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Hereditament

In common law, a hereditament (from Latin hereditare, to inherit, from heres, heir) is any kind of property that can be inherited.

Hereditaments are divided into corporeal and incorporeal. Corporeal hereditaments are "such as affect the senses, and may be seen and handled by the body; incorporeal are not the subject of sensation, can neither be seen nor handled, are creatures of the mind, and exist only in contemplation". An example of a corporeal hereditament is land held in freehold and in leasehold.

Examples of incorporeal hereditaments are hereditary titles of honour or dignity, heritable titles of office, coats of arms, prescriptive baronies, pensions, annuities, rentcharges, franchises — and any other interest having no physical existence. Two categories related to the church have been abolished in England and Wales and certain other parts of the British Isles: tithes and advowsons. The term featured in the one-time "sweeper definition", catch-all phrase, "lands, tenements and hereditaments" is deprecated in contemporary legal documents. The terms "land, buildings" and where such land is unregistered "appurtenant rights" invariably coupled with itemised lists more properly describe property respectively forming and connected with land, as distinguished from goods and chattels or movable property.

Other meanings
In the UK, the word is used in annual property taxation; its practical definition being the answer to the question, "as a matter of fact and degree, is or will the building, as a building, be ready for occupation, or capable of occupation, for the purposes for which it is intended?" combined with tests surrounding whether it is a dwelling and case law decisions, for example whether:
 * other structures than homes such as garages form part of the hereditament
 * the addition or reduction of small parcels of land constitutes a new "hereditament".

title: Hereditament


license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User:Jag123/Contribs


text:
Kurita

Kurita may refer to:

People

 * Kurita Chodō (1749–1814), Japanese poet of the Edo period
 * Eiji Kurita (born 1938), Japanese cross-country skier
 * Genzo Kurita (1926–1959), Japanese serial killer
 * Kanichi Kurita (born 1958), Japanese actor and comedian
 * M. Sue Kurita, American judge
 * Mark Ajay Kurita (born 1998), Japanese footballer
 * Naoki Kurita (born 1971), Japanese sport shooter
 * Rosalind Kurita (fl. from 1996), American politician
 * Shigetaka Kurita (born 1972), Japanese interface designer
 * Taijiro Kurita (born 1975), Japanese footballer
 * Takeo Kurita (1889–1977), vice admiral in the Imperial Japanese Navy during World War II
 * Toyomichi Kurita (born 1950), Japanese cinematographer

Other uses

 * Kurita District, Shiga, a place in Japan
 * Kurita Water Industries, a Japanese company
 * Ryokan Kurita, a fictional character in Eyeshield 21
 * Yūko Kurita, a fictional character in Oishinbo
 * House Kurita, a dynastic ruling family in the fictional setting of the tabletop wargaming franchise BattleTech

title: Kurita


text:
OCSW

The OCSW (Objective Crew Served Weapon) was a U.S. Military arms program started in the 1980s that led to a hybrid smaller prototype automatic autocannon developed by General Dynamics Armament Systems. It led to the XM312 and XM307 designs.

As a part of the SAMP (Small Arms Master Plan) program, it had the same laser targeting system as the XM29 OICW, but was intended to supplement the 40 mm Mk 19 grenade launcher and the .50 M2 Browning machine gun. It could fire armor-piercing or explosive 25 mm grenades at a cyclic rate of 260 rounds per minute, and had an effective range up to 2 kilometres. It underwent combat trials before being cancelled.

title: OCSW


text:
User:Edcon01

http://www.karamba.com.mx

title: User:Edcon01


text:
Pictures from Brueghel and Other Poems

Pictures from Brueghel and Other Poems is a 1962 book of poems by the American modernist poet/writer William Carlos Williams. It was Williams's final book, for which he posthumously won the Pulitzer Prize for Poetry in 1963. Two previously-published collections of poetry are included: The Desert Music and Other Poems from 1954 and Journey to Love from 1955.

Pieter Brueghel the Elder was a Flemish painter (born c. 1525–1530, died 1569), famous for pictures of peasant life. This book opens with the title cycle of ten poems (the last poem is in three parts), each based on a Brueghel painting.

title: Pictures from Brueghel and Other Poems


text:
Li Zhisui

Li Zhisui (1919 – 13 February 1995) was a Chinese American physician and Mao Zedong's personal doctor and confidant. He was born in Beijing, Republican China in 1919. He studied medicine during World War II at the Medical School of West China Union University. After emigrating to the United States, he wrote a biography of Mao entitled The Private Life of Chairman Mao, in which he described Mao as selfish, cruel, having a craving for young women, and poor personal hygiene. The biography was based on his recollection of journals he had kept, and later found expedient to destroy, while a doctor to Mao.

In the summer of 1968, during the Cultural Revolution, Mao's wife, Jiang Qing, placed Li's life in danger by accusing him of trying to poison her. Li managed to hide, living incognito with the workers of the Beijing Textile Factory. These workers were among the 30,000 Mao dispatched to Qinghua University to quell the warfare there between two factions of the Red Guards.

On 13 February 1995, Li died following a heart attack at his son's house in Carol Stream, Illinois, where he had been living since emigrating.

Li was interested in psychiatry. In October 1986, Li wrote the preface for the first Chinese textbook on psychopharmacology, Psychopharmacological Treatment for Psychiatric Disorders edited by Tsai Neng (蔡能) and Shi Hong-zhang (史鸿璋), and published by Shanghai Scientific Technology Publisher in May 1987.

Work

 * The Private Life of Chairman Mao: The Memoirs of Mao's Private Physician, publ. Random House, New York (1994), ISBN 0-679-76443-7

title: Li Zhisui


text:
War effort

In politics and military planning, a war effort is a coordinated mobilization of society's resources—both industrial and human—towards the support of a military force. Depending on the militarization of the culture, the relative size of the armed forces and the society supporting them, the style of government, and the famous support for the military objectives, such war effort can range from a small industry to complete command of society.

Although many societies were retroactively perceived to be engaged in a war effort, the concept was not generally used until the last decade of the 18th century, when the leaders of the French Revolution called for the levée en masse and a general mobilization of society to prevent monarchist forces from reclaiming control of the French government.

The concept was subsequently adapted and used by Russia, the United Kingdom, and the United States, especially during World War I and World War II. The term war effort was coined in conjunction with these efforts.

Economy
Although certain societies, especially nomadic raiders and mobile cavalry societies such as the Mongols, specialized in providing war-effort-like support for their armies, the idea of a specialized war effort that diverted supplies, means of production, and people to military support came into general use only with the increased specialization of the industrial revolution. Previously, most military supplies were either common elements of the economy (food, clothing, horses) or specialized instruments produced only for war purposes by industries dedicated to the task (mainly weapons and military vehicles).

Moreover, in feudal societies, peasants, the great majority of the population, often perceived war as the business of the aristocrats and did not feel especially obliged to make an extra effort to help their country's aristocracy win a war with that of another country. The modern concept of a state belonging to its "people" carried the concomitant assumption that war was everybody's business and everyone, combatant or not, was expected to contribute actively to winning it.

Crossover use of peacetime elements of society and economy for wartime uses became important because of the scarcity of manpower and the large size of armies and specialized materials used for war production (rubber, aluminum, steel, etc.). The complex decisions involved in conversion to wartime use also necessitated organization and a bureaucracy; the term war effort was coined to describe these collective tasks.

Implicit in the concept of war effort was that the entire society was expected to contribute in some way; this served the double purpose of improving morale as well as resource conservation.

A war effort was also used to help companies grow. An example of this was when the military would contract companies such as Boeing to produce war resources for them. That would eventually give room for innovation and technological advances for such companies.

Closely related is the concept of the home front—i.e., that civilians engaged in wartime pursuits (particularly, industrial production) are in effect also fighting the enemy on a "front" of their own, and that the result of their "fighting" (higher productivity, refraining from labor disputes, strikes etc.) might determine the difference between victory and defeat.

title: War effort


text:
User talk:Russil Wvong/Chomsky

Main article: Talk: Noam Chomsky

This last section needs more work. I have the impression that Chomsky's prominence has increased as a result of 9/11, but I need to find some sources. Russil Wvong 22:48, 28 Feb 2005 (UTC)

 * Hi Russil, thanks for your work. Would you be willing to move this to a sandbox, like User:Russil Wvong/Chomsky, so that we can edit it collaboratively before putting it up?  Here are my general reactions: 1) As written, this section underemphasises Chomsky's worldwide readership.  Many of his books have been translated into countless languages and marginalized as he may be in mainstream American press, I believe he's quoted with some frequency outside the United States.  He gave the keynote speech at the WSF, etc.  2) The quotes are great.  If we could find ways to shorten them, that would be even better. :)  3) In the three reactions at the end, I think the idea that there were three classes of reactions is pretty much original research.  "Even liberals" is not good; liberals are often the loudest critics of Chomsky.  Who are you thinking here? DanKeshet 05:08, Mar 1, 2005 (UTC)

 * Thanks for the feedback, DanKeshet. I'll set up the sandbox.

 * I agree with (1). In particular, the comments about his being marginalized in the mainstream media (TV as well as print) should be clarified:  it's the mainstream media in the US.

 * I tried to indicate Chomsky's worldwide readership with the first sentence of "influence outside the mainstream media", but you're right, it could use some expansion. He's regarded as a hero and an inspiration by the current generation of activists and radicals.  Perhaps those two points should be separated:  his large worldwide audience (evidenced by attendance at his speeches and the popularity of his books), and his being an inspiration to activists in particular.

 * After rereading Robert Buzzanco's Bernath lecture, I'm thinking there needs to be some discussion of the influence of Chomsky and other New Left historians in the field of diplomatic history (the study of the history of foreign policy). Maybe towards the end of the Vietnam section.  To quote Buzzanco:

 * The New Left emerged, or maybe more appropriately erupted, onto a field dominated by an increasingly stale debate over idealism vs. realism and stifled by a consensus on the virtue of America's role in the world. It benefited from some of the sharpest minds in the historical profession and then from a large-scale hunger on the part of Americans to learn more about the nation and the system that was waging a destructive and immoral war against the people of Vietnam. Building on the work of Charles Austin Beard and beginning with the publication of William Appleman Williams' Tragedy of American Diplomacy in 1959, New Left authors proliferated and arguably dominated the field for the next decade or so. Many of the titles they produced became widely read and may be considered classics in the field: The New Empire and many versions of America, Russia, and the Cold War by Walter LaFeber; Economic Aspects of New Deal Diplomacy and Architects of Illusion by Lloyd Gardner; Arno Mayer's amazing books on World War I and its aftermath and equally amazing works on World War II and its aftermath by Gabriel and Joyce Kolko; Thomas McCormick's China Market; Gar Alperovitz on Atomic Diplomacy; Joan Hoff Wilson on business and foreign policy; books and essays by Carl Parrini, Marilyn Young, Martin Sklar, Carl Oglesby, Barton Bernstein, and Thomas Paterson; an awesome body of work from Noam Chomsky.(9) Though a diverse group of scholars, New Left authors shared a commitment to analyze the economic, materialist (domestic) forces conditioning American foreign policies, most importantly the Open Door; to question corporate and presidential power; to counter claims, in the Cold War era, of monolithic communism and Soviet aggression; and to critically examine claims of American beneficence and goodwill in the world. Many New Left works embodied all those traits, but others, such as Alperovitz, did not stress economics but may be included because their work diverged so markedly from the official stories being produced by historians willing to apologize for American power.

 * At the same time, Buzzanco notes that the New Left has been marginalized within the field of diplomatic history, too:

 * If any particular group or approach is conspicuously absent from the mainstream in our field, it is the economic or structural Left, the descendants of the New Left of the 1960s one could maintain. The New Left, so widespread and popular just over a generation ago, has virtually disappeared from the landscape of diplomatic history, swept away by an ideological counterrevolution from the right and an abandonment from today's so-called left. ... to the current generation of young scholars and graduate students, the New Left is something of a relic, or to use Ross Perot's favorite analogy, similar to the crazy aunt who everyone whispers about but who isn't taken seriously. ...

 * I'll shorten the Matusow and Asprey quotes (and I won't try to jam in the Buzzanco quotes). I thought the Matusow paper was well worth reading in its entirety, to get the full context of the domestic struggle over Vietnam, so I don't want to shorten that one too much.

 * I agree with (3) -- on reflection, the section should be omitted entirely. (I was thinking of the Chomsky/Hitchens/Casey exchange in particular; also the Gitlin "Blame America First" and Walzer "Decent Left" articles.  When you say that "liberals are often the loudest critics of Chomsky", who are you thinking of?  Only Schlesinger comes to mind.  Brad DeLong had a web page up on Chomsky prior to September 11, but I didn't think his criticism was particularly strident.)

 * Russil Wvong 16:58, 1 Mar 2005 (UTC)

 * I think all these quotes are great; I'll work on cutting just the meatiest parts from them. Re: 3, I'm fine with skipping the classification.  Re: liberals as loudest critics, I guess I was thinking more from personal experience than a prolonged study.  Things like this Dan Kennedy article on the liberal-radical cleavage at the start of the Afghanistan War (from the liberal perspective).   Or a visit to NPR in which the host casually called him "a human flamethrower", not realizing that Chomsky might disagree with that characterization of himself (sorry, no link).  Chomsky himself picks out people like Anthony Lewis and Thomas Friedman as examples to quote and ridicule pretty often.  DanKeshet 21:55, Mar 1, 2005 (UTC)

 * Thanks for the references. Not sure I'd say that Kennedy's criticism of Chomsky compares to Horowitz's calling him an "ayatollah of anti-American hate." Russil Wvong 22:20, 1 Mar 2005 (UTC)

 * No, I guess not. :) Regarding the "international" question, I think the point we're both edging toward is that there's two components to Chomsky's international noteworthiness: 1) Chomsky has what Horowitz calls a "secular cult"--an international following of activists and fellow travelers who read and translate his books, attend his speaking events, listen to his interviews on activist radio, etc.  2) Outside of the US, Chomsky is quoted by more mainstream media.  For example, google returns 45 pages on a search of aljazeera.net for "Chomsky".  Do you agree that these are the two separate points? DanKeshet 23:20, Mar 1, 2005 (UTC)

 * Hmm.

 * I think I'd break it down even further:

 * Within the US, there's lots of people who go to Chomsky's lectures and read his books who aren't activists themselves -- they just want to learn more about US foreign policy. Oliver Kamm cites a couple examples near the bottom of this blog post:  .  9-11 spent seven weeks on the New York Times Extended Bestseller List ; there are 300,000 copies in print.

 * The current generation of anti-globalization and anti-war activists who regard Chomsky as an inspiration. Radical historian Buzzanco referred to Chomsky's "awesome body of work" in the 1999 Bernath Lecture ; Naomi Klein cited Chomsky's influence on young "adbusters" in No Logo; Chomsky spoke at the 2002 World Social Forum in Porto Alegre, Brazil.

 * Chomsky is widely read outside the US. 9-11 was published in 26 countries and translated into 23 foreign languages ; it was a bestseller in at least five countries, including Canada and Japan .  He appears more frequently in the mainstream media outside the US:  for example, in the UK, on the BBC and in the Guardian; in Canada, on the CBC and in the Toronto Star.  The list of articles and op-eds at chomsky.info  lists op-eds in Al-Ahram (Egypt) and the Khaleej Times (UAE).

 * Russil Wvong 01:11, 2 Mar 2005 (UTC)

 * Yes, I think you're right. Though I think we shouldn't explicitly classify his audience; rather we should include all three aspects in the discussion. DanKeshet 19:49, Mar 2, 2005 (UTC)

 * Sounds good.

 * I'm wondering what to call this section. Perhaps the section titles should go like this:

 * Opposition to the Vietnam War

 * Marginalization in mainstream American media

 * Worldwide audience

 * The "marginalization" section should note that after 9/11, Chomsky's been getting more coverage in the mainstream US media (New York Times, Washington Post).

 * Another note for the Vietnam section: In the spring of 1972, Chomsky testified before the Senate Foreign Relations Committtee, chaired by Fulbright, on the origins of the Vietnam War.  From Randall Bennett Woods, J. William Fulbright, Vietnam, and the Search for a Cold War Foreign Policy  (1998), p. 256. Russil Wvong 23:24, 2 Mar 2005 (UTC)

Asprey quote
Who is Robert Asprey quoting when he says Chomsky's piece was one of the "key documents..."? I would like to summarize and cite the Matusow quote and track down the original for the Asprey quote. DanKeshet 22:02, Mar 1, 2005 (UTC)

 * I'll look it up. (I borrowed the Asprey book from the library a few years ago.) Russil Wvong 22:20, 1 Mar 2005 (UTC)

 * Asprey is quoting David Schalk, War and the Ivory Tower: Algeria and Vietnam (1991).  I found a review which makes it sound quite interesting. Russil Wvong 21:10, 2 Mar 2005 (UTC)

Worldwide audience

The first paragraph looks good, although I'd like to add more supporting evidence (e.g. specific numbers for 9-11, specific foreign media that publish Chomsky's op-eds), and a mention of Chomsky's drawing standing-room-only crowds. The photo from Chennai would be good here.

The stuff about Chomsky's "cult following" is looking disorganized and too lengthy. Maybe I'll try to condense it. It'd probably be worth mentioning the influence of Manufacturing Consent, but that's about it.

I'm also thinking of cutting down the mentions of Chomsky's influence on cultural groups. Russil Wvong 00:11, 3 Mar 2005 (UTC)

 * I think your changes are great, DanKeshet. I'll take another pass as well.

 * One question: I'm wondering if it'd be POV to use the word "celebrity" to describe Chomsky.  Does it have too much of a connotation of frivolity?  Would "famous" be better?

 * I'm also thinking that this section should mention that he's often regarded as a "dissident". Russil Wvong 17:30, 3 Mar 2005 (UTC)

re: my edits
Just a rundown, as I think we're getting closer.

 * and on the internet
 * The internet is part of the world. :)

 * 'question his marginalization' and 'react to criticisms'
 * I think that "question his marginalization" is implicit in the view of him as a dissident, especially as I have now linked the concept of chomsky as an "inspiration" (which I agree is better than "hero") and the concept of him as a dissident. Mostly, though, I think that 'question his marginalization' and 'react to criticisms' are inappropriate because these are things that virtually every movement does.  U.S. conservatives say the media has a liberal bias, and constantly talk about "but you won't hear that from the media these days".  I also think that freepers and instapundit folks, mainline Democrats, etc. are just as voracious in attacking perceived slights against their heroes as Chomsky believers are.

 * ordering

 * I've tried to set it up like this: Very popular, cult following, cultural perceptions, worldwide perceptions. This is a little random, but I think the musicians' promotion of Chomsky, the perception of him as a dissident, and the outsider perception of Chomsky followers as cultish are all linked.

DanKeshet 00:30, Mar 4, 2005 (UTC)

 * Looks good!

 * "I think that 'question his marginalization' is implicit in the view of him as a dissident.... Mostly, though, I think that 'question his marginalization' and 'react to criticisms' are inappropriate because these are things that virtually every movement does."

 * But I think that's pretty interesting in itself; most public intellectuals don't have a "movement." Steven Pinker, Jared Diamond, and George Kennan, for example, don't have fans in the same way that Chomsky does.  (It's not limited to Chomsky, but I think it's mostly political figures who receive this kind of veneration -- Reagan, for example.  IMHO, it's a symptom of the way that politics has increasingly replaced religion.)  So I think it's worthwhile to describe this explicitly. Russil Wvong 00:51, 4 Mar 2005 (UTC)

 * This isn't a sticking point. How ready do you think this is? I think we should give notice in Talk:Noam Chomsky that we are going to insert it into the article, then give 24 hours or so for people to look at it, before sticking it in.  I wouldn't normally, but it is a shakeup to a featured article and there's no rush. DanKeshet 01:34, Mar 4, 2005 (UTC)

 * I think the draft is in pretty good shape -- thanks for working on it!

 * I'll go ahead and post a copy of the proposed text on the Talk:Noam Chomsky page. I suspect that not too many people have looked at it so far, so there may be quite a bit of feedback to resolve.  I agree that there's no rush. Russil Wvong 06:18, 4 Mar 2005 (UTC)

title: User talk:Russil Wvong/Chomsky


text:
Clayton Eshleman

Clayton Eshleman (June 1, 1935 – January 29/30, 2021) was an American poet, translator, and editor, noted in particular for his translations of César Vallejo and his studies of cave painting and the Paleolithic imagination. Eshleman's work has been awarded with the National Book Award for Translation, the Landon Translation prize from the Academy of American Poets (twice), a Guggenheim Fellowship in Poetry, two grants from the National Endowment for the Arts, and a Rockefeller Study Center residency in Bellagio, Italy, among other awards and honors.

1935-1962
Clayton Eshleman was born on June 1, 1935, in Indianapolis, Indiana. He is the son of Ira Clayton Eshleman (1895-1971) and Gladys Maine (Spenser) Eshleman (1898-1970). The poet's father was employed as a time-and-motion study efficiency engineer at Kingan and Company, a slaughterhouse and meat-packer. The family lived in the 1800 block of North Delaware Street. As a child the poet was forbidden from playing with children whose parents drink alcohol, with children of different races or religions, or whose mothers wear pants outside of the home.

Eshleman was exposed to the arts as a child through piano lessons and drawing classes focused on comic strips. In high school, Eshleman played football, ran track and wrestled. He worked as a lifeguard during the summer.

In 1951, Eshleman discovered jazz music, attracted in particular to the music of Bud Powell and Lennie Tristano. He began to spend time in jazz clubs and to play jazz alongside classical music. In 1953, Eshleman enrolled in Indiana University, majoring in music, but was not devoted to his studies. He pledged to the Phi Delta Theta fraternity. The hazing he endured during pledge week would become a significant topic in his poetry.

Pursuing his interest in jazz, Eshleman travelled to Los Angeles in the summer of 1954. He parked cars for a living and studied jazz piano with Marty Paitch and Richie Powell, the younger brother of Bud Powell. Returning to Indiana University in the fall, Eshleman changed his major to Business. His academic performance suffered. Put on academic probation for low grades, he was expelled for having too many parking tickets, but able to return to school the following year, this time as a Philosophy major.

Eshleman discovered poetry in creative writing classes at Indiana University. He studied 20th century American poetry with Samuel Yellin and Josephine Piercy. Jack and Ruth Hirschman introduced him to world poetry in translation, including Federico Garcia Lorca, Vladimir Mayakofsky, Rainer Maria Rilke, and St.-John Perse. Mary Ellen Solt introduced him, via correspondence, to Louis Zukofksy, Robert Creeley, Cid Corman, as well as to poets closer to his own generation: Paul Blackburn, Robert Kelly, Jerome Rothenberg, Jackson Mac Low, and David Antin. Eshleman travelled frequently to New York City to meet with these poets in person. Through Paul Blackburn he would meet William Carlos Williams, Allen Ginsberg, and Denise Levertov.

Eshleman graduated from Indiana University with a degree in Philosophy in 1958 but reenrolled as a graduate student in English Literature. He supported himself by playing piano in the bar of a steakhouse on weekends. Eshleman published his first poem in the Indiana University English Department student magazine, Folio. The following year, Eshleman took over the editorship of Folio for three issues. Eshleman gave his first reading of his own poetry in New York City at Metro Café in 1960. The reading was organized by Paul Blackburn.

Eshleman discovered the poetries of Pablo Neruda and César Vallejo in a copy of Dudley Fitts edited Anthology of Contemporary Latin American Poetry (New Directions, 1947) given to him by Bill Paden in 1958. Motivated by his interest in Neruda and Vallejo, Eshleman hitchhiked to Mexico City in order to learn Spanish in the summers of 1959 and 1960. He began translating Neruda's Residencias at this time.

In 1961, Eshleman graduated from Indiana University with a Master of Arts degree in Teaching Creative Writing. That summer he married Barbara Novak and took a job teaching English for the University of Maryland, College Park, Far-Eastern Division (Japan, Taiwan, Korea). In the next year, he taught literature and composition to military personnel for two months in Tainan, Taiwan, four months at Tachikawa Air Force Base, outside Tokyo, and two months at the Strategic Air Command (SAC) Base in Seoul, Korea.

1962-1972
Eshleman met Cid Corman in person for the first time in San Francisco while en route to Asia. He met Gary Snyder and Joanne Kyger in Tokyo when they were en route to India. Following Snyder's suggestion, in the spring of 1962, Eshleman moved to Kyoto to teach English as a second language at Matsushita Electric Corporation in Kobe. He and Barbara would stay there until 1964.

While in Kyoto, Eshleman began what he would later describe as his “apprenticeship to poetry” by translating César Vallejo's Poemas humanos. Simultaneously he begins writing “The Tsuruginomiya Regeneration”: what would ultimately become a 350-page sequence of poems, eventually reedited and published as his book Coils (1973). Alongside his writing and translation, Eshleman studied William Blake, Northrop Frye's book on Blake, Fearful Symmetry, the I Ching, and world mythology. After working for several weeks outside under a persimmon tree inhabited by a large red, green and yellow spider, which subsequently disappeared, Eshleman has a visionary experience involving a spider which he interprets as a totemic gift confirming his vocation as a poet.

During this period in Kyoto, Eshleman was close to several fellow artists and poets: Will Peterson, Gary Snyder, and Cid Corman, who was then editing the second series of Origin. His correspondents during the period include Paul Blackburn, W.S. Merwin, Jerome Rothenberg, and Robert Kelly. He published his first books during this period as well: Mexico and North and Residence on Earth, a translation of Neruda Residencias.

In 1964, the Eshlemans returned to Indiana for one year before moving, when Barbara was several months pregnant, to the Miraflores section of Lima, Peru, where Eshleman hoped to gain access to César Vallejo's manuscripts for the Poemas humanos, then in the possession of Vallejo's widow, Georgette. Georgette would ultimately deny him access to the manuscripts. Eshleman's initial translation of the Human Poems would not be published until 1968, when it was released by Grove Press.

Eshleman's experiences walking through the slums of Lima awakened his political conscience. At this time he was also hired by the North American Peruvian Institute to edit a bilingual literary magazine, funded by the institute. He gave the collection the title Quena (in reference to a Quechuan flute). Writers and intellectuals in Lima assumed the magazine was cover for United States government espionage work. The magazine was suppressed by the Institute for political reasons prior to the publication of its first issue.

Eshleman's son, Matthew Craig Eshleman was born in Peru in 1966. Barbara Eshleman suffered nearly fatal complications from the birth. Thereafter Eshlemans returned to Indiana briefly before moving to New York City in the summer of 1966. They separated in New York City that fall.

Over the next couple of years, Eshleman taught at the American Language Institute at New York University while participating actively in New York literary and artistic life.

Caterpillar magazine
In 1966 and 1967, he published a series of books under the Caterpillar Books imprint. These include titles by Aimé Césaire (in Eshleman's co-translation with Denis Kelly), Cid Corman, Paul Blackburn, Frank Samperi, David Antin, D. Alexander, Robert Vas Dias, Jackson Mac Low, and himself. In 1967, he founded and began editing Caterpillar magazine, which he would publish quarterly through 1970, and periodically thereafter, through 1973. The magazine was supported by grants from the Council of Literary Magazines and the National Translation Center as well as sales, advertisement, and donations. Caterpillar was of major significance for poets writing in the postmodern tradition during those years.

Eshleman was also active in the anti-war movement, particularly as an organizer and participant in “Angry Arts” protest group. He was arrested and jailed for demonstration at St. Patrick's Cathedral. He also participated in a series of readings in Milwaukee and Seattle with Robert Bly, Robert Duncan, Allen Ginsberg, Ed Sanders and others to raise money for draft resisters.

Eshleman cultivated a wide circle of new and on-going friendships during these years, including Frank Samperi, Diane Wakoski, Adrienne Rich, Nora Jaffe, Leon Golub, Nancy Spero, Carolee Schneeman, James Tenney, Michael Heller, and Hugh Seidman, among others. Diane Wakoski introduced him to John Martin the publisher of Black Sparrow Press in 1968. Martin would become the principal publisher of Eshleman's writing beginning with the publication of “Cantaloups and Splendour” in 1968.

In 1967, Eshleman began Reichian psychotherapy therapy with Dr. Sidney Handelman, completing the analysis in 1969.

Eshleman met Caryl Reiter on New Year's Eve 1968. She would become his second wife. In 1970, the poet's mother died. His father died the following year.

In 1970, Clayton and Caryl moved from New York to Sherman Oaks, California. Shortly thereafter Eshleman joined the faculty of the School of Critical Studies at the California Institute of the Arts in Valencia, where he organized a reading series and taught seminars on contemporary poetry, William Blake, Wilhelm Reich, T.S. Eliot, and Hart Crane. Close friendships were formed during these years with Stan Brakhage, Robin Blaser, John and Barbara Martin, as well as with Robert Kelly, who was then teaching nearby at the California Institute of Technology.

In 1972, Eshleman met José Rubia and Eva Barcia. He and José Rubia Barcia began co-translating César Vallejo's España, aparta de mí este cáliz that year and shortly thereafter working on a new translation of the Human Poems. Eshleman also began translating Antonin Artaud at this time.

Under the influence of Mikhail Bakhtin's book Rabelais and His World, Eshleman began to re-organize “The Tsuruginomiya Regeneration” manuscript material into the book he published in 1973 as Coils. The publication brings closure to a project begun more than ten years earlier, in Kyoto. Eshleman also published the final issue of Caterpillar in 1973.

1973-1986
During the summer of 1973, the Eshlemans moved to France for one year. He and Caryl sublet an apartment in Montmartre and taught courses in American poetry at the American College in Paris.

In the spring of 1974, following the advice of the translator Helen Lane, the Eshlemans visited the Dordogne region of France. They rented a furnished apartment and begin visiting the Paleolithic painted caves in the area, including Lascaux. Eshleman decided to undertake an in-depth investigation into the Paleolithic imagination and the imagery of the painted caves. The project became a central area of his writing and research over the next three decades, resulting in the publication of his major work Juniper Fuse: Upper Paleolithic Imagination and the Construction of the Underworld in 2003. In addition to Lascaux, which Eshleman visited on several more occasions over the next twenty-five years, he visited Font-de-Gaume, Combarelles, Niaux, Garges, Marsoulas, Le Portel, Le Tuc d’Audoubert, and Les Trois Frères, among other sites. The project was supported at various points by grants from the Guggenheim Foundation, the National Endowment for the Arts, and the National Endowment for the Humanities. Beginning in 1981, he and Caryl organized and led a guided tour of the painted caves and the region in general. The tour continued irregularly, ultimately gaining sponsorship from the Ringling School of Art and Design in Sarasota, Florida, through 2008. Guest-lecturers on the tour included Robert Creeley and Gary Snyder among others.

In 1974, the Eshlemans returned to Los Angeles. The poet began teaching in the Extension Program of the University of California at Los Angeles and, in 1977, under an “Artist in the Community” teaching fellowship through the California Arts Council at Manual Arts High School in Los Angeles. In 1979, he was appointed Dreyfuss Poet-in-Residence and lecturer in creative writing at California Institute of Technology, Pasadena; a position he held through 1984. Thereafter he taught part-time as a visiting lecturer in creative writing through University of California campuses in San Diego, Riverside, Los Angeles, and Santa Barbara.

While conducting his research into the painted caves, Eshleman continued his work as a translator. Working with José Rubia Barcia, he completed new translations of César Vallejo's Complete Posthumous Poetry. Published by the University of California Press in 1978, the collection won the National Book Award for Translation the following year. Working with Norman Glass, Eshleman translated several major works by Antonin Artaud, published as Four Texts in 1982, and, beginning in 1977, working with Annette Smith, he translated the complete poetry of Aimé Césaire in several volumes. This work was supported by a translation grant from the National Endowment for the Humanities and, in 1981, it won the Witter Bynner award from the Poetry Society of America.

Alongside their repeated travels to visit the painted caves, the Eshlemans travelled more widely in Europe. In 1976, the poet lectured on American Literature during a “Summer Seminar” in Frenstat, Czechoslovakia, supported by the State Department. In 1978 and again in 1980, he spent one month in Germany under the auspices of the Visiting Author Program administered by the American Embassy in Bonn, Germany. In 1979, he visited Spain.

In 1979, Eshleman began writing regular book reviews for the Los Angeles Times. In 1982, he and Caryl began publishing short pieces of travel writing in magazines and newspapers including Destinations, Diversions, The Chicago Tribune, Frequent Flyer, and Pan Am Clipper. In 1983 and 1984, Eshleman edited a monthly poetry column for Los Angeles Weekly, entitled “Ill Fate and Abundant Wine.”

Sulfur magazine
In 1981, while teaching at Caltech, Eshleman founded his second major magazine Sulfur: A Literary Tri-Quarterly of the Whole Art. The journal would continue through 46 issues – across roughly 11,000 pages – the last issue appearing in spring 2000. From 1983 to 1996, Sulfur received partial funding from the National Endowment for the Arts.

1986 to 2003
In 1986, Clayton Eshleman become Professor of English at Eastern Michigan University in Ypsilanti, Michigan, where he would teach primarily introductory courses in poetry and poetry workshops.

That year a travel grant from the Soros Foundation funded a one-month trip to Hungary. While in Budapest, Eshleman co-translated a short anthology of contemporary Hungarian poetry with Gyula Kodolanyi, which he subsequently published in Sulfur 22.

Over the next three years Eshleman would publish, among other things, three volumes of selected writings: The Name Encanyoned River: Selected Poems 1960-1985 (1986), Antiphonal Swing: Selected Prose, 1962-1987 (edited by Caryl Eshleman, 1989), and Conductors of the Pit (1988), which is effectively a volume of selected translations.

Over the next fifteen years, Eshleman would share his work at colleges and university and poetry conferences around the North America and Europe, travelling widely and often spending several months of each year as poet-in-residence or guest faculty at a wide variety of institutions, including, among many others, Naropa Institute, or traveling in Europe for his on-going research on the Paleolithic painted caves.

Eshleman continued co-translating the poetry of Aimé Césaire with Annette Smith, publishing Aimé Césaire, Lyric & Narrative Poetry, 1946-1982 (1990) and a second edition of Césaire's Notebook of a Return to the Native Land (2001). In 1992, Eshleman published his translation of César Vallejo's Trilce, a second edition of which won the Landon Translation Prize from the Academy of American Poets in 2000. In 1995, Eshleman published a volume of translations of the work of Antonin Artaud under title Watchfiends and Rack Screams: Works from the Final Period, co-translated with Bernard Bador, a selection of whose own poetry Eshleman had translated in 1986, as Sea Urchin Harakiri.

In 1997, while visiting Lascaux, Eshleman was permitted to descend into and examine the scene in the shaft of the cave for thirty minutes. He realized his investigation into the painted caves was complete.

Major collections of Eshleman's original poetry from these years include Hotel Cro-Magnon (1989), Under World Arrest (1994), and From Scratch (1998). In 2002, he published Companion Spider, a second volume of selected prose. In 2000, the final issue of Sulfur, issue 46, appeared.

2003 to 2021
Clayton Eshleman became Emeritus Professor of English at Eastern Michigan University in 2003. That year, he also published Juniper Fuse: Upper Paleolithic Imagination & the Construction of the Underworld, the precipitate of more than 25 years of research and writing on the painted caves.

With his retirement from full-time teaching, Eshleman continued to travel widely throughout the United States and Europe to present his work at colleges and universities as well as poetry-related public events.

In 2004, 2006, 2007, and 2008, the Eshlemans again led tours of the painted caves of France, sponsored by the Ringling School of Art and Design in Sarasota, Florida.

In January 2004, Eshleman was invited to visit Chauvet cave with Jean-Marie Chauvet and James O’Hern. That year he also spoke at the Latin American House in Paris and at a poetry conference at the Bibliothèque Nationale de France. In November, he and Caryl spent the month at the Rockefeller Study Center at Bellagio, Italy, where Eshleman studied and wrote about Hieronymus Bosch's painting The Garden of Earthly Delights.

Since his retirement, Eshleman has published several extended collections of his own recent poetry as well as new translations and collections of prose.

In 2005, Soft Skull released a substantially revised and extended second edition of Conductors of the Pit: Poetry Written in Extremis in Translation. Additional recent translations include Curdled Skulls (2010), selected poems by Bernard Bador, and Endure (2011), poetry by Bei Dao co-translated with Lucas Klein.

In 2007, the University of California Press released Eshleman's translation of César Vallejo, The Complete Poetry: A Bilingual Edition, the culmination of forty-five years of translation and research. The collection won Eshleman his second Landon Translation Prize from the Academy of American Poets. It was also on the International Shortlist for The Griffin Poetry Prize.

Recent volumes of Eshleman's original poetry include My Devotion (2004), An Alchemist with One Eye on Fire (2006), Reciprocal Distillations (2007), Anticline (2010), and An Anatomy of the Night (2011). Two extended collections of the poet's prose have also appeared: Archaic Design (2007) and The Price of Experience (2013). The Grindstone of Rapport: A Clayton Eshleman Reader (2008) collects six hundred pages of poetry, prose, and translations from 45 years of writing.

In 2011, Wesleyan University Press released Eshleman's co-translation, with A. James Arnold, of Aimé Césaire's Solar Throat Slashed: The Unexpurgated 1948 Edition. This collection was followed in 2013 by a new translation, again by Eshleman and A. James Arnold, of Césaire's Original 1939 Notebook of a Return to a Native Land. Additional co-translations of Aimé Césaire's poetry are forthcoming from Wesleyan University Press.

Clayton lived with Caryl Eshleman in Ypsilanti, Michigan. He died on the night of January 29–30, 2021.

Literary career
Eshleman has been translating since the early 1960s. He and José Rubia Barcia jointly prepared The Complete Posthumous Poetry of César Vallejo (1978) and won the U.S. National Book Award in category Translation. He has also translated books by Aimé Césaire (with Annette Smith), Pablo Neruda, Antonin Artaud, Vladimir Holan, Michel Deguy and Bernard Bador. In 2006, a translation of The Complete Poetry of Cesar Vallejo, with an introduction by Mario Vargas Llosa, was published to much acclaim, won the 2008 Harold Morton Landon Translation Award from the Academy of American Poets, and was shortlisted for the 2008 International Griffin Poetry Prize.

Eshleman founded and edited two of the most seminal and highly regarded literary magazines of the period. Twenty issues of Caterpillar appeared between 1967 and 1973. In 1981, while Dreyfuss Poet in Residence at the California Institute of Technology, Eshleman founded Sulfur magazine. Forty-six issues appeared between 1981 and 2000, the year its final issue went to press. Eshleman describes his experience with the journal in an interview which appeared in an issue of Samizdat (poetry magazine).

Sometimes he is mentioned in the company of the "ethno-poeticists" associated with Jerome Rothenberg, including: Armand Schwerner, Rochelle Owens, Kenneth Irby, Robert Kelly, Jed Rasula, Gustaf Sobin, and John Taggart. Over the course of his life, his work has been published in over 500 literary magazines and newspapers. He read his work at more than 200 universities.

In the fall of 2005, Clayton and his wife Caryl were in residence at the Rockefeller Study Center at Bellagio on Lake Como, Italy, where he studied Hieronymus Bosch's "The Garden of Earthly Delights" and wrote a 67-page work on the triptych in poetry and prose, "The Paradise of Alchemical Foreplay".

Cave art
For over thirty years, Clayton Eshleman studied Ice Age cave art of southwestern France.

Books and Chapbooks

 * Mexico and North (Tokyo, Japan: privately published, 1962). 54 pages.
 * The Chavín Illumination (Lima, Peru: La Rama Florida, 1965). Revised edition reprinted in On Mules Sent From Chavin: A Journal and Poems. 16 pages.
 * Lachrymae Mateo: Three Poems for Christmas, 1966 (New York: Caterpillar, Caterpillar Book 3, 1966). Reprinted in Indiana (Black Sparrow Press, 1969). 6 pages.
 * Walks (New York: Caterpillar, Caterpillar Book 10, 1967). Partially reprinted in Indiana (Los Angeles: Black Sparrow Press, 1969). 47 pages.
 * Cantaloups and Splendour (Los Angeles: Black Sparrow Press, 1968). Reprinted in Indiana (Los Angeles: Black Sparrow Press, 1969). 18 pages.
 * Brother Stones (New York: Caterpillar, A Caterpillar Book, 1968). 19 Loose leaves with 6 woodcuts by William Paden. Partially reprinted in Indiana (Los Angeles: Black Sparrow Press, 1969). 19 pages.
 * The House of Okumura (Toronto, Ontario, Canada: Weed/Flower, 1969). Partially reprinted in Coils (Los Angeles: Black Sparrow Press, 1973). 37 pages.
 * Indiana (Los Angeles: Black Sparrow Press, 1969). 178 pages.
 * T'ai (Cambridge, MA: Sans Souci Press, 1969). Reprinted in Coils (Los Angeles: Black Sparrow Press, 1973). 35 pages.
 * A Pitch-blende (Berkeley, CA: Maya Quarto, 1969). 11 pages.
 * The House of Ibuki (Freemont, MI: Sumac Press, 1969). 49 pages.
 * The Yellow River Record (London, England: Big Venus Press, 1969). 12 pages.
 * Altars (Los Angeles: Black Sparrow Press, 1971). 120 pages.
 * Coils (Los Angeles: Black Sparrow Press, 1973). 147 pages. ISBN 9780876851548
 * Human Wedding (Los Angeles: Black Sparrow Press, 1973). 8 pages.
 * Aux Morts (Los Angeles: Black Sparrow Press, Sparrow 18, 1974). Partially reprinted in The Gull Wall (Los Angeles: Black Sparrow Press, 1975). 15 pages.
 * Realignment (Kingston, NY: Treacle Press, 1974). Illustrated by Nora Jaffe. Partially reprinted in The Gull Wall (Los Angeles: Black Sparrow Press, 1975). 50 pages.
 * Portrait of Francis Bacon (Sheffield, England: Rivelin Press, 1975). Reprinted in The Gull Wall (Los Angeles: Black Sparrow Press, 1975). 11 pages.
 * The Gull Wall (Los Angeles: Black Sparrow Press, 1975). 111 pages. ISBN 9780876852361
 * The Woman Who Saw through Paradise (Lawrence, KS: Tansy, Tansy 2, 1976). Reprinted in What She Means (Los Angeles: Black Sparrow Press, 1978). 8 pages.
 * Cogollo (Newton, MA: Roxbury Poetry Enterprises, 1976). Partially reprinted in What She Means (Los Angeles: Black Sparrow Press, 1978). Withdrawn from circulation. 27 pages.
 * Core Meander (Santa Barbara: Black Sparrow Press, Sparrow 57, 1977). Partially reprinted in What She Means (Los Angeles: Black Sparrow Press, 1978). 15 pages.
 * Grotesca (London, England: New London Pride, 1977). Partially reprinted in The Gull Wall (Los Angeles: Black Widow Press, 1975) and in What She Means (Los Angeles: Black Sparrow Press, 1978). 38 pages.
 * Oasis 19: New Poems and Translations by Clayton Eshleman (London, England: Oasis Books, 1977). Poems and translations, 39 pages.
 * The Gospel of Celine Arnauld (Berkeley, CA: Tuumba Press, 1977). 19 pages.
 * The Name Encanyoned River (Riverside, RI: The Woodbine Press, 1977). Reprinted in What She Means (Los Angeles: Black Sparrow Press, 1978). 30 pages.
 * On Mules Sent from Chavin: A Journal and Poems (Swanea, UK: Galloping Dog Press, 1977). 70 pages.
 * What She Means (Los Angeles: Black Sparrow Press, 1978). 194 pages. ISBN 9780876853474
 * Nights We Put the Rock Together (Santa Barbara: Cadmus Editions, 1980). Partially reprinted in Hades in Manganese (Santa Barbara: Black Sparrow Press, 1981). 46 pages.
 * The Lich Gate (Barrytown, NY: Station Hill Press, 1980). Partially reprinted in Hades in Manganese (Santa Barbara: Black Sparrow Press, 1981). 16 pages. ISBN 9780930794200
 * Our Lady of the Three-Pronged Devil (New York: Red Ozier Press, 1981). Partially reprinted in Hades in Manganese (Santa Barbara: Black Sparrow Press, 1981). 32 pages.
 * Foetus Graffiti (New Haven: Pharos Books, 1981). Reprinted in Fracture (Santa Barbara: Black Sparrow Press, 1983). 4 pages.
 * Hades in Manganese (Santa Barbara: Black Sparrow Press, 1981). 114 pages.
 * Visions of the Fathers of Lascaux (Los Angeles: Panjandrum Books, 1983). 27 pages.
 * Fracture (Santa Barbara: Black Sparrow Press, 1983). 145 pages. ISBN 9780876855812
 * The Name Encanyoned River: Selected Poems 1960-1985 (Santa Barbara: Black Sparrow Press, 1986). Introduction by Eliot Weinberger. 245 pages.
 * Mistress Spirit (Los Angeles: Arundel Press, 1989). Reprinted in Hotel Cro-Magnon (Santa Rosa: Black Sparrow Press, 1989). 38 pages. ISBN 9780923980108
 * Under World Arrest (Santa Rosa: Black Sparrow Press, 1994). 197 pages. ISBN 9780876859353
 * Nora's Roar (Boulder, CO: Rodent Press, 1996). Reprinted in From Scratch (Santa Rosa: Black Sparrow Press, 1998). 32 pages. ISBN 9781887289115
 * Hades en manganese. (Paris: Belin, 1998). French translation by Jean-Paul Auxemery.
 * Erratics (Rosendale, NY: Hunger Press, 2000). Reprinted in My Devotion (Boston: Black Sparrow Books, 2004). 85 pages.
 * Sweetheart (Ypsilanti, MI: Canopic Press, 2002). Reprinted in My Devotion (Boston: Black Sparrow Books, 2004). 10 pages.
 * Bands of Blackness (Coulimer, France: Estepa Editions, 2002). Japanese translation by Eda Takaomi, French translation by Auxemery, with an engraving by Matsutani. Boxed edition, 24 pages.
 * Everwhat (Canary Islands: Zasterle Press, 2003). Partially reprinted in Reciprocal Distillations (Boulder, CO: Hot Whiskey Press, 2007), An Alchemist with One Eye on Fire (Boston: Black Widow Press, 2006), and Archaic Design (Boston: Black Widow Press, 2007). 58 pages. ISBN 9788487467387
 * An Alchemist with One Eye on Fire (Boston: Black Widow Press, 2006). 107 pages. ISBN 9780976844952
 * , a collection of poems on art and artists, including Caravaggio, Leon Golub, Unica Zürn, Henri Michaux, Corot, Joan Mitchell, Henry Darger, African sculpture, Neolithic standing stones, and the Upper Paleolithic Chauvet Cave.
 * Deep Thermal (Santa Barbara: Simplemente Maria Press, 2007). With digital prints by Mary Heebner. A 17” x 13” portfolio of six pigment prints and six letterpress poems printed in an edition 26 copies. 6 pages.
 * A Shade of Paden (Hopewell, NJ: Piedoxen Printers, 2007). With a woodcut by Bill Paden. 10 pages.
 * The Grindstone of Rapport: A Clayton Eshleman Reader (Boston: Black Widow Press, 2008). Selected poetry, prose, and translations, 619 pages.
 * Hashigakari (Belgium: Tandem / Estepa, 2010). Translated by Jean-Paul Auxeméry and Takaomi Eda. Sign limited edition, 30 English / French, 30 English / Japanese, signed and numbered in a case with an etching by Matsutani. Reprinted in Anticline.
 * Eternity at Domme / The French Notebooks (Paris: Estepa Editions, 2010). Translated by Jean-Paul Auxeméry, with monotypes by Kate van Houten, hand-bound, hard-bound edition of 200 signed and numbered on verge paper. Reprinted in Anticline (Boston: Black Widow Press, 2010). 26 pages.
 * Anticline (Boston: Black Widow Press, 2010). 181 pages.
 * An Anatomy of the Night (Buffalo: BlazeVOX Books, 2011). Reprinted in The Price of Experience. 65 pages.
 * The Jointure (Buffalo: BlazeVOX Books, 2012). 38 pages.
 * Nested Dolls (Buffalo: BlazeVOX Books, 2014). 24 pages.
 * An Anatomy of the Night (Buffalo: BlazeVOX Books, 2011). Reprinted in The Price of Experience. 65 pages.
 * The Jointure (Buffalo: BlazeVOX Books, 2012). 38 pages.
 * Nested Dolls (Buffalo: BlazeVOX Books, 2014). 24 pages.

Broadsides

 * The Crocus Bud (Reno, NV: Camels Coming, 1965). 4 mimeographed pages.
 * The Wand (Santa Barbara: Capricorn, 1971).
 * The Bridge at the Mayan Pass (Valencia, CA: Peace Press, The Box, 1971). Reprinted in Coils (Los Angeles: Black Sparrow Press, 1973).
 * One of the Oldest Dreams (Detroit: The Alternative Press, 1971).
 * The Last Judgment: For Caryl Her Thirty-first Birthday, for the End of Her Pain (Los Angeles: Privately printed through Plantin Press, 1973).
 * Still-Life, with Fraternity (Lawrence, KS: Cottonwood Review, 1976).
 * For Mark Kritzer (Northridge, CA: Herb Yellin, 1977).
 * Rancid Moonlight Hotel (Storrs, CT: University of Connecticut Library, 1977). Reprinted in What She Means (Santa Barbara: Black Sparrow Press, 1978).
 * For Cheryl Lynn Wallach (Northridge, CA: Herb Yellin, 1978).
 * Eternity (Los Angeles: Jazz Press, 1977). Reprinted in What She Means (Santa Barbara: Black Sparrow Press, 1978).
 * Chrysanthemum Lane (Binghamton, NY: The Bellevue Press, 1978). Reprinted in What She Means (Santa Barbara: Black Sparrow Press, 1978).
 * César Vallejo, Paris, October 1936 (Binghamton, NY: The Bellevue Press, 1978).
 * Dot (Binghamton, NY: The Bellevue Press, 1978). Reprinted in Hades in Manganese (Santa Barbara: Black Sparrow Press, 1981).
 * The American Sublime (Barrytown, NY: Station Hill Press, 1980). Reprinted in Hades in Manganese (Santa Barbara: Black Sparrow Press, 1981) and as “Un Poco Loco” in The Name Encanyoned River: Selected Poems (Santa Barbara: Black Sparrow Press, 1986).
 * Aimé Césaire, The Woman and the Knife (New York: Red Ozier Press, 1981). Reprinted in Aimé Césaire, The Collected Poetry (Berkeley: University of California Press, 1983).
 * Antonin Artaud, (from:) Suppôts et Suppliciations. (New York: Red Ozier Press, 1984). Co-translated with A. James Arnold. Reprinted in Antonin Artaud, Watch Fiends and Rack Screams (Cambridge, MA: Exact Change, 1995).
 * Reagan at Bitberg (Santa Barbara: Table Talk Press, 1985). Reprinted in Hotel Cro-Magnon (Santa Barbara: Black Sparrow Press, 1989).
 * Brown Thrasher (Ann Arbor, MI: Shaman Drum Bookshop, 1986). Reprinted in Hotel Cro-Magnon (Santa Barbara: Black Sparrow Press, 1989).
 * Antonin Artaud, Indian Culture. (Ann Arbor: Other Wind Press, 1987). Co-translated with Bernard Bador. Artwork by Nancy Spero. Reprinted in Antonin Artaud, Watch Fiends and Rack Screams (Cambridge, MA: Exact Change, 1995).
 * Picked up the Rotted Doormat (Encinitas, CA: Ta’Wil Broadside, 1993). Reprinted in Under World Arrest (Santa Rosa: Black Sparrow Press, 1994).
 * El Mozote (Ashland, KY: Bullhead Broadside Series #1, 1995). Reprinted in From Scratch (Santa Rosa: Black Sparrow Press, 1998).
 * Jisei (Ellsworth, ME: Backwoods Broadsides, 55, 2000).
 * César Vallejo, Wedding March (Ellsworth, ME: Backwoods Broadsides, 99, 2006).

Translations

 * Pablo Neruda, Residence on Earth (San Francisco: Amber House Press, 1962). 64 pages.
 * Aimé Césaire, State of the Union (New York: Caterpillar, Caterpillar Book 1, 1966). Co-translated with Denis Kelly. 42 pages.
 * César Vallejo, Poemas Humanos / Human Poems (New York: Grove Press, 1968). 326 pages.
 * Antonin Artaud, Letter to André Breton (Los Angeles: Black Sparrow Press, Sparrow 23, 1974). Reprinted in Conductors of the Pit (Brooklyn: Soft Skull Press, 2005). 15 pages.
 * César Vallejo, Spain, Take This Cup From Me (New York: Grove Press, 1974). Co-translated with José Rubia Barcia. 77 pages.
 * Antonin Artaud, To Have Done With the Judgment of God (Los Angeles: Black Sparrow Press, Sparrow 23, 1975). Co-translated with Norman Glass. Reprinted in Antonin Artaud, Four Texts (Los Angeles: Panjandrum Books, 1982). 23 pages.
 * Antonin Artaud, Artaud the Momo (Los Angeles: Black Sparrow Press, Sparrow 47, 1976). Co-translated with Norman Glass. Reprinted in Antonin Artaud, Four Texts (Los Angeles: Panjandrum Books, 1982). 23 pages.
 * César Vallejo, Battles in Spain: Five Unpublished Poems (Santa Barbara: Black Sparrow Press, Sparrow 65, 1978). Co-translated with José Rubia Barcia. Reprinted in César Vallejo, The Complete Posthumous Poetry (Berkeley: University of California Press, 1978). 15 pages.
 * César Vallejo, The Complete Posthumous Poetry (Berkeley: University of California Press, 1978). Co-translated with José Rubia Barcia. 339 pages.
 * Aimé Césaire, Some African Poems in English (Pasadena, CA: Munger Africana Library, California Institute of Technology, 1981). Co-translated with Annette Smith. Reprinted in Aimé Césaire, The Collected Poetry (Berkeley: University of California Press, 1983). 15 pages.
 * Antonin Artaud, Four Texts (Los Angeles: Panjandrum Books, 1982). Co-translated with Norman Glass. 99 pages.
 * Aimé Césaire, The Collected Poetry (Berkeley: University of California Press, 1983). Co-translated with Annette Smith. 408 pages.
 * Michel Deguy, Given Giving: Selected Poems (Berkeley: University of California Press, 1984). 189 pages.
 * Antonin Artaud, Chanson (New York: Red Ozier Press, 1985). Drawings by Nancy Spero. Reprinted in Watch Fiends and Rack Screams (Cambridge, MA: Exact Change, 1995). 17 pages.
 * Bernard Bador, Sea Urchin Harakiri (Los Angeles: Panjandrum Press, 1986). 128 pages.
 * Aimé Césaire, Lost Body (New York: Braziller, 1986). Co-translated with Annette Smith. Reprinted from Aimé Césaire, The Collected Poetry (Berkeley: University of California Press, 1983). 131 pages.
 * Conductors of the Pit: Major Works by Rimbaud, Vallejo, Césaire, Artaud, Holan (New York: Paragon House, 1988). Reprinted in revised second edition Conductors of the Pit (Brooklyn: Soft Skull Press, 2005). 242 pages.
 * Aimé Césaire, Lyric & Narrative Poetry, 1946-1982 (Richmond: University of Virginia Press, 1990). Co-translated with Annette Smith. 235 pages.
 * César Vallejo, Trilce (New York: Marsilio Publishers, 1992). 304 pages.
 * Antonin Artaud, Watchfiends and Rack Screams: Works from the Final Period (Boston: Exact Change, 1995). Co-translated with Bernard Bador. 342 pages.
 * César Vallejo, Trilce (Middleton, CT: Wesleyan University Press, 2000).
 * Aimé Césaire, Notebook of a Return to the Native Land (Middletown, CT: Wesleyan University Press, 2001). Co-translated with Annette Smith. Revised second edition. 63 pages.
 * Conductors of the Pit: Poetry Written in Extremis in Translation (Brooklyn, NY: Soft Skull Press, 2005). Second edition, substantially revised of Conductors of the Pit (New York: Paragon House, 1988). 242 pages.
 * Bernard Bador, Curdled Skulls: Selected Poems (Boston: Black Widow Press, 2010). Some of these translations originally appeared in Sea Urchin Harakiri (Los Angeles: Panjandrum Press, 1986). 117 pages.
 * Bei Dao, Daydream (Minneapolis, MN: OHM Editions, 2010). Co-translated with Lucas Klein. Reprinted in Bei Dao, Endure. 23 pages.
 * Bei Dao, Endure (Boston: Black Widow Press, 2011). Co-translated with Lucas Klein. 131 pages.
 * Aimé Césaire, Solar Throat Slashed: The Unexpurgated 1948 Edition. (Middleton, CT: Wesleyan University Press, 2011). Co-translated with A. James Arnold. 183 pages.
 * Aimé Césaire, The Original 1939 Notebook of a Return to a Native Land: Bilingual edition (Middleton, CT: Wesleyan University Press, 2013). Co-translated with A. James Arnold. 120 pages.
 * José Antonio Mazzotti, Sakra Boccata (New York: Ugly Duckling Presse, 2013). 70 pages.
 * José Antonio Mazzotti, Sakra Boccata (New York: Ugly Duckling Presse, 2013). 70 pages.

Books and Chapbooks

 * Bearings (Santa Barbara: Capricorn Press, 1971). 22 pages.
 * The Sanjo Bridge (Los Angeles: Black Sparrow Press, Sparrow 2, 1972). 15 pages.
 * A Note on Apprenticeship (Chicago: Two Hands Press, 1979). 6 pages.
 * Antiphonal Swing: Selected Prose 1962-1987 (Kingston, NY: McPherson, 1989). Edited by Caryl Eshleman, Introduction by Paul Christensen. 256 pages.
 * Novices: A Study of Poetic Apprenticeship (Los Angeles: Mercer & Aitchison, 1989). 79 pages.
 * The Aranea Constellation (Minneapolis: Rain Taxi, Brainstorm Series 1, 1998). Reprinted in Juniper Fuse (Middleton, CT: Wesleyan University Press, 2003). 17 pages.
 * A Cosmogonic Collage: Sections I, II, & V (Ypsilanti, MI: Canopic Press, 2000). Reprinted in Juniper Fuse. 38 pages.
 * Archaic Design (Boston: Black Widow Press, 2007). 342 pages.
 * The Price of Experience (Boston: Black Widow Press, 2013). 483 pages.
 * Archaic Design (Boston: Black Widow Press, 2007). 342 pages.
 * The Price of Experience (Boston: Black Widow Press, 2013). 483 pages.

Editor

 * Folio (Bloomington, IN) 3 issues, 1959–1960.
 * Quena (Lima, Peru) 1 issue, suppressed by North American Peruvian Cultural Institute, 1966.
 * Caterpillar (New York City – Los Angeles) 20 issues, 1967–1973.
 * A Caterpillar Anthology (New York: Doubleday, 1971).
 * Sulfur (Pasadena – Los Angeles – Ypsilanti) 46 issues, 1981–2000.
 * Paul Blackburn, The Parallel Voyages (Tucson, AZ: SUN/Gemini Press 1987). Co-edited with Edith Jarolim.
 * A Sulfur Anthology (Middleton, CT: Wesleyan University Press, 2016).

Archival Materials

 * Lilly Library, Indiana University
 * Fales Library, New York University
 * The Archive for New Poetry, University of California, San Diego
 * Beinecke Rare Book and Manuscript Library, Yale University

Books about Clayton Eshleman

 * Martha J. Sattler, Clayton Eshleman: A Descriptive Bibliography (Jefferson, NC: McFarland & Company, American Poetry Contemporary Bibliography Series no. 4, 1988).
 * Paul Christensen, Minding the Underworld: Clayton Eshleman and Late Postmodernism (Santa Rosa: Black Sparrow Press, 1991).
 * Stuart Kendall, edited. Clayton Eshleman: The Whole Art (Boston: Black Widow Press, 2014).

title: Clayton Eshleman


text:
Food Standards Australia New Zealand

Food Standards Australia New Zealand (FSANZ) (Māori: Te Mana Kounga Kai – Ahitereiria me Aotearoa), formerly Australia New Zealand Food Authority (ANZFA), is the statutory authority in the Australian Government Health portfolio that is responsible for developing food standards for Australia and New Zealand.

Description
FSANZ develops the standards in consultation with experts, other government agencies and stakeholders; the standards are enforced by state and territory departments, agencies and local councils in Australia, the Ministry for Primary Industries in New Zealand, and the Australian Department of Agriculture, Water and the Environment for food imported into Australia. According to legislation, the recommendations made by the body should be open and accountable, and based upon a rigorous scientific assessment of risk to public health and safety, though FSANZ's commitment to this has been disputed by leading public health and consumer representatives across Australia and New Zealand.

All decisions made by FSANZ must be approved by the Australia and New Zealand Food Regulation Ministerial Council, which is composed of the Health Minister from each of the Australian states and territories, and the Health Minister from New Zealand, and other participating Ministers nominated by each jurisdiction.

Publications from FSANZ include the Australian Total Diet Survey and Shoppers' Guide to Food Additives and labels.

Nomenclature
This authority is sometimes cited variously as Australia and New Zealand Food Standards/Safety Authority (ANZFSA),  possibly incorrect nomenclature arising due to confusion with the old initialism ANZFA, and with the acronym of the New Zealand authority, New Zealand Food Safety, which previously managed such questions in New Zealand.

Fellows
In 2000 FSANZ established a programme to appoint Fellows to provide expert advice. As of 2024 there are 24 such fellows. Notable fellows include Louise Burke, Jim Mann, Cliona Ni Mhurchu, Indrawati Oey, and Nicole Roy.

title: Food Standards Australia New Zealand


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National Bank of Pakistan

National Bank of Pakistan (NBP) (نیشنل بینک آف پاکستان) is a Pakistani government-owned multinational commercial bank which is a subsidiary of State Bank of Pakistan. It is headquartered in Karachi, Pakistan. As of December 2022, it has over 1,500 branches across Pakistan.

The bank provides various commercial and public sector banking services, including the debt-equity market, corporate investment banking, retail and consumer banking, agricultural financing, treasury services. In the year 2020, the bank was designated domestic systemically important bank (D-SIB) by the State Bank of Pakistan.

History

 * 1949 National Bank of Pakistan (NBP) was established under the National Bank of Pakistan Ordinance of 1949 and was government-owned. NBP acted as an agent of the central bank wherever the State Bank did not have its own branch. It also undertook government treasury operations. Its first branches were in jute growing areas in East Pakistan. Offices in Karachi and Lahore followed.
 * 1950 NBP established a branch in Jeddah, Saudi Arabia.
 * 1955 By this time NBP had branches in London and Calcutta.
 * 1957 NBP established a branch in Baghdad, Iraq.
 * 1962 NBP established a branch in Dar es Salaam, Tanganyika.
 * 1964 The Iraqi government nationalised NBP's Baghdad branch.
 * 1965 The Indian government seized the Calcutta branch on the outbreak of hostilities between India and Pakistan.
 * 1967 The Tanzanian government nationalised the Dar es Salaam branch.
 * 1971 NBP acquired Bank of China's two branches, one in Karachi and one at Chittagong. At separation of East Pakistan NBP lost its branches there. NBP merged with Eastern Mercantile Bank and with Eastern Bank Corporation.
 * 1974 The government of Pakistan nationalised NBP. As part of the concomitant consolidation of the banking sector, NBP acquired Bank of Bahawalpur.
 * 1977 NBP opened an offshore branch in Cairo.
 * 1994 NBP amalgamated Mehran Bank.
 * 1997 NBP branch in Ashgabat, Turkmenistan commenced operations.
 * 2000 NBP opened a representative office in Almaty, Kazakhstan.
 * 2001 State Bank of Pakistan and Bank of England agree to allow only 2 Pakistani banks to operate in the UK. NBP and United Bank agreed to merge their operations to form Pakistan International Bank, of which NBP would own 45% and United Bank 55%.
 * 2002 Pakistan International Bank renamed itself United National Bank Limited (UNB). The ownership structure of the UNB remained as before. The only change to the shareholding structure is that UNB had recently been privatised in Pakistan and was now owned 49% by the Government of Pakistan and 51% by a joint foreign consortium of Abu Dhabi.

NBP needed to redefine its role and shed the public sector bank image, for a modern commercial bank. It has offloaded 23.2 percent share in the stock market, and while it has not been completely privatised like the other three public sector banks, partial privatisation has taken place. It is now listed on the Pakistan Stock Exchange.

 * 2003 NBP opened its branch in Kabul, and the first ATM in Afghanistan was installed there.
 * 2005 NBP closed its offshore branch in Cairo.
 * 2010 NBP opened its branch in Karaganda (Kazakhstan).
 * 2011 NBP opened its representative office in Toronto (Canada).

Operations
A number of initiatives have been taken, in terms of institutional restructuring, changes in the field structure, in policies and procedures, in internal control systems with special emphasis on corporate governance, adoption of Capital Adequacy Standards under Basel III framework, in the upgradation of the IT infrastructure and developing the human resources.

National Bank of Pakistan has built an extensive branch network with 1450 branches and 1350 ATMs in Pakistan and operates in major business centres abroad. The Bank has representative offices in Beijing, Tashkent, Chicago and Toronto. It has agency arrangements with more than 3000 correspondent banks worldwide.

The Bank saw significant growth between 2000 and 2006. In 2016, total assets were estimated at PKR 1,799 billion, with total deposits being PKR 1,657 billion. Pre-tax profit rose to PKR 37.14 billion. Earnings per share have jumped to PKR 10.69. The increase in profit was achieved through strong growth in core banking income. Gross interest income increased to PKR 114 billion through growth in the loan portfolio as well as increase in spreads. Gross Advances increased to PKR 781 billion. It ranges from providing credit to the unbanked market segment under NBP Karobar, to small and medium enterprises, to agricultural loans, to large corporate customers.

It has taken various measures to facilitate overseas Pakistanis to send their remittances. In 2002, the Bank signed an agreement with Western Union for expanding the base for documented remittances.

Subsidiaries
The NBP's subsidiaries are Taurus Securities Ltd, NBP Exchange Company Ltd, NBP Leasing Ltd, NBP Modaraba Management Company Ltd, and CJSC Bank, Almaty, Kazakhstan. The Bank's joint ventures is United National Bank (UK). Cast – N- Link Products Ltd.

International offices
National Bank of Pakistan branch in Washington, D.C. NBP also has branches /offices in the United States, UK, Canada, Germany, France, Bahrain, Egypt, Bangladesh, Hong Kong, Japan, South Korea, The People's Republic of China, Afghanistan, Turkmenistan, Kyrgyz Republic, Kazakhstan, Uzbekistan, Azerbaijan and Saudi Arabia.

NBP Fund Management Limited
NBP Funds is a Non-Banking Finance Company jointly owned by National Bank of Pakistan and Fullerton Fund Management Group, Singapore, which in-turn is a wholly owned subsidiary of Temasek Holdings, Singapore.

Sports
NBP owns a team since 1947 and a venue since 1998, both named after it and both located in Karachi. In October 2022, NBP got the naming rights of National Stadium Karachi.
 * Cricket

NBP owns a Karachi-based men's team playing in Pakistan Premier League. NBP is not involved with any women's team in Pakistan, nevertheless, in October 2020, its director, Imam Baloch, publicly lauded Diya W.F.C.'s actions for spreading football to poor and "backward areas" of Karachi and Sindh.
 * Football

NBP owns a team which won the National Hockey Championship in 2013.
 * Hockey

title: National Bank of Pakistan


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User:Nelsoc

Give Me The Rock - a fantasy basketball weblog

title: User:Nelsoc


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Multipolar neuron

A multipolar neuron is a type of neuron that possesses a single axon and many dendrites (and dendritic branches), allowing for the integration of a great deal of information from other neurons. These processes are projections from the neuron cell body. Multipolar neurons constitute the majority of neurons in the central nervous system. They include motor neurons and interneurons/relaying neurons are most commonly found in the cortex of the brain and the spinal cord. Peripherally, multipolar neurons are found in autonomic ganglia.

title: Multipolar neuron


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Boethusians

The Boethusians (בייתוסים) were a Jewish sect closely related to, if not a development of, the Sadducees.

Origins according to the Talmud
The post-Talmudic work Avot of Rabbi Natan gives the following origin of the schism between the Pharisees and Sadducees/Boethusians: Antigonus of Sokho having taught the maxim, "Be not like the servants who serve their masters for the sake of the wages, but be rather like those who serve without thought of receiving wages", his two pupils, Zadok and Boethus, repeated this maxim to their pupils. In the course of time, either the two teachers or their pupils understood this to express the stance that there was neither an afterlife nor a resurrection of the dead, and founded the sects of the Sadducees and the Boethusians. They lived in luxurious splendor; using silver and golden vessels all their lives, not because they were haughty, but because (as they claimed) the Pharisees led a hard life on earth and yet would have nothing to show for it in the world to come. It is known to historians that these two groups denied the immortality of the soul and the resurrection, and also that the sects found their followers chiefly among the wealthy, but the origin of the sects is unconfirmed.

The Mishnah, as well as the Baraita, mentions the Boethusians as saying that the omer offering must be offered on the Sunday of Passover (in opposition to the Pharisees who offered it on the second day of Passover), resulting in different dates for the Shavuot holiday. Elsewhere, it is narrated that the Boethusians hired false witnesses in order to mislead the Pharisees in their calculation of the new moon. Another point of dispute between the Boethusians and the Pharisees was whether the high priest should prepare the incense inside or outside the Holy of Holies on Yom Kippur

As the beginnings of this sect are shrouded in obscurity, so also is the length of its duration. The Talmud mentions a Boethusian in a dispute with a pupil of Rabbi Akiva, yet it is likely that the word here means simply a sectarian, a heretic, just as the term "Sadducee" was used in a much wider sense later on. A Boethus, son of Zonim, and nearly contemporaneous with Rabbi Akiva is mentioned in the Mishnah; he was not, however, a Boethusian, but a pious merchant. An amora, c. 300 CE, was also called "Boethus".

Relationship to other groups
Some scholars have identified the Boethusians with the Essenes, the sect that produced the Dead Sea Scrolls. Some of the scrolls express views similar to those attributed to the Boethusians by the Talmud. According to this theory, the word "Boethusian" is a corruption of "Beit Essaya", meaning "House of Essenes".

A high-priestly family
The Boethusians are believed to have been associated with the members of the high-priestly family of Boethus. The family of Boethus produced the following high priests:

title: Boethusians


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Walter of Guisborough

Walter of Guisborough was a canon regular of the Augustinian Gisborough Priory, Yorkshire and English chronicler of the 14th century. His chronicle has historical importance.

Work
The Chronicle of Walter of Guisborough, also previously and mistakenly known as the Chronicle of Walter of Hemingford or Hemingburgh, covers the period of English history from the Conquest (1066) to the 19th year of Edward III, excepting the years 1316–1326. It ends with the title of a chapter in which it was proposed to describe the Battle of Crécy (1346), but the chronicler seems to have died before the required information reached him. There is, however, some controversy as to whether the later portions, which are lacking in some of the manuscripts, are by him.

In compiling the first part, he apparently used the histories of Eadmer, Roger of Hoveden, Henry of Huntingdon, and William of Newburgh; but the reigns of the three Edwards are original, composed from personal observation and information. There are several manuscripts of the history extant, the best perhaps being that presented to the College of Arms by the Earl of Arundel.

One of the work's features is that it preserves copies of the great charters. Its versions have supplied deficiencies and cleared up obscurities in copies from other sources.

The first three books were published by Thomas Gale in 1687, in his Historiae Anglicanae scriptores quinque, and the remainder by Thomas Hearne in 1731. The first portion was again published in 1848 by the English Historical Society, under the title Chronicon Walteri de Hemingburgh, vulgo Hemingford nuncupati, de gestis regum Angliae, edited by Hans Claude Hamilton.

title: Walter of Guisborough


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User talk:Sludge

Pages that I have found interesting:

Cargo cult

Charles Bukowski

Chris Ware

Computer insecurity

Conjugated linoleic acid

David Hockney

The Decalogue

ECA stack

Enterprise Resource Planning

Explosive Ordnance Disposal

Films considered the greatest ever

Ghoti

The Great Game

Great Vowel Shift

Hipster PDA

Hugo Award for Best Novel

Italo Calvino

James Ellroy

Jean Baudrillard

Jean-François Lyotard

Jim Steinman

John Yoo

List of paradoxes

MacArthur Fellows Program

Nick Leeson

Rogue Trader (book)

Special purpose entity

Structured finance

Supply Chain Management

SWIFT

Trade paperback (comics)

Werner Herzog

Unusual articles

William Burrows

Economic impact of AIDS
As you are a member of the WikiProject Business and Economics, your help is kindly requested in the section of the AIDS article linked to above. Any help would be appreciated. --Bob 18:52, 28 March 2006 (UTC)

Unblock request
I'm honoring your unblock request. I presume you were blocked due to edits to the Joe Francis. Some of your reverts put a prank insult image back into the article. I'm assuming good faith from both you and the blocking admin-- a misunderstanding that perhaps could have been avoided with a bit more attention to detail on the part of both parties. Cheers, -- Infrogmation 19:09, 8 August 2006 (UTC)

Unity08 Interest?
Hi! You're one of about a dozen wikipedians who have edited Unity08 (which puts you in pretty rarified company :-)) and it occured to me that you might be interested in something in that vein. I don't want to clutter up your talk page but I wanted to let you know about my user page being used to talk about the intersection of wikis and the Unity Movement.  Sorry to be a bother, but "a dozen out of hundreds of millions" seemed like a small enough group to think there might be some common interests :-)

- JenniferForUnity 02:16, 27 September 2006 (UTC)

A reminder about edit summaries
When editing an article on Wikipedia there is a small field labeled "Edit summary" under the main edit-box. It looks like this: The text written here will appear on the Recent changes page, in the page revision history, on the diff page, and in the watchlists of users who are watching that article. See m:Help:Edit summary for full information on this feature.

Filling in the edit summary field greatly helps your fellow contributors in understanding what you changed, so please always fill in the edit summary field, especially for big edits or when you are making subtle but important changes, like changing dates or numbers. Thank you. --Nick—Contact/Contribs 05:56, 13 February 2007 (UTC)

Proposed deletion of Plato's four cardinal virtues

The article Plato's four cardinal virtues has been proposed for deletion  because of the following concern:
 * Everything here seems covered in the discussion of Plato's Republic. I asked what additional purpose this page served in December 2008 and no one responded.

While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the  notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing  will stop the Proposed Deletion process, but other deletion processes exist. The Speedy Deletion process can result in deletion without discussion, and Articles for Deletion allows discussion to reach consensus for deletion.  RJC  TalkContribs 01:42, 28 October 2009 (UTC)

Proposed deletion of Plato's four cardinal virtues

The article Plato's four cardinal virtues has been proposed for deletion  because of the following concern:
 * This article seems to be a COATRACK pushing the Catholic POV of material covered in The Republic (Plato).

While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the  notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing  will stop the proposed deletion process, but other deletion processes exist. The speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion.  RJC  TalkContribs 15:39, 25 April 2010 (UTC)

AfD nomination of Plato's four cardinal virtues
An editor has nominated one or more articles which you have created or worked on, for deletion. The nominated article is Plato's four cardinal virtues. We appreciate your contributions, but the nominator doesn't believe that the article satisfies Wikipedia's criteria for inclusion and has explained why in his/her nomination (see also Notability and "What Wikipedia is not").

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Please note: This is an automatic notification by a bot. I have nothing to do with this article or the deletion nomination, and can't do anything about it. --Erwin85Bot (talk) 01:04, 29 April 2010 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:52, 23 November 2015 (UTC)

title: User talk:Sludge