRADITION Weiner Studien NF 15 1981 542 quotOral PoetryTheory amdNeoanalysis GRBS 254 Winter 1984 307 Lawall G quotApollonius39 Argonautica Jason as Antihero Yale Classical Studies 19 1966 11969 Leaf Walter ed The Iliad New York 1900 Leavis F RRevaluation London 1936 Lee D J N The Similes of the Iliad and Odyssey Compared Australian Hum R s Council Monograph 10 Melbourne 1964 Lesky Albin A History of Greek Literature 2nd edn tr James Willis and Cornelis de Heer New York 1966 Lewis C SAPreface to Paradise Lost London 1942 Lord A B Singer ofTales Cambridge 1961 Lotman Juri and B A Uspensky quotOn the Semiotic Mechanism of Culture New Literary History 9 No 2 Winter 1978 21133 McCall Marsh H Ancient Rhetorical Theories of Simile and Comparison Cambridge 1969 McCary T Childlike Achilles New York 1982 McNamee M B Honor and the Epic Hero New York 1960 Meyers J L quotHerodotus and Anthropology in Classics and Anthropology ed R R Marett New York 1966 15063 Motto A L and J R Clark quotIse Dais The Honor of Achilles Arethusa 2 No 2 Fall 1969 10925 Moulton Carroll Similes in the Homeric Poems Hypomnema 49 Gottingen 1977 von der Muhll Peter Kritische Hypomnema zur Ilias Basel 1952 Mueller Martin The Iliad London 1984 Muller F quotDas homerische Gleichnis Neue Jahrbiicherfur antike und deutsche Bildung 4 1941 17583 Nagler Michael Spontaneity and Tradition Berkeley 1974 Nagy Gregory The Best ofthe Achaeans Baltimore 1979 Nilsson M P Homer andMycenae London 1933 Nimis S quotThe Language of Achilles Construction vs Representation Clas sical World 794 MarchApril 1986 21725 Notopoulos J A quotParataxis and Homer TAPA 80 1949 123 Olsen S H quotThe 39Meaning39 ofa Literary Work New Literary History 14 No 1 Autumn 1982 1331 Otis Brooks Virgil A Study in CivilizedPoetry Oxford 1964 Page Denys The Homeric Odyssey Oxford 1955 Parry Adam quotThe Language ofAchilles TAPA 87 1956 17 quotThe Two Voices of Virgil39s Aeneid in Virgil ed S Commager Englewood Cliffs 1966 107123 Parry M The Making ofHomeric Verse ed Adam Parry Oxford 1971 Patrides C A ed Approaches to Paradise Lost London 1968 ed Milton s Epic Poetry London 1967 Peabody Berkeley Winged Word Albany 1976 Peirce Charles S CollectedPapers Cambridge 193158 Pfeiffer Roland History ofClassical Scholarship From the Beginnings to the end ofthe Hellenistic Age Oxford 1968 References 205 Phinney E quotHellenistic Painting and the Style of Apollonius Classical Jour nal 62 1967 14549 Poschl Victor TheArt oftheAeneid tr Gerda Seligson Ann Arbor 1962 Pohlenz Max Die Stoa Gottingen 1964 Propp Vladimir The Morphology of the Folktale tr L Scott 2nd edn Austin 1968 Quiller Bjorn quotThe Dynamics of Homeric Society Symbolae Osloenses 56 198110955 Red eld J M Nature and Culture in the Iliad Chicago 1975 Reinhardt Karl Die Ilias und ihr Dichter ed U Holscher Gottingen 1961 Revard S P quotMilton39s Critique of Heroic Warfare in Paradise Lost V and V1 Studies in English Literature 7 1967 11939 Riezler Kurt quotDas homerische Gleichnis und der Anfang der Philosophie Die Antike 12 1936 25371 Riffaterre M The Semiotics ofPoetry Bloomington 1978 quotParagram and Signi cance Semiotexte 1 No 2 Fall 1974 7287 R1st J M Stoic Philosophy Cambridge 1962 Rohde Erwin Der griechische Roman und seine Vorlau39fer 2nd edn Leipzig 1900 Rose Peter W quotHow Conservative is the Iliad Pacific Coast Philology 13 1978 8693 Rutten Felix De Vergilii studiis Apollonianis Munster 1912 Russo J A quotHow and What Does Homer Communicate The Medium and the Message ofHomeric Verse Classical Journal 714 1976 28999 Russo J A and B Simon quotHomeric Psychology and the Oral Epic Tradition JHI 29 1968 48398 Sapegno Natalion ed La Divina Commedia Firenze 1977 de Saussure Ferdinand Course in General Linguistics tr W Baskin New York 1961 Scartazzini G A ed La Divina Commedia Bologna 1881 Schadewaldt Wolfgang quotDie homerische Gleichnis und die kretischmykenische Kunst in Von Homers Welt und Werk Leipzig 1944 Iliasstudien 3rd edn Darmstadt 1966 Schellert M De Apollonii Rhodii comparationibus Halle 1885 Schlunk R R The Homeric Scholia and the Aeneid Ann Arbor 1974 Scott W C The Oral Nature of the Homeric Simile Mnemosyne Supplement band 28 Leiden 1964 Scully Stephen quotThe Language of Achilles The 39Oxyhsaw Formula TAPA 11419841127 Segal Charles P The Theme of the Mutilation of the Corpses in the Iliad Lei en 1971 Shawcross John ed Milton The Critical Heritage 2 vols New York 1970 72 Shell Marc The Economy ofLiterature Baltimore 1978 Sheppard J T quotTraces of the Rhapsode Journal of Hellenistic Studies 42 1922 22037 Shewan A Suspected Flaws in Homeric Similes Classical Philology 6 1911 27181 Shipp GeorgeP Studies in the Language ofHomer 2nd edn Cambridge 1972 206 NARRATIVE SEMIOTICS IN THE EPIC TRADITION Singleton C ed The Divine Comedy Bollingen Series 80 Princeton 1970 quotIn Exitu Israel de Aegypto in Dante ed J Freccero Englewood Cliffs 1965 10221 Snell Bruno The Discovery ofthe Mind tr T G Rosenmeyer New York 1960 SohnRethel A Intellectual and Manual Labor A Critique of Epistemology New York 1978 Spencer T J B quotParadise Lost The Antiepic in Approaches to Paradise Lost ed CA Patrides London 1968 8198 Spolsky E and E Shauber quotStalking a Generative Poeticsquot New Literary History 12 No 3 Spring 1981 397413 Steadrnan John Milton s Epic Characters Chapel Hill 1959 Milton and the Renaissance Hero Oxford 1967 Epic and Tragic Structure in Paradise Lost Chicago 1976 Stem Arnold Answerable Style Minneapolis 1953 Steiner GeorgeAfter Babel Oxford 1975 am W W Hellenistic Civilization 3rd edn tr G T Grif th London 1952 Thompson T H ed Poems ofEmily Dickinson Cambridge 1961 Thorpe J ed Milton Criticism Selections from Four Centuries New York 1966 Todorov Tzvetan Introduction to Poetics tr R Howard Minneapolis 1981 Tompkins Jane ed ReaderResponse Criticism Baltimore 1980 Trurnpy Hans Kriegerische Fachausdruke im griechischen Epos Basel 1950 Versenyi L Man s Measure Buffalo 1974 Vivante Paul quotOn the Representation of Reality in Homer Arion 5 1966 l Wallbank F W Polybius Berkeley 1972 WadeGerry H T The Poet ofthe Iliad J H Gray Lecture for 1949 Cambridge 1952 Webster T B L From Mycenae to Homer New York 1964 West M L quotSome More Notes on the Text of Hesiod Classical Quarterly 12 196217781 Theogony Oxford 1966 Whaler J P quotThe Miltonic Similequot PMLA 46 1931 103474 Whitman Cedric Homer and the Heroic Tradition New York 1958 Widrner Kingsley quotThe lconography of Renunciation The Miltonic Simile in Milton s Epic Poetry ed C A Patrides London 1967 12131 WilamowitzMoellendorf Ulrich Die Ilias undHomer Berlin 1920 Wilkins E G quotA Classi cation of the Similes oftheArgonautica of Apollonius othodesquot Classical Weekly 1421 April 11 1921 16266 Wunderli P Ferdinand de Saussure und die Anagramme Tubingen 1972 References 207 Lecture 802 Population a group of organisms of a given species that live in a particular area at a given time Sample A subset of organisms extracted from a population What is a mndom sample Data type 1 Quantitative Numerical variables a discrete are units Examples number of children in a family number of attacks of asthma per Week b continuous can take any value Within a given range Examples height Weight 2 Qualitative Categorical variables that can be a ordinal Ordered categories exam results pass or fail socioeconomic status low middle or ugh b nominal Unordered categories 7 examples eye color hair color The Concept of Distribution Measurements on any variable even the same variable on the same subject will always vary The pattern of variation of a variable is called its distribution The distribution records all possible numerical values of a variable and how o en each value occurs its frequency The most common example of a distribution is the bellshaped The Normal distribution is de ned by two pammeters Which are the mean and the standard deviation of the population The curves are symmetrically bell shaped but the extent to Which the bell is compressed or attened out depends on the standard deviation of the population Negative skew 39 Fnsvtwa skew 4 The distribution of a variable is of biological interest because it tells us that there is selection for or against organisms falling in one ofthe tails ofthe distribution If a sample of immature insects we discover that the measurements are bimodally distributed with two peaks this could indicate that the population has different species miX together in the sample Descriptive statistics A Statistics of location 7 describe the position of a sample along a given dimension representing a variable Mean widely use measure of central tendency It is the sum of the measurements by the number of measurements in the set Median It seems to be the preferred measure for describing economic sociological and educational data Why Many of the frequency distributions of measurements are skewed Calculate the median Example A sample of 7 students was given a reading achievement test Find the median for the test scores 86 78 90 62 73 89 we must arrange the scores in order of magnitude 62 73 78 86 89 90 95 We have an odd number of 7 measurements the median is the middle score 86 Example Suppose 3 more students took the achievement test and scored 73 75 91 Determine the median 73 73 75 78 86 89 90 91 95 Median 78 862 82 Mode is the measurement that occurs most often in the set Is useful in business for identifying products that are in greatest demand B Statistics of dispersion 7 how spread is the data around the mean Range distance between the lowest amp the highest reading Standard deviation 7 is a summary measure of the differences of each observation from the mean which is the square root of the Variance Variance The average of the squared deviation of each score from the mean s2 2 xm2 n1 2 add up x value for the variable m mean ofthe sample n total number of measurements or size ofthe sample divided by Hypothesis testing 1 Restate the research hypothesis as a statistical hypothesis and an alternative hypothesis 2 The statistical hypothesis is called the Null Hypothesis which is symbolized by H0 The alternative hypothesis is called the Alternative Hypothesis H1 3 Set a probability level called the alpha level III at Whichou Will test the Null hypothesis 4 Specify a statistical test to be used on the data 5 Compare the numerical value calculated from the statistical test to a critical value derived from the speci c distribution 6 Reject the Null hypotheses if your calculated value is greater than or equal to the critical or tabled value 7 State your results in statistical terms using probability terms p lt 05 reject the Null Hypothesis or p gt 05 fail to reject the Null Hypothesis p means probability T Test The ttest also known as the student t test is a test of signi cance that can be used to determine whether a signi cant difference eXists or does not eXist between two groups There are three kinds of ttests l ttest for one Sample 2 ttest for Dependent Samples 3 ttest for Independent Samples When a ttest is used to determine whether the two sample means of two independent samples come from the same population we use the statistical test called the ttest for Independent Means This is the most common ttest used in science The formula for calculating t depends upon whether the two samples being compare have equal variances The null and alternative hypotheses for this type of test are H0 m 1 m z the means are equal H1 m1 ltgt m2 the means are different This is a two tailed test because the Null Hypothesis does not specify a direction only the condition of equality The assumptions are l the data are Normal 2 the two samples come from distributions that may differ in their mean value but not in the standard deviation 3 the observations are independent of each other Calculate a ttest value and compare the value with a critical value oft given in a book If the t value calculated from the data is equal to or larger than the critical value you reject the Null hypothesis of H0 m l m 2 Before we determine the calculated t tc look at the variances If the variances are equal calculate t using the formula below t lmlmzl 1391321n2391322 n1r12 2 If the variances are unequal calculate t as follow I m1mz m mean n sample size s2variance Using the data below State your hypotheses Set a probability level called the alpha level at 05 Calculate t compare the numerical value calculated from the statistical test to a critical value or tabled value t1 obtained from a tablebook In this case t1 2000 Reject the Null hypotheses if your calculated value is greater than or equal to the critical or tabled value Population sample NS 1 Sample 1 Gender height 1 inches 1 male 65 00 male 7000 male 6900 male 7200 male 7000 male 7200 male 6900 male 6800 male 6800 male 7000 male 6800 male 7100 male 7100 male 7100 male 7400 male 6700 male 7600 male 7300 male 7100 male 6800 male 7100 male 7100 male 7100 male 7200 male 7000 male 7100 male 7300 Sample 2 Gender heightginches female 6600 female 6800 female 6300 female 6000 female 6400 female 6300 female 6800 female 6300 female 6800 female 6300 female 6700 female 6300 female 6800 female 6400 female 6400 female 6300 Using StatView Descriptive Statistics Split By Populationsample H Mean Std Dev Std Error Count Minimum Maximum Missing Variance Coef Var Range Sum Sum Squares Geom Mean Harm Mean Skewness Kurtosis Median IQR Mode 10 Tr Mean MAD Histogram Split By Populationsample Cell male I I 16 I I I I I I I 14 12 H 10 C 8 8 o 6 4 2 i O I I I I I I I I I 58 6O 62 64 66 68 7O 72 74 76 78 Height Histogram Split By Populationsample Cell female 8 I I I I I I I I 7 6 H 5 C 8 4 Q 3 2 1 O I I I I I I I I 58 6O 62 64 66 68 7O 72 74 76 78 Height Using Statview compare the calculated PValue with the probability level alpha level or 05 It is smaller than or 05 meaning that the means are different Unpaired ttest for Height Grouping Variable Populationsample Hypothesized Difference 0 Mean Diff DF tValue PValue male female Group Info for Height Grouping Variable Populationsample Count Mean Variance Std Dev Std Err male I 27 I 70444 I 5256 I 2293 I 441 I female 16 64688 6096 2469 617 voiume 4 issue 2 Segue The online ITteraryjournal of Wami University ddletown wwwmidmuohioedusegue Segue is published twice a year in April and November We accept submissions of high quality fiction poetry creative nonfiction and writing about writing yearround via email Before submitting please read past issues to understand the sort of work we publish then read and adhere to our submission guidelines Past issues are freely available in our Archive httpwwwmidmuohioeduseguearchivehtm Submission guidelines appear on the Submissions page httpwwwmidmuohioeduseguesubmissionshtm This publication may be freely distributed only in its entirety and without modi cation and only for private use It may not be sold for profit Excerpts may only be reproduced and distributed with permission from Segue and the authors The creative works published in Segue do not necessarily represent the views and opinions of its staff or of Miami University Editor Eric Melbye Managing Editor Michelle Lawrence Volume 4 Issue 2 Fall 2005 Cover art Bradley D Woods Un ted Oil on canvas 33quot x 44quot More information about the artist and his works can be found at wwwbradlewaoodscom Terese Svoboda Sheila Black Eve Rifkah Kenneth Carroll Andy Jackson H l ne Sanguinetti Translated byAm Cefoa Robyn Art Prakash Fleddy Kona Guido Monte Translated by Liliana Lo Gua ice Martin Ott Steve Mueske CONTENTS from 777 000 Commentary on 777 000 The Deer That Has Her Name Oasis The Global Multiplication of Common Ailments Metaphors Sunland Park Would Be Bank Robber Dead Wishes Runaway Almonds Hunger Tongues Riding Shotgun Poetry Club Pockets of air Impossible space You can39t draw lines on the waves of the sea from Left75nd EXporhg Daily Affirmations from the Last Republican Yogi On the Eve of the Solar Flare Weaving the Air Origines Craters of the Moon Roswell Cowboys Fire Tower Fog Bus 25 26 27 28 29 3O 31 32 33 34 35 36 38 4O 42 43 49 50 51 54 66 68 7O 72 Corey Green Maurice Oliver Alyce Miller Luis Arturo Ramos Translated by Martin and Traci Camp Lynn Strongin Contributors Beginning to write The Great Fire of Chicago 1871 Awaiting the Verdictlle MumblingYou Nodding ReportWaitReportWait The Visit The Uninvited Rainbows at Seven Eleven The Sixsided Snowflake Let Down Back Home Caged Peartree Writing Feverishly White Curls 73 74 75 76 77 78 80 117 118 119 120 121 122 TERESE SVOBODA from 777 God Chapter 8 All over the Middle West you nd people who know I39m here Why there was this woman in Minnesotaiyou saw her in the grocerylinekindofpaperiwho found me in her dishwasher on a scratched plastic Goofy cup And there are others who know there39s something going on and so are forever talking aliens Aliens and I don39t mean just the unregistered citizenslaves who trim trees and pick fruit they talk about people of real color purple for example with weeds attached to the person39s undersides or insect parts where their mouths should be Sometimes that same newspaper puts them on the front page with a star39s parts And there are also those who know there39s something going on but they can39t quite put their finger to it What they end up fingering usually isn39t god in general the human mind always running to evil like it does Remember the girl who last year offered her firstborn to the rising river l was behind her in my pickup Morning mumbles Rolf from the front of his kitchen while I39m taking up the rear booth as usual and signaling with two fingers for double eggs Usually he39s hanging over me looking down my front for whatever hint of d collet a plaid workshirt from LL Bean with darts affords Oh you forgot God39s not seXbound Heads up Or at least quit staring at that Goofy cup reproduced in color across the front of that greasestained paper Was it all that mention of broadcasting of seed getting scattered that made you put me down as Segue 42 4 male Think of my usual costume real sideshow beard and what can only be called a dress then fast forward a little press the amalgam button add LL Bean Trick or Treat Open your mind the way I open the local rag the way I read every little bit which is not a lot in print read it even though I know everything even the truth about the ads to convince people to sell plastic goods through the athome party method even about public broadcasting Today Rolf39s not so interested in me as in the pager he is nestling into the paw of the motheaten Kodiak bear that divides the bar from the kitchen A cop comes through the door for it I could have sold it boasts Rolf waving his broad white hand from behind the bear Sold it and made a fortune A genuine police unit like that The cop clips the pager back onto his belt That will teach me to get comfortable I hate cops I shouldn39t say this but some of them think they39re god Especially when they39re in uniform It39s a failing of mine this typecastingbyuniform I should get a uniform that would teach me Anyway whenever I see a cop I do not like to see him In response to this one waggle my paper like I39m casual and friendly then his pager goes off It does happen Doesn39t that mean you have to be somewhere else Says Rolf The cop turns the squawking down I39m here to protect you for however long it takes to get a takeout coffee With milk One white Rolf orders a passing waitress Rolf likes cops less than I do but he39s Chamber of Commerce Kiwanis Club Knights of Columbus Some of his best friends are cops This one dates his second cousin Segue 42 5 Seeiover there The cop tilts his chin toward Pork who39s sipping at his own coffee in a booth Pork hasn39t changed out of the clothes he drove to town in flowered shirt shiny pants and he39s added sunglasses My theory is says the cop the louder the clothes the more likely the crime You39ll be arresting the priest in his vestments next says Rolf Let me just play cop for one minute says the cop Okay Besides I thinkl stopped that dude not long ago I think we39ll just have ourselves a little conversation I39m allowed that Be my guest Rolf shakes his head then steps back behind the register to get a toothpick The cop sits down right in front of Pork steels his jaw and puts his hand on his holster He39s about to open his mouth when Pork says Excuse me officer and scoots out of the booth to the door Wish I could have a picture of that says Rolf watching Pork roar out of the lot The problem is the cop says taking a sip of Pork39s coffee is that they39re all guilty by the time they reach twenty I don39t know exactly what of but they39ve done it You could have said Stop or I39ll shoot says Rolf catching the waitress with the coffeetogo Rolf the cop says I don39t want to leave any holes in your place The coffee39s bad enough He sips off the lid of his cup Rolf barks like a seal when he39s really tickled his arms shaking helplessly like flippers at his sides He barks now he goes on like this even after the pneumatic door eases shut behind the cop Then he takes a big breath He slops a wet rag over to the booth where the boy and then the cop sat and he slides that rag way across the table as if he means to clean it though it is as clean as that Segue 42 6 rag then he leans way over to look under the table and pulls off a piece of paper stuck there I see all this from my vantage in the corner where he has forgotten me Nothing says nothing like something from the oven hums Rolf going back over to the register to insert a new toothpick into his mouth He crumples up the paper Then he spots me watching him He says Do you need a refill or what I look as if I have not seen anything I do that all the time since I see so much sol have it down I am not bothered by his What as belligerent as it is although I do not have the patience that I would like It is worn thin with parity and ranchers with Cadillacs that fart instead of honk Thank you I say and hold out my cup A waitress is beckoned As soon as I am finished I am going to drive out to check my field again Not one of those hired hands turned up yesterday to plow it under and all that undone growing wears on me all that grassinabeyance I follow Pork s route the one he hightailed out on the side road to where the goods have got to be right next to my undone field The wayward always return to the scene of the crime not for its possible reenactment or even to revel in the details but to doublecheck whether they39ve left anything In this case it39s everything Of course I know where Meanwhile Rolf tidies up as is his wont He crushes my leftbehind newspaper into a ball as small as that paper he had already pressed into the overflowing pail below the bar Then he tells a waitress he will be right back and looks longingly at the very large gun mounted over the entry He bought it at somebody39s divorce sale so long ago he couldn39t tell you if anybody ever promised it did work It works there looking good now as if he has hunted with it and will Segue 42 7 A Witching wand for people is what he needsibut he begins to drive Have you seen a black Porsche is not what he can ask the lady at the drivein bank window the only soul available in this cardriven country Instead he takes to the street all the streets in town which are not many They39re arranged in the usual grid these bisected first by train tracks and then lnterstate cloverleaf almost gothic in embellishment in comparison to the frame houses that front it so dutifully street after ruined street against its endless concrete Rolf drives to the edge of town to the bronze horse put up by the local orthodontist soldered onto a Boot Hill where eXhumed pioneers are found to have turned into rock a place where he can39t do anything else but reverse and drive to the exact opposite end of town to the living39s cemetery which he does This cemetery is bordered by the usual drag strip providing plots for dragsters about Pork39s age and car make But no Pork Rolf cruises past the one drivein that stays open all winter offering heaters and then to a quonset where halfbreeds dance in summer for what tourists disembark the cloverleaf and need the sight of people who don39t really live there either to make themselves feel at home or at least elsewhere No Pork Rolf has a moment of enragement He does not hesitate to stop the car and get out and pound on the hood A woman dusting the sill of her picture window not far from the dance site takes the pounding as a signal of the machine frustration that overtakes us all now and then since the invention of the cotton gin and not malice I drive by on my route that follows Pork s lifting my two fingers off the wheel in traditional car greeting Rolf is getting back inside his car sulking and thinking A sure sign he is thinking is that he puts the car in reverse Reverse is a more determined mode of transportation than forward is It just is ltgt Segue 42 8 Chapter 9 Kill him is what the whisperers say The way they say it hisses Wiping the vomit from his face with the grass the man walks on batting at the hissing in the grass with more of the grass he has ripped off This hissing might be a snake39s it might be solace Walking away is all he can do about his being lost and nauseous with the evidence of his lostness so sour behind him so somewhere Walking away from the hissing gives him a direction too He is not lost now Ever one to avoid confrontation even against his own interests Tall Pigeon Eye says Don39t be too hasty If he39s a man he might have brothers Some of the whisperers make shrewd sounds and nod and the boy begins again about what he saw in the night the army of metalplated men and the moon about god as light Tall Pigeon Eye and the others listen because boys old enough to hunt are men They look at the boy and each other in the silence after Send the boy back to the women suggests Tall Pigeon Eye The women can throw sticks to see if he is a god Tall Pigeon Eye has friends among the women Women paw at his backside his pigeony part as if that will tell them all their secrets He does encourage it It is fair the others decide this handing off of responsibility A god is not someone you take lightly or sometimes singly or onesexedly A god is not someone you kill quickly in a hunt They should ask the women The women of course would be distracted if they came to see god themselves Why doesn39t Tall Pigeon Eye just oust the man by changing water to wine or its grasspeople equivalent or stand on top of water and the like He could do that But it isn39t worth it to him This man with his metal hat will run out of steam soon enough Segue 42 9 Surely he is not god despite all the local stories about blueeyed mongrels landing via saucers on the sandbars and setting up shop Tall Pigeon Eye just doesn39t buy it even though they have no legends about pigeons that he himself can point to for his own ends Well he could raise a couple of dead to press his point but then he39d have to make appearances keep regular hours organize followersinot yet not yet is what Tall Pigeon Eye decides Besides he likes to think of himself as an office incarnate someone who39s around more to do the files and keep the desk clear and the general rahrah going and not so much for the personal as someone to petition and pray to On the other hand is this guy here to help him out Tall Pigeon Eye quashes that thought he has his pride his territory his people He has his style They all do Buddha a sitaround kind of god Shiva all wild arms and dancing Jesus casual posing with a lot of lumber They probably had rivals too The boy is sent He passes the god as he runs from the camp toward the women but his quiet passing is just another breeze and rustle to the man who keeps walking He knows the grass must end The ocean ended How long were they on that ocean Weeks and weeks The grass must end It will He will make it end By walking The boy is still running when he reaches the village clearing Gasping he runs up to the women who are at work chewing deerskin The dogs halt their constant sniff and fight at their feet to greet him The women give him a sprig of something to help him catch his breath so he can ask them what the men want to know The women spit out the deerskin consider their answer They ask him if he is hungry then they feed him the best they can cook roast bird new beans and mushino bread since he returns without warning The best food will test his truthtelling that39s what they know With smiles and encouraging gestures they take the food away after he39s started they take it away until he tells the story different three times then they let Segue 42 10 him eat it If he tells his story wrong once or twice it is less likely invented than questioned or elaborated or toned down The women decide what to say what to do They don39t decide easily by laughing at the men who are always reporting huge snakes or eagles that lift away their catch as a way to explain why they return with so little Instead they believe the boy It is his first hunt and he is the youngest ever to goiin height only halfway up the grassiand so he is not likely to know the stories that men produce for themselves They send the boy to fetch his sister She is picking beans on poles they erect to Me notched poles still so fecund they sometimes root and put out leaves though sometimes it is from the fish the women put in under the poles that makes them root and sometimes it is just the way the pole is pushed in This pole is tall and the girl hearing her brother calls out to him to help her to jump and pick the bean or beans just out of her reach She isn39t full grown but she39s shorter than he is You can tell from the size of her feet that her body is reworking its proportions sending out more growth This near ripeness is what the women want By the power of herbs and sticks whatever they gabble together out of things elemental the way they do now with electricity and sand into chips to fiX time to carbon date they decide she is ready to be ripe Besides all the other girls have been taken But she loves her brother He teases her for having only buds for breasts like a man then teases her breasts Watch them grow he says and they rise see the worship of one body for another I39m not incensed They always come back to me in time needing something less complicated more onesided less of the body that changes bodies that present wants who can know and keep on wanting She follows her brother to the camp because he says she must not because of what the women say tricking her out in ocher wrapping her ankles in hide moaning and Segue 42 11 chanting about how beautiful she is She knows why she is chosen and beauty isn39t the reason She is solemn and her face does not give off the glow that beauty does Unless she is with her brother To be alone with her brother in the grassiyes she will follow him They roll in the grass alone laughing silently Of men at hunt she knows nothing and he tells her nothing These are the men of the village fathers of girls her age and others men who complain of dirt in their fish or quarrel over rain and what to do about it Hunting these men are changed and anonymous and show none of the furtiveness they have with women Even her own father is no one to her he owes his thoughts to the grass alone and to the other men but not to the women or children What would her father say anyway Good luck you39re doing it for all of us What do the parents of the virgin ever say The men talk of her feet their large size and of the swale of her hips But not of Tall Pigeon Eye is her father Not exactly of course since he is my incarnate She and her brother were orphans and Tall Pigeon Eye being somewhat orphaned himself that is let down out of a cloud was given their care having no other He doesn39t know about the brother and his love for his sister because like all good fathers he doesn39t want to know Besides she is his daughter she must love him only But now custom has it that Tall Pigeon Eye must cut out Fathers even in the hunt in such a situation cannot be trusted There39s no blame in this The others would do the same if it were their girl That39s what they say Even if the results prove what he believesithat the man is not godithey sense like some hightech physics experiment that his presence will queer it They don39t know about the boy and his interest Tall Pigeon Eye eXits stage right as it were steps quietly into the grass and awaits some arrow or quail call or whistle to bring him back He wanders far and rages for as Segue 42 12 much as he feels he39s an office incarnate this is the most important moment of his time on earth as it is called and he has to be out of it Why Why It will take years and years of minor miracles and suggestive soothsaying for him to regain his position now For once he is tempted to throw thunderbolts He doesn39t because while he is gliding swiftly and furiously through the grass in debate he finds the man39s lost sword He pulls it out from between the thick grass roots that seem already to grow over it He turns it over and over in his hands Anyone who needs such a weapon must not be god This is the proof that he needs He hefts the flat of the sword onto his shoulder Here they seldom see metal at all or even sharp sticks Mostly bones He sights along its hilt to the end aiming it like the blunderbuss soon to come He drags it behind him like some kind of ploughshare He chops into the grass with it He flings it into the air and it flashes over the grass like a signal He flings it again Like a thunderbolt really he flings it against the wide blue sky under which stands his daughter already far away wearing nothing but hide around her ankles in front of the men and her brother and farther the man with his head down plunging through the grass and even farther the others with their swords one of whom looks up at a faraway glinting ltgt Segue 42 13 Chapter 10 What do we have here The Porkster in his Porsche moping Sitting around in that car having just escaped both an officer of the law and Rolf in the first degree afraid to get out of his vehicle even to scour the tornup field he39s parked in front of but knowing in that Porsche he might as well be on a turning pedestal with cheetahs jumping on his hood and a brass band in the background as to eXpect no one to find him At least the car is low to the ground No nook or cranny for a hundred miles could hide such a car and the stretch of land in front of him is as flat as a secretary39s assiwhat little definition there is is only in those plants still topsyturvy from the tornado He could go park in Jim39s tractor barn and hike out to here to make his search That would be an idea yes it would but an idea that would never cross Pork39s frantic moping and stalled brain as he is part of a generation that regards getting out of the car for anything other than elimination destination Besides he has allergies Walking through all these fields this time of year fills his head with slough closes every cavity in his brain swells his eyes shut makes his skin crawl This is not obvious at the beginning the first day or so but builds Yes it is not only fear that keeps him out of the field but his AC He adjusts its cold It calms him He then tunes to the swap shop on the radio in time to hear Evelyn trade her layette for a brandnew full length satin bride gown and veil which she will wear sometime real soonquot The word quotsoonquot makes him hunker down way low in his seat as if it will hide him the ignition twisted the battery draining AC full blast and the problem of the day laying itself out like a female dog on her back needing stroking Segue 42 14 He sees the buffalo at a distance and all he thinks is all the burgers it could become He reaches into the back seat for sustenance out of nervousness and a missed breakfast and his hand lands on the last of the maidrites he bought by the dozen in the dead of night the night before after the twister incident forced a delay in dining Steamed ground meat with pickle on a bun Not Mama39s tacos but he does not want to go home to Mama as happiness he believes will not follow He has already weighed her seeing his new quotMotherfuckerquot tattoo placed across the back of his neck against the possibility of death from Rolf and found in Rolf39s favor or at least equal He waits for Jim to show Whatever farmers do in amongst plants everyday they do it early Myself I don39t like that farmerdawnhype I also do not do a lot of machine maintenance that most farmers get into a lot of choochoo and weld They call what I like to do best pasture but I let even pasture run to seed getting the county agent out to complain and fine me for my noxious weeds growing acre on acre and threatening fellow farmers39 fallow Yet I am driving by as Pork unwraps the maidrite to wedge it whole into his mouth They39re not worth chewing really not much as food except for the pickle But even stuffing it in that way Pork does not live up to his name in style or demeanor that name given him when he was but short and rangy and in need of maidrites if not vegetables the name laid on him by his passedon father pinching his small boy fat cheeks That39s what he remembers but his dad meant p0rquewhy why why wanting a philosophical rational his wanderings not knowing about history and the DNA of compulsion Anyway Pork is all lithe body now a good dancing body is what he39s got and that39s important that39s his profession He keeps the name Pork because his dead dad gave it to him He didn39t get much else from the dead dad A sister a yearround tan Segue 42 15 I drive and park some two hundred feet past his shiny black Porsche with the smoked windows Didn39t I mention the windows The smoking39s a nice touch a further siren call to cops and dealers everywhere Pork regrets doing them now their unsubtle demeanor one which he considers briefly as he rolls one down and dumps a dozen maid rite wrappers out onto the ground in a way I see he doesn39t see me an unconscious dump Does he think about the ngerprints on his greasy lunchdinnerbreakfast wrappers as they blow up against the severed and bent and wild stalks of the tall windblown sorghum Is that why he gets out and tries to catch them But they39re all driven away by the very first gust and then blown over toward the buffalo that raises his head as if he eXpects them Pork leans in and cuts the engine then doesn39t look both ways just drags himself straight out into the field to get the search over with This is after all the point of him here and not there safe as it were in Denver Rolf has the note Rolf is cool or not he has to search the field no matter He is a long way off from the car when a crop duster comes skimming over the field Or is it an unmarked police plane He has been up in one of those compliments of a cousin39s cousin and has seen that police planes are supposed to crazyeight it if they are actually looking for peopleibut they can39t tell anything without a satellite anyway Not really not that high up so he doesn39t run or panic or even glance up until the plane swoops a little lower He39s very casual walking back to his car Nobody39s name incorporated is printed on the side of the plane it could be anybody39s The plane isn39t spraying anything but it could be looking to spray Or it could be just looking Whoever left the bag at the intersection for him in Denver could have a plane He now remembers hearing on the radio this size plane have these telescope things attached in front and reflectors that tell them everything They don39t need satellites Segue 42 16 Has Rolf told them about the slight delay in delivery While the plane curves to the west but not very west Pork bends down and scoops up a handful of mud from the irrigation ditch which he then applies to the side of his unscratched automobile in a clever kind of camouflage grinding the mud into the finish to make it stick to make it opaque and not so blackandglitteringcometomeCleopatra He does a good job smearing in the mud despite the anguish he feels losing the finish but is unable to resist adding a handprint to the side a sign of coup or the kindergartner39s delight Human Now the car is brown And ugly But maybe outstandingly ugly not the effect he is after From where now survey my fields those ruined husks I myself ruined with wind and whatnot from where wish it would finish in its ruin and I could get someone to plow it under before the season is too far gone and the government handouts handed out I can see he39s now moved from the disaster of his car toward where Rolf convinced Bessie his very own mother to dig holes A good number of holes The crop duster has now seen what it needs to and is arcing back in a long lazy loop to where it39s supposed to be Pilots often get carried away with piloting and add on that39s what Pork decides changing his mind about peeing into the dirt to make more mud That39s when he identifies the holes at his feet and starts cursing under his breath certain the bag is gone is now discovered I lose sight of him theniwhy would I want to see everything when the threat of that is so efficientiwhile he inspects the holes with his hands like a dog Because there is more than one hole he is thinking maybe the bag isn39t found that his own digging is still possible He shows up at the car again pops his trunk and pulls out all the shovel it affords the one for snow Segue 42 17 I could say something about the futility of putting this shovel into practice or the desperate measures Pork has sunk to I could but humor interrupts in the form of my guffaws with the sight of him using this awkward shovel39s corner to lever wedges out around the holes and then the corner of it used with his hands on other holes What he needs to believe is that someone has just taken some dirt to the bucket shop to check as a soil sample I don39t get past my guffaws to pity because Rolf knowing Pork and Jim get along like thieves has finally taken off down the highway in the direction of Jim39s field and indeed is now driving down this section line39s county road his vehicle dowsing the surrounding countryside with its black fumes because of today39s broken or unrepaired something charging straight on down here at top speed at least 35 mph his rounded fenders shaking like pig jowls over the loose road gravel Pork hears and takes cover Rolf dismounts his truck without turning the engine off and circles the Porsche touching the fresh mud opening and closing its doors slamming them the way you39re not supposed to with makes that expensive I wince as does Pork Then Rolf drives over to me Where is the kid who drives this car Ma39am he adds I take my time looking up at the car like I hadn39t even noticed it was parked there then I get out and walk right over to where it sits and inspect it real close Needs a wash I39d say Maybe it broke down What do you think Rolf leans out and touches the still wet handprint of mud Something he says Most likely broke down You39ll probably see him up ahead walking along wanting a ride I say I look up at him with one of my smiles that Shakespeare wrote abouticome hitheria nd he grunts Segue 42 18 He sits in his truck awhile He could break into the Porsche see if it starts But with me watching Pork is holding his breath in that field Pollen is doing its thing His nose wriggles he fidgets It gets hot l have him fall in love with the sorghum cob in front of him It39s no sexy willow or something with great bark like Diana had but it puts out charm He touches it stares abstractedly into the sky around itiyou39ve seen people do this their brains full of something they later can39t piece outiand he doesn39t move On some level yes it is about seX Pork does stir but that39s all just complimentary stirring to show my power over men with mere vegetables I myself fidget check the loose gravel at my feet Rolf idles Pork breathes loud through his sinuses I walk over to Rolf39s truck hoist myself up to driver level and lean down into his window showing off my notsobad wrinkled cleavage that he would not suck eggs to grope and I say Nothing better to do Rolf is insulted but confused by the cleavage He shifts his gears he puts it into first Nice to see you he says I hop off He moves away though not so fast He has nowhere else to check it is defeat from here on out but he leaves Pork sneezes like a piston in combustion sneezes sixteen times as he rushes out accidentally whacking at the plants with his snow shovel loosening up more pollen He stays low sneezing and running until he breaks through the end of the field No Rolf He looks over at me with suspicion He eases into his car and even clicks the lock Ol39i Segue 42 19 I don39t even turn around when he starts it when he drives in reverse the Whole way out of the gravel Segue 42 20 TERESE SVOBODA Commentary on Tin God We play until Deaf7 calls us inf Kurt Schwitters In 777 000 my forthcoming fourth novel whispers plague a desperate conquistador lost in tall prairie grass Four hundred years later a male gogo dancer flings a bag of dope into the same field God in the person of a salty Nebraskan farmwoman casts a jaundiced yet merciful eye over the unfolding chaos until fire brings the two stories togetherand a judiciously applied pair of pantyhose The book is a contemplation of divinity as well as drugs on the groundquot a funny history of the plains that transcends its Interstate spine Drugs and religion Marx would be happy I wrote the book in 1994 in a kitchen in Hawaii just as CannbaA my first novel was coming out to ward off all the good and the bad of having my first novel published from afar I had had a dream of the conquistador the year before that I39d turned into the poem Woman with Godquot which appears in my book Treason published in 2002 I39d started the parallel story of the lost bag of drugs in 1990 and put it aside as something I wasn39t ready to finish The story wasn39t worddriven and at that time I couldn39t write a narrativebound long work without draining the life out of it and me I tried with Cannbal After fifteen years of writing many many drafts in third person in transparent fiction in which doors were opened and closed and third person Segue 42 21 pov characters said this and that I came to realize there was nothing transparent in the novel39s story I couldn39t imagine what went on the heads of the Africans l was writing about or even in the head of the man l was with who casually mentioned all these years later that he might have been working for the CA in Africa I knew then all I had was my head I threw away all thirtyodd drafts I had written and rewrote the book completely from scratch I chose to use an extremely close first person pointofview so that reading it is almost like experiencing one of those virtual reality games that were so popular in the heyday of high tech where you put a helmet on and chased people on the screen with your joystick When I started 777 000 I tried to solve this epistemological problem by becoming god In the three chapters excerpted in Segue God the Nebraskan farmwoman frames all of the action of other principal characters Rolf Pork who is hanging around his hometown to try to recover the dope he ditched in a field in a moment of panic a conquistador and his compatriots and the Native Americans who think they should kill him For some obscure psychological reason I had no trouble playing god Of course a bossy authorial voice is not especially new given that Sterne39s and Defoe39s writing appeared in the 18 h century but it was new for me and allowed me to timidly toetest third person while always having trusty first person available to steer the narrative I wrote the first draft in alternating but unconnected chaptersiexcept for that voiceibut soon discovered that being able to doubledip did n39t guarantee a joining To create a relationship between two entirely different and asynchronous plots okay the plot of ground was the same is the work of metaphor a poet39s task Poetry Segue 42 22 means play to me Language play emotional play word play I published first as a poet then retrained as a novelist under Gordon Lish a literary phenomenon who prefers prose worddriven rather than character or even narrativedriven This suited me if not the marketplace I like to take license I use alliteration for fun drive resonance into the far corners of narrative and enjoy using first person a pointofview that poets often use to give the reader the illusion of being closer to the hysteria we all emote by I also do not shy from oblique language which is sometimes the sharpest tool available to fillet the most hidden events I also write short Coleridge is my god the fewest words in the best orderquot My first drafts of stories or chapters are usually five pages long my quotmeasurequot as it were I do not however see any harm in elaborating an image or idea the way Rick Moody doesithat 19 h century prose writer in the 215 7that is to say in taking a sentence too far because that might take the reader beyond his expectations always a worthy goal My work has been likened to Borges39 the novels of Denis Johnson and Conrad39s Heart of Darknessquot just read Johnson and am in awe What I like to readiif that is an indication of where my work is situatediare authors who don39t mind playingi the abovementioned Sterne Nicholson Baker Mark Richard Renaldo Arenas7Wow 777 000 stayed in the drawer for ten years A story of mine was collected in A Different Pan an anthology published by the University of Nebraska Press and l was invited to read it during the 2004 Nebraska Book Fair I met the editor of the press Segue 42 23 who wanted to see Faz Paz z e the novel I was currently working on my answer to Willa Gather I gave her 777 Goainstead I am playing with her iTerese Svoboda Aug List 25 2005 Segue 42 24 SHEILA BLACK The Deer That Has Her Name quotThe way to Whatever matters begins after that quot 7Chares Vlright As if the table of lost innocence was written in the land itself my daughter repeats the story of the primal forest and the wars that spread over it like oil igniting She is four We do not know how she learned the words The mother dead the children bleeding out Oh their anters spread them on the ground She says her friend the deer that has her name has told her What words can we use for what we see The meadow is high and clearcut years ago Felled trees along the trail crumbling to mulch highway sounds two hills away When we go uphill our breath comes harder We stumble into the stones at trail39s edge This ground is layered pine needle beetle house raven dropping spoor of elk rock notched like a crescent moon If we kept walking this way how much could we forget Our daughter tells us This is Where she Was This is Where she came from And as if we were sliced imperceptibly open the deer39s body enters us her rasping breath the weight she carries but the story does not change not even with her inside us Segue 42 25 Oasis The house we bought clings to the edge of the irrigation ditch and so the yard is moist and deep with whispering grasses Pecans loom high over the chicken wire fence and there are crab apples and figs which remind us foolishly of paradise Blue mosquito cloud this morning when I threw open the back door and the water sivering at my feet illustrating that ifyou irrigate even the desert will flower Once I loved a man who sought to devise ways of building artificial oases He claimed one could seed a cloud bring small rain and by patient repetition create a miniclimate where palms would grow bearing sweet brown dates and a water hole where the desert creaturesifox rat cameli could come and quench their thirst Chill he said The pure element And he told me how for the Tuareg to cup such water in the hand and drink was the sum of paradise He mocked his calling often Nights I would wake and catch him at his desk numbers trailing from his fingers in bursts You cannot separate pain from pleasure he insisted an eXile His oasis then truth or mirage like this garden where I sit with my children recognizing him gone to me forever Where did his busy fingers go the elaborate equations he traced in his wirebound notebook or his tenderness for me hand reaching up to coil my own blown hair around my ear so that I might better hear him The flower must be rare or mean nothing I think our lives empty trumpets like the morning glories which curl around the damp fence the golden pollen inside breaking into the air the brig ht traces of them everywhere Segue 42 26 The Global Multiplication of Common Ailments Think of it as the dropped stitch the name you lose or the word which slips into another as fingers into a glove humidity for humanTy Sanskrit for seaside A picture of the brain bathed in its red sea generating re generating the cells cooling slowly as the cooked roast cools on the windowsill This is only an ordinary horror You stand in the driveway leaning over the hutch of the car pulling out the petroleum plastic bags full of red chops apples a year old but still polishedwax gleaming The wind skitters over the sound of traffic Are there birds You can no longer hear them In the front seat the radio plays for no one Here is a song about a man driving his girlfriend out to a deserted country road It is the silent kiss he wants but you imagine the sudden eruption of violence hands in gloves staggered breath Later you will put the oil in the pot you will dice an onion on your bare palm daring the blade to break the skin When it is golden you add the canned tomatoes This is dinner You try to remember how to taste it fully in the moment but instead you find yourself halfmelancholic cataloging the names the faces you are already forgetting The world itself cools in its sea bath like the mind that is tired of imagining everything If it were a theatre if you could say Pause break out and the lights go out and the blessed coolness of the night on the rows of velvet seats the tenderness of the discarded wrappers Segue 42 27 Metaphors I could say l was the boat whose port had burned so that the only journey I could make was backwards or on and out into the shining emptiness of the waves where what was behind could appear at moments to shimmer out of the waste I could say l have one foot here and one foot there larch backwards like willows or rainbows I keep breathing despite this shed skins as trees shed bark or drop their seeds into the November winds and come spring the seedlings burst forth pieces of the whole but changed I could say the trees remember somewhere that there was a root that begat them but that this memory has become ingrained their very sap composed of it so that memory and present experience are sisters separated by the slenderest pane of glass a place where nothing can ever be as it is and even to go there is to shatter a little to feel oneself bleed I could say the trees bleed into the ground and the ground bleeds into the trees and this leeching always of one into the other this taking in of the other is the truth of love That love is the pane of glass that makes you hyperaware that you can come ever closer and still never touch except sideways through the currents of memory which are like the currents in deep water a sudden shot of warm a color diffusing up through the layers reminding you there is always more to imagine a country you might reach as in those night journeys of trains and suitcases where what you remember is the way the light you left was a nimbus around the mulberries where a single daffodil might undo you that golden throat reaching nowhere Segue 42 28 Sunland Park Would Be Bank Robber Dead What is this tenderness in the light the grasses unfurling You delighted briefly by life in fastforward all the elements of plot and place discarded Roaring 1 10 and the police cars and border patrol vans the glint through the sideviewmirrors She wants out She hits you in the chest even though you are driving It makes a dull thudiforetaste preamble Even then it is most performance but already you can sense the workings backstage small house glitter of concrete the yard of dead grass Chest eye sweat the breath that lifts ice pink like the light of the angel whose name you cannot remember who is the gold light in the window who tells the girl that what has been started cannot be stopped When you woke up before dawn and thought z is beginning When arcing back you cannot tell the difference only that it is the sky you picture like a person grown so large one hand cannot touch the other What you do not know is eventnng Segue 42 29 EVE RIFKAH Wishes lwish said the kid lf wishes were horses then beggars could ride the ma said again and again the kid knows futile learned early no wish way out kid stares at the calendar imagines piles of calendars to wade through don39t much matter what the picture is it39s the time that matters all those days all those years till gone till outa here away from crazy ma to make wishes the kid thumbs another page in the secret cave of covers wishes need waiting need hoarding need faith the kid never learned faith on high holiday visits to shul kid doesn39t know what to think of faith but files away more wishes by the day If wishes were love then the kid would but the kid doesn39t want to ride there Segue 42 30 Runaway The kid reaches for the knob tries to open door of the attic apartment all tight angles triangles the kid remembers from kindergarten The dad asks where are you going kid wants away wants gone wants outa here the kid knows trap knows steelteeth clench knows fear is on the inside The kid tells the dad wants leaving the dad opens the door dark stairs drop down and down the dad walks with the kid stair by stair at the bottom opens last door cold air races in streetlig hts through tree branches shake shadows like fingers like claws The dad asks where will you go The kid looks out to dark to impossible the kid learns the kid is just a kid no way to go alone The kid turns back to door back to open to gone climbs the stairs Segue 42 31 Almonds The ma used Jergens The narrownecked bottle bibbed in black label scent of almonds The kid breathed in tainted each in hale each breathblackening sigh The kid took to breathing into a fuzzy lamb centered on a blanket dragged every where breathed hollow breathed deep The ma starts cutting bits each day the blanket shrinks to lost lamb then to gone The kid turns to breathing blanket bindings silken borders tattered and torn to pajama sleeves patterns fade inexplicably a gray permanence persisting the kid cuts cuff from sleeve Hides for years Segue 42 32 Hunger The kid picks at the scab of dried something on the fork looks down the straw before lowering to glass Chocolate milk never white never anything like from the ma The kid walks on tiptoes as much of feet off floor as possible Some say it39s a genetic trait for the kid it was floors to be leery of foot yanked scritch away Kid forked mashed potatoes flat searching out lumps to avoid lumps to stick to block all air to suff o cate That s what the kid thought Wished the ma would as the ma crammed white bread and chicken fat into her craw Maybe this time But the kid knew escape was in the wait Segue 42 33 KENNETH CARROLL To ng ues quotHe Who makes a beast of himself gets rid of the pain of being a man quot 78amuel Johnson trip over the names of foreign cities where weird horticulturists are trying to grow daisies in shifting semantic sands where peace is fertilized with decomposing bodies where men speak in silly vernacular describing brutal death in technical jargon amp john wayne cliches quotmeeting the enemy Wherever they are here in cities whose names are familiar to my tongue a beast of a man is lying assuring the blinded faithful of a victory anointed in tears this political anthropoid does not feel is not moved by escalating funerals does not dream of the humanity of his enemies cannot hear their death rattles amp the wailing of families here he selects new victims garnishes their intentions with the cruel moniker of hero sends them off to perish in a lottery of killing an assured roulette of wasted humanity ln foreign cities a clash of foreign tongues men are learning that pain can be assuaged in beastly acts they are learning a language that requires no healing Segue 42 34 Riding Shotgun You riding shotgun grandma said my face glazed over quickly with ignorance in all my 12 years I had never heard such a thing riding shotgun l repeated seeking explanation all I knew was that l was sitting next to grandpa in the front seat close enough to smell his hikarate aftershave amp trace the veins in his hands as they knitted like winding creeks around his slender hands and unfurled as long rivers up arms the front seat with grandpa a rare allowance for a child born in a time when a lack of reverence for any adult could find your behind burning from a switching In the backseat my jealous brothers amp sisters rolled their eyes snaking their tongues furiously out of their mouths to mock me grandma broke the term downriding shotgun there was something John Wayneish about it something my cowboy amp indian ass could dig the image was phat I imagined myself Nat Love of the projects afro peeking out from the brim of my Stetson steel faced eagle eyed brother winchester between my legs scouring the horizons for bandits amp navajo lwish I could have seen the cancer coming that took grandma or the alcoholism that would steal my father39s eyes from me but my job was simple to make sure the coast was free of obstruction for grandpa39s bifocal maneuverings as we headed to our ancestral grounds in upper marlboro what ya see boy asked grandpa intermittently even when it was obvious he needed no help my eyes spinning furiously never leaving the road I answered simply its all clear over here grandpa amp it was as far as I could see Segue 42 35 Poetry Club for NkI a woman is yelling from a doorway august lingers like the smell of burning wire she is admonishing children who are not hers quotget off that tree they planted it for the dead girlquot I wonder if this tree will live long enough to be baptized in a dc thunderstorm or provide shade for the weary at the bus stop this sapling named after the girl you murdered reminds me of your first poem full of promise in need of care I looked for that poem when I got the news all sudden amp sideways amp easy to doubt not like the movies where an old white dude with a calm modulated voice asks you to sit down instead a 15 year old blurts out this horror launching it abruptly into my brain without count down or build up Nikki killed dat girlquot I hold myself together with feigned ignorance wishing to have no knowledge of a language capable of conveying the story of a butcher knife plunged into the future of a 14 year old by a 13 year old but the young voice thwarts my retreat into this mirage of denial wants to know when the poetry club will start again as if there is a poem big enough to fill the gaping hole that has produced this obscene absence I watch you walk again for the first time into my workshop hands on bouncing narrow hips eyes already rolling without provocation you pretending not to listen but refusing to Segue 42 36 leave your smile a scrim for your anger looking for your poem I find your picture I want to run to the court where you are being arraigned insist that the judge examine your smile amp imagination demand that they be declared exculpatory evidence but he will show me this tree this thin frightened maple its root fertilized with blood amp a grandmother39s tears bearing the name of a dc holocaust victim I remember how you snatched your poem from me your response to my compliment you hopscotching between rage amp joyous innocence the 15 year old wants me to believe that you would have traded that knife for a pen that behind all that sucking of teeth amp attitude was a poet39s face trying to recognize itself When are we going to start the poetry club again I hear between the pulsing migraine of words that tell me you are a murderer that repeat a mantra louder than a February chorus of I39ve Known Rivers Nikki killed dat girlquot I long for the belief of zealots amp new lovers wish that I could believe in the ability of words to replace embraces could believe that children sent to or left to be swallowed by despair on this side of the river can choose life amp art when death amp destruction are more potent amp available I remember how you returned your poem to me crumbled up like hardening snow unleashed from your fist onto my desk its only edit your signature amp an august thunderstorm gathering above your smile Segue 42 37 AN DY JACKSON Pockets of air Returning again to the town of your birth by train feeling the weight of all you have carried back you take a slow deep breath You know the clear air here is held in like city opinions the broken world filtered through small cornered screens All the storefronts and faces seem the same 7 pale and alert The open spaces between bodies eXpand as you pass Is it because the magpies recognise you that they swoop You39re here to sift through what39s left of the old family home before it39s levelled and replaced with flats Like a chance for a word that could39ve taken life somewhere else together you let this house go Now it sits under an aura of dust and the relics are like pebbles left on a path of years They say your future is built with these To kneel on the floor of your room without touching the carpet is as difficult as tenderness at dinner in front of the TV but an archaeologist cannot help but sift the stakedout ground try to brush aside what was to find what should be The tense net of events that make a family is a beehive you39ve stuck your hand into So far you hold only your breath and a heightened sense that if life can39t find those rare pockets of air it feeds upon itself This sound draws you back out 7 the low hum of the car consuming the driveway the boot packed with the usual valued things 7 meat fresh Segue 42 38
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