Corvus Review

Total Page:16

File Type:pdf, Size:1020Kb

Corvus Review CORVUS REVIEW ISSUE 8S 2017 2 TOC A. Mughal 3 S. Roberts 140 J. Schueler 235 C. Kosch 9 J. Hunter 142 M. Minassian 236 G. Jeffers 12 N. Kovacs 148 R. Flanagan 237 T. Elson 17 T. Rutkowski 151 Flash Fiction Competition Winners B. Iozzia 21 B. Diamond 153 Hon. Mention: A. Trodd 238 B. Stanwyck 23 F. Miller 157 2nd Place: C. Stanley 240 J. Manzano 25 K. Casey 166 1st Place: R. Reeves-Murray 242 E. Ferry 31 K. Hanson 168 S. Leet 32 J. Butler 171 Bio’s 244-E N. Orts 33 R. Massoud 173 T. Mihocik 41 C. Valentza 178 T. Frank 47 D. Vitucci 179 J, Serri 52 J. Hickey 183 B. Petersen 58 J. Bradley 188 M. Waldman 66 S. F. Greenstein 189 S. Slavin 75 J. Mulhern 195 C. Wellons 77 B. Varghese 201 R. Heby 78 K. Maruyama 208 A. O’Brien 80 Poetry P. Beckstrom 83 E. Smith Sleigh 216 J. Bristow 85 M. L. Johnson 217,218 D. Marsh 88 (NF) B. Abbott 219 C. Palmer (NF) M. Ehrlich 220 R. Hemmell 97 (SF) D. Hearne 221 K. Shields 99 R. Stout 222 J. Half-Pillow 101 D. Mager 223 M. Wren 109 K. Hemmings 224, 225 D. Clark 110 N. Rounds 226 P Kauffmann 112 K. Dronsfield 228 J. Hill 115 J. Zola 229 J.Gorman 117 P. Ilechko 230 B. Taylor 124 N. Crick 231 M. Ferro 131 I. Orpi 232 M. Laing 133 M. Danowsky 233,234 3 The Ear Alisha Mughal I left the house that morning because I felt trapped inside — stifled within those whitewashed walls, looming over me blank and silent and expectant. Intimidated by the boxes piled high that needed unpacking. I couldn’t get any window to open and I couldn’t breathe. There didn’t seem to be enough fresh air around me. It was stuffy, the house, full of only my own stale breath. Stuffy especially when compared to the day beyond those stuck windows. The clear blue sky, the sunlight like the tawny pages of an old book that flooded the lane winding away from the house and toward the town, the playful breeze that stirred and flirted with the skinny branches of the still-naked trees. It made me feel left out, overcome with a palling sadness that a part of me could not abide by, the part of me that saw the vibrant and open day, not the part of me that felt sorry for and lingered over my body trapped within the house. It was the part of me that wanted me to be active in the day, walking that warm lane and feeling the cool air carousing with my hair. It was the part of me that won because I stepped out. And I walked. I thought as I walked. About myself. I walked to the field that roamed a way before the entrance to the town, the field with the tall gnarled grass and the dilapidated church. The sky was so clear — a glazed blue that looked like a frozen lake at dusk, right before the sun leaves the lavender sky in a pink and orange blaze. The expansive field itself — seeming without end, meandering to meet the sky at the horizon, the grass lilting in the breeze like the softly-rippling waves of a calm sea, the only interruption the leaning church that with its overgrown pathways seemed a floating glacier — seemed to exude the yellow light for the day. It was the tall grass, baked beige and white, that seemed to glow. But, as I walked into the field, I noticed that near the ground the grass was budding green, as if secretly, like a face blushing pink beneath a mask. I made my way into the grass, parting it with my arms in front of me as I walked. It reached up to my waist. I had no aim, I just walked. Until I found myself in a small clearing in the grass, a little way away from the church. It was really just the tall grass flattened, as though someone had been lying there with the dry grass beneath them a scratchy mattress. In a little corner on the ground, on top of the flattened grass, was a small pile of rocks. Or pebbles rather. I looked up around me and then down at the pebbles again. I assumed that whoever was here had collected these pebbles and had been throwing them at the church, which more than anything now was a collection of beams lazing uselessly against still-standing beams, whatever was left of the framework, a useless and decaying skeleton. I don’t know why I assumed this — it just seemed like something I would do. And why should my thinking be any different from someone else’s? I picked up a pebble. It was smooth and round and looked more as though it belonged at the bottom of a raging river than in this field. I threw it toward the church. It struck a beam, I could tell not which, and about me exploded a flat sound, like a car 4 backfiring. I picked up another, and again threw it without aim at the church. The flat sound splintered through the air and fell away just as flatly without an echo. A frail beam fell over and down from its leaning position, down with a tedious thud, sending up a cloud of dust like a trapped ghost whose hem had been caught for the longest time beneath an edge of the beam. It was satisfying — the throwing, the inevitable flat sound that at the same time felt substantial because it was so loud. I threw another pebble, and then another, thinking, as I carried out my novel but inefficient demolition method, about oranges. I remembered a day when I was a kid, like this one, filled with the same soft yellow light. I remembered white linen curtains billowing in a warm breeze like the one that now played with my hair. I was eating oranges and wondering how whoever made them filled the tiny pulp packets with juice. I remembered my mother laughing and then telling me that it was God who did that, all by himself, and that no task was too outrageous for God. I remembered imagining myself carrying out the task but then, growing impatient, giving it up, deciding it impossible that God wouldn’t have given up. My eyes still on the church’s framework, I reached my hand down again and found myself holding something warm and soft, not cool and hard and smooth as the pebbles had been. Not absolutely malleable either. I looked in my hand and found myself holding an ear, a human ear. Reflexively, my hand jerked away from under it and it fell to the bed of flattened grass. I wiped my hand on my shirt with my eyes still on the thing. I looked around. There was nothing there in the wide yellow field but the leaning dead church. Nothing there but the clear sky above. I kneeled down to get a closer look at the ear. I half expected it to move, to get up and walk away, but it didn’t. It lay there, looking beige and pink and alive. I poked the lobe with my finger and it was still warm and soft, gave slightly under my touch, not at all as I’d expected a dead body part to be — tough and waxen. There was no blood on it. Where it had been severed — if it had been severed — from whatever head it belonged to there was a pink demarcation line, no gore. Just an inoffensive pink, like a still-healing wound before it becomes dense and dry scar tissue. I pulled out an unused tissue from my jeans pocket — because I always carry tissue because you never know when you’ll need tissue — and scooped up the ear with it. I wrapped it up in the tissue and made my way out of the field. I kept the small parcel in my hand, feeling that putting it in my pocket wouldn’t be right. I walked the dusty lane away from the field and the dead church and into town, to the Sheriff’s Department. Away from the golden field under the gauzy sky, the town was grey, simmering under a thunderhead that seemed to have snuffed all the yellow out from the day. The Sheriff and his buddy Roy Palmer, each apparently without a care, were rocking sleepily on the porch of the Sheriff’s Department in their rockers, their black straw panama hats nudged to the far nether regions of their heads, each reclining deeply. Roy was chewing on the nubile green base of a long blade of glass that ended frayed and far away from his mouth — he’d probably plucked it from the yellow field. The Sheriff was chewing on tobacco, a silver metal spittoon near his legs, which I kept my distance from. 5 “Howdy, Katie,” the Sheriff said from his rocker, turning his tan, weather-beaten face up toward me and brushing his grey hair, still speckled with some stubborn black, out of his eyes. Roy nodded in my direction and the blade of grass quivered, waving a nervous hello. “Hello Sheriff Truman. Hello Roy.” “I hope you and your husband are settling into our little village nicely,” the Sheriff said. I told him that we were. I didn’t tell him that after two weeks I still hadn’t unpacked anything but the barest of essentials.
Recommended publications
  • Interview with Nelly White
    What have you been doing up until now? NELLY: I signed a deal with Arpej Yapım in the autumn of 2017. I’d pretty much had a finished album when having talks with them, and I’d spent two years completing that to the mastering stage. I was working as musician in the evening, and in between my daily life found time to record the album. I have a growing family and that took up a lot of energy. I decided to concentrate my efforts on producing the music that I had been writing since my teens and through to today. An amazing bunch of musician friends came together and played on the album. Those brilliant people didn’t take any money for their efforts, as they had heard what kind of music we were producing, and they were just happy to be a part of it with us. I also worked with Engin Kaan Günaydın, drummer of The New York Gypsy All Stars, and internationally recognised group playing Turkish Jazz Fusion. Nelly White At the end of the recording process the group went to Istanbul and played in Nardis Jazz Club, as virtual unknowns, but we had an amazingly warm reception from Zuhal Focan, her team and the audience, and Zuhal was really ignited by our music. Along the way during the albums’ mixing process, our sound engineer happened to play some of the tracks to Genco Arı, who instantly picked up on the music. He loved the sound we were producing and offered to get involved. When I heard this I was over the moon, and I believe that his influence in the album and the direction he took the songs, really made a massive difference to the final production.
    [Show full text]
  • Whiskey River (Take My Mind)  I 
    whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams.
    [Show full text]
  • Bid Opportunities
    L SMAL BUBUSINSINEXCHANGCHANGEE SSNORTHEASNORTHEASTT • NEWS • INFO EXTRA • BIDS Volume 37, Edition 5E • February 12, 2021 Published by SBE, Inc. • DBE/MBE/SBE 1984 36 2020 Best Practices for Hiring Subcontractors look at those projects and check their references. By Danielle Levine Hire the subcontractor that has its next jobs lined up. If this subcontractor has a waiting list, it is more Hiring the wrong subcontractor can create than likely that they know what they are doing. a variety of consequences, especially for small contractors. Here are six points to consider when 2. Define scope of work hiring subcontractors. Outline a clear, detailed, scope of work so that when evaluating the subcontractor there is 1. Be selective when hiring a well-defined set of requirements to check their Never settle for a subpar subcontractor. Vetting qualifications against. Define the scope of the ahead of time is critical to success. Find out: project verbally and in writing. Not only does • If they have the same goals as the company this serve as a record, but it also allows the • How ambitious the subcontractor is to get the subcontractor to look at each piece of it. The process job done of defining the scope of work is an opportunity for • If the subcontractor is known in the industry the subcontractor to: and has a good reputation • Identify conflicts or challenges associated • What their capabilities are with their scope of work • Whether they can follow simple directions, • Speak about the proposal e.g., proposal submission procedures • Come to the table with solutions, ideas, and • If this just another job or will they engage in problems that could occur subcontractor against multiple criteria.
    [Show full text]
  • The New York City Waterfalls
    THE NEW YORK CITY WATERFALLS GUIDE FOR CHILDREN AND ADULTS WELCOME PLAnnING YOUR TRIP The New York City Waterfalls are sited in four locations, and can be viewed from many places. They provide different experiences at each site, and the artist hopes you will visit all of the Waterfalls and see the various parts of New York City they have temporarily become part of. You can get closest to the Welcome to THE NEW YORK CIty WATERFALLS! Waterfalls at Empire-Fulton Ferry State Park in DUMBO; along the Manhattan Waterfront Greenway, north of the Manhattan Bridge; along the Brooklyn The New York City Waterfalls is a work of public art comprised of four Heights Promenade; at Governors Island; and by boat in the New York Harbor. man-made waterfalls in the New York Harbor. Presented by Public Art Fund in collaboration with the City of New York, they are situated along A great place to go with a large group is Empire-Fulton Ferry State Park in Brooklyn, which is comprised of 12 acres of green space, a playground, the shorelines of Lower Manhattan, Brooklyn and Governors Island. picnic benches, as well as great views of The New York City Waterfalls. These Waterfalls range from 90 to 120-feet tall and are on view from Please see the map on page 18 for other locations. June 26 through October 13, 2008. They operate seven days a week, You can listen to comments by the artist about the Waterfalls before your from 7 am to 10 pm, except on Tuesdays and Thursdays, when the visit at www.nycwaterfalls.org (in the podcast section), or during your visit hours are 9 am to 10 pm.
    [Show full text]
  • An Advanced Songwriting System for Crafting Songs That People Want to Hear
    How to Write Songs That Sell _________________________________________________________________________________________________________________________ An Advanced Songwriting System for Crafting Songs That People Want to Hear By Anthony Ceseri This is NOT a free e-book! You have been given one copy to keep on your computer. You may print out one copy only for your use. Printing out more than one copy, or distributing it electronically is prohibited by international and U.S.A. copyright laws and treaties, and would subject the purchaser to expensive penalties. It is illegal to copy, distribute, or create derivative works from this book in whole or in part, or to contribute to the copying, distribution, or creating of derivative works of this book. Furthermore, by reading this book you understand that the information contained within this book is a series of opinions and this book should be used for personal entertainment purposes only. None of what’s presented in this book is to be considered legal or personal advice. Published by: Success For Your Songs Visit us on the web at: http://www.SuccessForYourSongs.com Copyright © 2012 by Success For Your Songs All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. How to Write Songs That Sell 3 Table of Contents Introduction 6 The Methods 8 Special Report 9 Module 1: The Big
    [Show full text]
  • Джимð¸ Хеð½ð´Ñ€Ð¸Ðºñ​Ð​лбуð¼ Ñ​пиÑ
    Джими Ð¥ÐµÐ½Ð´Ñ€Ð¸ÐºÑ ​ ÐÐ​ »Ð±ÑƒÐ¼ ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (диÑÐ​ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ​ ‚а & график) Both Sides of the Sky https://bg.listvote.com/lists/music/albums/both-sides-of-the-sky-50359596/songs Machine Gun: The Fillmore East First https://bg.listvote.com/lists/music/albums/machine-gun%3A-the-fillmore-east-first- Show show-26252759/songs Songs for Groovy Children: The Fillmore https://bg.listvote.com/lists/music/albums/songs-for-groovy-children%3A-the-fillmore- East Concerts east-concerts-76281672/songs Electric Jimi Hendrix https://bg.listvote.com/lists/music/albums/electric-jimi-hendrix-3502683/songs Friends from the Beginning – Little https://bg.listvote.com/lists/music/albums/friends-from-the-beginning-%E2%80%93- Richard and Jimi Hendrix little-richard-and-jimi-hendrix-5504236/songs Jimi Hendrix's unfinished fourth studio https://bg.listvote.com/lists/music/albums/jimi-hendrix%27s-unfinished-fourth-studio- album album-55615088/songs https://bg.listvote.com/lists/music/albums/the-complete-ppx-studio-recordings- The Complete PPX Studio Recordings 9357901/songs Back to Berlin! https://bg.listvote.com/lists/music/albums/back-to-berlin%21-9163907/songs Experience https://bg.listvote.com/lists/music/albums/experience-583526/songs Band of Gypsys https://bg.listvote.com/lists/music/albums/band-of-gypsys-769971/songs Kiss the Sky https://bg.listvote.com/lists/music/albums/kiss-the-sky-690950/songs Nine to the Universe https://bg.listvote.com/lists/music/albums/nine-to-the-universe-654289/songs More Experience https://bg.listvote.com/lists/music/albums/more-experience-680792/songs
    [Show full text]
  • 12 Clark Street OWNED by SAME FAMILY SINCE 1952 OFFERING PROCESS
    BROOKLYN HEIGHTS 12 Clark Street OWNED BY SAME FAMILY SINCE 1952 OFFERING PROCESS EXCLUSIVE REPRESENTATION Newmark Knight Frank has been DISCLAIMER exclusively retained to represent the Seller in the sale of 12 Clark Street (“Property”). All inquiries about the This Memorandum has been prepared by Agent for use by a limited number of Offering for the Property should be parties, and does not purport to provide a necessarily accurate summary of the directed to the Newmark Knight Frank Property or any of the documents related thereto, nor does it purport to be all- Marketing Team. inclusive or to contain all of the information which prospective investors may need or desire. All projections have been development by Seller and Agent, and designated sources, and are based upon assumptions relating to the general PROPERTY TOURS economy, competition and other factors beyond the control of Seller, and Prospective purchasers will have the therefore are subject to variation. No representation is made by Seller or Agent as opportunity to visit the Property on to the accuracy or completeness of the information contained herein, and nothing scheduled tour dates and must be contained herein is, or shall be relied on as, a promise or representation as to the accompanied by a representative of future performance of the Property. Although the information contained herein is Newmark Knight Frank. Prospective believed to be correct, Seller, Seller’s agents, attorneys, representatives, and its purchasers should not contact the site employees, disclaim any responsibility for inaccuracies, and expect prospective staff directly. purchasers to exercise independent due diligence in verifying all such information.
    [Show full text]
  • The Ultimate Listening-Retrospect
    PRINCE June 7, 1958 — Third Thursday in April The Ultimate Listening-Retrospect 70s 2000s 1. For You (1978) 24. The Rainbow Children (2001) 2. Prince (1979) 25. One Nite Alone... (2002) 26. Xpectation (2003) 80s 27. N.E.W.S. (2003) 3. Dirty Mind (1980) 28. Musicology (2004) 4. Controversy (1981) 29. The Chocolate Invasion (2004) 5. 1999 (1982) 30. The Slaughterhouse (2004) 6. Purple Rain (1984) 31. 3121 (2006) 7. Around the World in a Day (1985) 32. Planet Earth (2007) 8. Parade (1986) 33. Lotusflow3r (2009) 9. Sign o’ the Times (1987) 34. MPLSound (2009) 10. Lovesexy (1988) 11. Batman (1989) 10s 35. 20Ten (2010) I’VE BEEN 90s 36. Plectrumelectrum (2014) REFERRING TO 12. Graffiti Bridge (1990) 37. Art Official Age (2014) P’S SONGS AS: 13. Diamonds and Pearls (1991) 38. HITnRUN, Phase One (2015) ALBUM : SONG 14. (Love Symbol Album) (1992) 39. HITnRUN, Phase Two (2015) P 28:11 15. Come (1994) IS MY SONG OF 16. The Black Album (1994) THE MOMENT: 17. The Gold Experience (1995) “DEAR MR. MAN” 18. Chaos and Disorder (1996) 19. Emancipation (1996) 20. Crystal Ball (1998) 21. The Truth (1998) 22. The Vault: Old Friends 4 Sale (1999) 23. Rave Un2 the Joy Fantastic (1999) DONATE TO MUSIC EDUCATION #HonorPRN PRINCE JUNE 7, 1958 — THIRD THURSDAY IN APRIL THE ULTIMATE LISTENING-RETROSPECT 051916-031617 1 1 FOR YOU You’re breakin’ my heart and takin’ me away 1 For You 2. In Love (In love) April 7, 1978 Ever since I met you, baby I’m fallin’ baby, girl, what can I do? I’ve been wantin’ to lay you down I just can’t be without you But it’s so hard to get ytou Baby, when you never come I’m fallin’ in love around I’m fallin’ baby, deeper everyday Every day that you keep it away (In love) It only makes me want it more You’re breakin’ my heart and takin’ Ooh baby, just say the word me away And I’ll be at your door (In love) And I’m fallin’ baby.
    [Show full text]
  • ACCESS DENIED Making the MTA Subway System Accessible to All New Yorkers SHARE of STATIONS with Elevator Access 23%
    ACCESS DENIED Making the MTA Subway System Accessible to All New Yorkers SHARE OF STATIONS with elevator access 23% NUMBER OF OUTAGES a rider can expect to encounter in one year at the current elevator 90 availability of 95.7% NUMBER OF OUTAGES a rider can expect to encounter in one year at the desired 10 elevator availability of 99.5% PERCENT OF NYC RESIDENTS in 2030 who will be 65 or older 15% AVERAGE OUTAGES 25 elevators througout the system experience on a daily basis YEARS UNTIL the NYC subway system will be 70 fully ADA accessible at the current pace of elevator construction LAST UPDATE the MTA made to its list 1994 of stations in need of accessibility upgrades COST PER RIDE $70 for the MTA to provide para- transit service to New Yorkers unable to use the subway Data collected from the MTA for July 2014-June 2015 & the NYC Department of City Planning 1. Introduction The Metropolitan Transportation Authority (MTA) and New York City Transit (NYCT) operate the least accessible major subway system in the country for people who require stair-free access. Nearly 30 years after the passage of the Americans with Disabilities Act (ADA) of 1990, only 23% of the city’s subway stations have elevators. These elevators break down often, rendering even fewer stations accessible to those with mobility impairments. The paucity of accessible stations combined with this high degree of unreliability makes journeys unpredictable, vastly extending travel times, rerouting riders, and making trip planning impossible. These elevators are also notoriously dirty and malodorous, a persistent problem that is symptomatic of overall neglect.
    [Show full text]
  • Document.Pdf
    TABLE OF CONTENTS EXECUTIVE SUMMARY FINANCIAL OVERVIEW LOCATION OVERVIEW BESEN ADVISORY TEAM Amit Doshi Executive Director (212) 951-8401 [email protected] Shallini Mehra Senior Director (212) 951-8414 [email protected] Jonathan Shainberg Director (646) 424-5331 [email protected] Ronald H. Cohen Chief Sales Officer (646) 424-5317 [email protected] Paul J. Nigido Senior Financial Analyst (646) 424-5350 [email protected] Besen & Associates 381 Park Avenue South 15th Floor New York, NY 10016 (212) 689-8488 EXECUTIVE SUMMARY Besen & Associates, as exclusive agent for Ownership, is pleased to offer for sale 35 Pineapple Street, Brooklyn, NY 11201 (The “Property”), also known as 102 Hicks Street, a corner property which consists of a pristine 5-story, mixed-use elevator building with 11 free market apartments and 1 retail store, Joe Coffee Company. Built circa 1900, this architecturally distinct property contains 13,342± SF and is located in Historic Brooklyn Heights, Brooklyn’s premiere and most desirable neighborhood. The building is situated on a parcel measuring 25’ x 101’ on the northwest corner of Pineapple Street and Hicks Street. Just a short walk to the Brooklyn Bridge Park and The Brooklyn Heights Promenade, the Property offers easy access to the BQE and is within walking distance to the [A, C] subway station at Cadman Plaza and the [2,3] Clark Street subway station at Henry Street. One of the first neighborhoods outside of Manhattan after crossing the Brooklyn Bridge, Brooklyn Heights offers a cozy residential feel with all of the conveniences of city life. The charming area features tree-lined streets with meticulously restored row houses, cobblestone side streets, and a thriving mix of commercial and community-focused businesses.
    [Show full text]
  • With Great Musicians
    FA C E T O FA C E 'W I T H G R E AT M U S I C I A N S CH ARLES D I SAA C SON LEOPOLD GODOWSKY FIRST EKGUP D A P P L E T O N AN D C O M P A N Y NE W YO R K L O N D O N D EDI CATEU I F WH O F IR ST SAW TH E VALU E OF TH E IDE A PRE FACE F is there such a place as the Land of the Beyond, the immortals of music doubtless have gathered o o t gether there s me time since, and come to some o about - - conclusi n this, their self appointed latter day os B well . I have seen them if it is possible to see a man in o his o his his w rks, in letters , in his mem irs, in biog ra hies in his or and o n of his p , p traits, in the c mme ts enemies and friends . Each name in the whole history of music conjures o n I up f r me a livi g personality, with whom may in he c s a t silences of solitude, onver e in no mistak ble - d nn . no n wor ma er It is dead, empty soundi g for me to see the name of a composer on a program ; each number that is to be heard is a key Which un locks for me a stage on Which is reenacted a scene from the ’ drama of a man s life .
    [Show full text]
  • YARDS AWAY Ratner Train Relocation Could Affect Eminent Domain Fight NOT JUST NETS the NEW BROOKLYN
    WIN A HONEYMOON CRUISE — ENTER AT THEBROOKLYNBRIDE.COM BROOKLYN’S REAL NEWSPAPERS Including The Brooklyn Heights Paper, Carroll Gardens-Cobble Hill Paper, DUMBO Paper, Fort Greene-Clinton Hill Paper and the Downtown News Published every Saturday — online all the time — by Brooklyn Paper Publications Inc, 55 Washington St, Suite 624, Brooklyn NY 11201. Phone 718-834-9350 • www.BrooklynPapers.com • © 2005 Brooklyn Paper Publications • 18 pages •Vol.28, No. 25 BWN •Saturday, June 18, 2005 • FREE YARDS AWAY Ratner train relocation could affect eminent domain fight NOT JUST NETS THE NEW BROOKLYN By Jess Wisloski retail and as many as 7,300 units The Brooklyn Papers of housing. To build the project, the devel- If he wants to build a new oper will need to purchase air home for his New Jersey rights over roughly 11 acres of Nets basketball team atop MTA rail yard property. The re- rail yards at Atlantic and maining 13 acres are owned or Flatbush avenues, developer controlled by Ratner or else are Bruce Ratner will have to subject to state condemnation for pay for more than air space Ratner’s use under eminent do- over the Long Island Rail main laws. Road tracks — he’s also The MTA did not sign on to the going to have to help pay to memorandum of understanding move those tracks. (MOU) agreed to in March by the According to an agreement city, state and Ratner. The MTA is negotiated among the city, state negotiating separately with the de- and Forest City Ratner Compa- veloper, said Forest City Ratner spokeswoman Lupe Todd.
    [Show full text]