Aircast For Ligament Surgery

Manual for children. - Gabriel Garcia Marquez

these reflections I aspire to be a handbook for kids to dare to defend themselves from adults in learning the arts and letters. They have no basis scientific but emotional or sentimental, if you will, and are based on an unlikely premise: if a child is placed against a range of different toys, you'll end up staying with one you like more. I think that choice is not accidental, but reveals in the child a vocation and a skill that would perhaps unnoticed by unsuspecting parents and teachers tired.

I think both will come to birth, and it would be important to identify in time and take them into account to help you choose your profession. Moreover, I believe that some children at a certain age, and under certain conditions, have powers that allow them to see defects beyond the reality admitted by adults. Could be remnants of some power of divination that the human race sold out in previous stages, or extraordinary events almost clairvoyant intuition of artists during the solitude of growth, and disappear, like the thymus gland, when no longer needed. I think

born writer, painter or musician. It holds out the prospect and in many cases the physical conditions for dance and theater, and a suitable talent for journalism, understood as a literary genre, and the cinema as a synthesis of fiction and plastic. In this sense I am a Platonist: learning is remembering. This means that when a child reaches the primary school may be already predisposed by nature to any of these trades, but still do not know. And maybe not ever know, but his fate may be better if someone helps you find out. Not to force it in any way, but to create you and encourage conditions favorable to enjoy without fear of their favorite toy. I believe with absolute seriousness, to do always what one likes, and that alone is the master formula for a long and happy life.

To support this blithe assumption I have no other basis than the stubborn and difficult experience of having learned the craft as a writer against an adverse environment, not only outside the formal education but against it, but from two conditions with no means a well-defined aptitude and vocation landslide. Nothing would please me more if the solitary adventure might have some useful not only for learning the craft of literature, but for all the offices of the arts.


vocation without a gift and the gift without calling

Georges Bernanos, French Catholic writer, said: "Every vocation is a calling." The Dictionary of Authorities, which was the first of the Royal Academy in 1726, defined as "the inspiration that God calls a state of perfection." It was, of course, a generalization from religious vocations. Fitness, as the same dictionary, is "the ability and ease and way to do something." Two and a half centuries later, the Dictionary of the Royal Academy retains these definitions with minimal retouching. What it says is that a clear vocation and assumed depth becomes insatiable, eternal, and resistant to any opposing force: the only provision of the spirit can defeat love.

The skills are often accompanied by physical attributes. If they are singing the same musical note several children, about the exact repeat, some do not. Music teachers say the first they have what is called the primary ear, which is important for musicians. Antonio Sarasate, four years, came with his violin toy a note that his father, a great virtuoso, he could not find yours. Whenever there is a risk, however, that adults kill such virtues because they do not seem paramount, and end up typecast their children in the reality that parents walled them in boxes. The rigor of many parents with children is often the same artists dealing with gay children.

The skills and vocations do not always come together. Hence the disaster sublime voices of singers who do not go anywhere because of lack of trial, or painters who sacrificed a lifetime to a profession wrong, or prolific writers who have nothing to say. Only when the two come together there is a chance of something happening, but not by magic, still lack the discipline, study, technique and power to overcome for a lifetime. For the narrators

is a test that does not fail. If you ask a group of people of any age who have a movie, the results are revealing. Some give their impressions emotional, political or philosophical, but know not tell the whole story and in order. Others tell the story, as detailed as you remember, with the assurance that it will be enough to convey the emotion of the original. The first may have a bright future in any subject, divine or human, but are not narrators. A second lack is still much to be "culturally based technique, style, mental rigor, but they can be. Ie: there are those who can tell a story from beginning to speak, and some people will never know. In children is a test worth taking seriously.


The advantages of not obeying parents

The survey conducted for these reflections has shown that in Colombia there are no established systems for early detection and early vocation skills as a starting point for an artistic career from the cradle to the grave. Parents are not ready for a serious responsibility to identify in time, and while so are to antagonize her. The less drastic they intend to pursue a career children safe, and preserve the art for entertainment in spare time. Fortunately for humanity, the kids do little if the parents in a grave matter, and less on what to do with the future.

So those who have vocations misleading to assume attitudes hidden away with it. There are those who do not perform well in school because they do not like what they study, and yet could excel in what they like if someone would help. But it can also be obtaining good grades, not because they like school, but that their parents and teachers do not force them to leave a favorite toy that are hidden in the heart. It is also true drama of having to sit on the piano during recess or aptitude or vocation, imposing only parents. A good music teacher, shocked by the wickedness of the method, said that the piano should be taken into the house, but not for children to study it by force, but to play with him.

parents if we want our children to be better than us, but do not always know how. Neither the children of families of artists are safe from this uncertainty. In some cases, because parents want them to be artists like them, and children have a distinct vocation. In others, because the parents did mal en las artes, y quieren preservar de una suerte igual aun a los hijos cuya vocación indudable son las artes. No es menor el riesgo de los niños de familias ajenas a las artes, cuyos padres quisieran empezar una estirpe que sea lo que ellos no pudieron. En el extremo opuesto no faltan los niños contrariados que aprenden el instrumento a escondidas, y cuando los padres los descubren ya son estrellas de una orquesta de autodidactas.

Maestros y alumnos concuerdan contra los métodos académicos, pero no tienen un criterio común sobre cuál puede ser mejor. La mayoría rechazaron los métodos vigentes, por su carácter rígido y su escasa atención a la creatividad, y prefieren ser empíricos e independientes. Others believe that his fate depended not so much of what they learned in school and the cunning and stubbornness with which mocked the obstacles of parents and teachers. In general, the struggle for survival and lack of incentives have forced the majority to be alone and the brave.

on budgetary criteria differ. But some do not support complete freedom, and others even try to consecrate the absolute empiricism. Those who speak of the discipline does not recognize its usefulness, but thought that arises spontaneously as a result of an internal need, and therefore should not be forced. Others miss the humanistic and theoretical foundations of his art. Others say the theory. The Most, after years of effort, revolt against the prestige and the plight of artists in a society that denies the professional nature of the arts.

However, the harsh voices of the survey were against the school, as an area where poverty of spirit short wings, and is an obstacle to learn anything. And especially for the arts. Think that there has been a waste of talent by the infinite repetition, without alteration of the academic dogma, while only the most gifted and creative might be great when they had to go back to school. "It educates back to art," have told the teachers and students together. They would be pleased to feel which by themselves. Teachers resent, but also admit that they would say. Perhaps it is fairer to say that everyone is right. For both teachers and students, and ultimately the whole society, are victims of an education system that is far from the reality of the country.

So before thinking about art education must be defined as soon as possible a cultural policy that we have never had. Obey to a modern conception of what culture is, what it does, how much, for who is and who is taken into account that arts education is not an end in itself but a means preservation and promotion of regional cultures, whose natural movement is from the periphery to the center and bottom to top.

is not the same artistic teaching art education. This is a social function and taught math or science should be taught at primary school in the appreciation and enjoyment of the arts and letters. Art education, however, is a career specialist for students with specific skills and vocations, which aims to train artists and art teachers as professionals.

not wait to get vocations: we have to go out and find. They are everywhere, more The more pure forgotten. They are the ones that support the eternal life of street music, painting and brush early in the municipal Sapolin, raw poetry of the bars, the overwhelming flood of popular culture who is the father and the mother of all the arts.


What eat the letters?

Colombians, has always seen us as a country of lawyers. Perhaps this is due to the high school programs do more emphasis on literature in the other arts. But apart from the chronological memory of authors and works, the students are not cultivated the habit of reading, but force them to read and do synopsis books written programmed. Everywhere I meet professionals scalded by the books they forced to read in school with the same pleasure with which they drank castor oil. For synopsis, unfortunately, had no problems, because ads found in newspapers like this: "Change synopsis of Don Quixote by synopsis of The Odyssey." That's right: in Colombia there is a market so prosperous and so intense traffic photostatic summaries that we put together best business writers do not write the original books but once writing the synopses for high school. Is this method of teaching rather than television and bad books, "which is destroying the habit reading. I agree that good literature course can only be a gem for readers. But it is impossible for children to read a novel, write synopsis and prepare a reflective statement for the following Tuesday. Ideally, a child devote part of their weekend to read a book as far as possible and as far as you like, which is the only condition to read a book, but it is criminal, for himself and for the book, which read to the force in your hours of play and with the anguish of the other tasks.

would take "as needed even for all the arts-a special band with high school literature classes that only pretend to be smart guides reading and reflection to become good readers. For train writers is another story. No one taught to write, but good books, read with the aptitude and vocation alerts. Work experience is how little an established writer can convey to the trainees if they still have a minimum of humility to believe that someone may know more than them. For that we would not need a college, but practical and participative workshops, where craftsmen writers discuss with students the carpentry trade: how they took their arguments, how they imagined their characters, how they solved their technical problems of structure, style, tone, which is the only individual that can sometimes drawn in clean great mystery of creation. The same set of workshops is already proven for some genres of journalism, film and television, and in particular stories and screenplays. And without tests or qualifications or anything. That life decide who serves and who does not work, as happens anyway.

What to ask for Colombia, however, is not only a change in form and substance in the schools of art, but art education is provided within an autonomous system that depends on an organization's own culture and not the Ministry of Education. That is not centralized, but rather, it is the coordinator of cultural development from the different regions, because each culture has its own personality, its history, its traditions, its language, its own artistic expressions. That starts with educating parents and teachers in the early assessment of the inclinations of children, and prepare for a school that preserves their natural curiosity and creativity. All this, of course, without many illusions. Anyway, if by art, which must be already are. Even if you do not ever know.

Can You Get High Off Skelaxin?

LEONOR Book

I had the honor of presenting the book Leonor Buffo, a young poet disappeared 68 years ago. Poet with my name and I cite in my book, THE HOUSE OF LOVE AND DEATH, which appeared at this house, home, nestled between the mountains, Cabana, beautiful scenery of the Sierras de Córdoba and say
Everything
enmadejado and tied with a thousand threads of love. Leonor
Buffo

Bite silent spaces
words and she ignores him.
The pendulum has turned on its name and each letter naked
the echo that sleeps in his throat - and she does not know-
And his own name, between the slabs of
temple discovers Hidden. Attached to the bones sleeping under gravestones.
to the house, has become
where another woman with her name, for she weaves a web
. Only
dew on the grass at the foot of the mountain, is the crypt,
crying their tears of love
in the belfry.


is through the word Leonor Buffo exists today for us, beyond physical death occurred on September 6, 1941, when he was 23 years. Leonor
Buffo exists in the poetic dimension and she really gives the illusory world that builds from the self, from its own uniqueness.
Language is stripped of superfluous splendors where she is justified as a thinking, as construction of possible worlds, as having the fortune and misfortune. It is in this mirror we see the poet without masks that cover, is true in his poetry is shown as it is, innocent girl still, excited and spontaneous in love and amazed at the time with its load of forgetfulness passes the poems that disentangling in dichotomies where love is:

A dam to harness the wonderful water of life. Not a bit of it to miss-Dice -, which comes from the clouds, and passed through the bowels of the earth and is sacred. P. 30

The Love is both puzzling that inner place and looking from the site near or distant horizon, where everything converges to the point that lets you view and recognize the wonder and strangeness in front of the universe, creation, nature from a pantheism lived from the solitude and the proximity of the landscape in full communion with the world around
the wonder of the universe and that is how we know it.
Dialectic between sadness and joy, Leonor creates a poignant work of the poet's voice comes independent, thorough and consistent.

Death is a time limit hurry and yet it is life

What death could kill me? What death could stop the great harmony of my being is transformed into a thousand new and smaller as a result harmonies that shells? P. 111 awareness of finitude is overwhelming, but love triumphs over death:

all mine, and I'm around from first to last day.
Who said that eternity is beyond? I am eternity
p. 112

Marzocchi Junior T Bomber

Simply the Best Olympic hero's first hundred years of Tourmalet

Spiridon Louis, a Greek athlete semidesconocido humble, was the star of the first Games modern era. His victory in the Olympic marathon in 1896, commemorating the deeds of the soldier Pheidippides, saved Hellenic pride, made him a national hero and his life changed forever.

The ancient Olympic Games were banned by Emperor Theodosius I in 394 AD and considered a pagan ritual. Fifteen centuries later, Pierre Fredi, Baron de Coubertin, proposed rescue and peacekeeping pedagogical values \u200b\u200bof sport in ancient Greece, which led him, not without difficulties, to establish the modern Olympics, who would live the first edition in Athens in 1896.

In parallel, the French historian and linguist Michel Bréal proposed the creation of an endurance race that bore the name of the legendary battle of Marathon (490 BC) With it, commemorated the efforts of the soldier Pheidippides, who according to legend, ran the 40 kilometers separating the population of Athens announce the victory of the Athenians over the Persians, falling dead shortly after arrival. In Europe had already taken place long-distance running, but no one had linked the name of Marathon to these tests. Bréal personal friend of Baron de Coubertin, suggested to include it in the first Games, offering to give a silver cup to the winner, in memory of the feat of Pheidippides. Since then, the marathon would be considered the most important athletic event of the competition.

The results were not being good for the Greek athletes in the first Olympics of the modern era, since they had not achieved so far no wins. The Americans dominated the athletic, with nine wins in eleven races contested so far. Wounded in his pride, the last chance was in the marathon, which was to travel the 40 kilometers between the cities of Marathon and Athens.

The logic indicated that there were many chances that a local beat in this test, as 14 of the 18 participants were Greeks, although the four foreigners were athletes of international standing. At two hot afternoon April 10, 1896, after the opening speech of the mayor of Athens, the 18 brave as they marched from the Bridge Marathon. The starting signal was given by Colonel Papadiamantopoulos, mentor of several Greek soldiers, including our protagonist, Spriridon Louis.

Hellenic pride Salvador
The first news came through messengers, who followed the race on a bicycle or on horseback, were not very hopeful as at kilometer 16 led the test three of the four foreign athletes (Australian Edwin Flack, Albin Lermusiaux French, and American Arthur Blake). The latest news received by the 70,000 spectators who packed the Panathenaic Stadium in Athens was that Edwin Flack walked alone in head and near the stadium, which caused widespread disillusionment. Suddenly, to the surprise and clamor of the spectators, began to take hold the rumor that a local runner had taken the lead of the test. Moments later, Colonel Papadiamantopoulos began to ride in the stadium and confirmed the news: the winner was coming ... and it was a Hellenic athlete.

Spiridon Louis, who was not among the favorites, went first to the stadium to cross the finish line as winner with a time of 2 hours 58 minutes 50 seconds, between the cheers of spectators among whom was the Crown Prince Constantine who, count according to the chroniclers of the period, down from the stands to accompany him on his trot during the last minute. After the race, the winner made his famous statement honoring Pheidippides: "Rejoice, citizens have prevailed." With its stunning victory saved Hellenic pride and went on to be a great national hero. Spiridon Louis's life completely change thereafter.

later emerged that the three foreign athletes marching in front of the race had fainted by not knowing how to regulate their forces, went too fast and paid recklessness. Lermusiaux came out ahead and alone in the middle of the race, but soon began to stagger exhausted unable to continue the march. This sorry state was overtaken by Flack, who had made a huge effort to catch up. Close and the victory, just four kilometers from the finish, also began to tumble and raving attacked a spectator who sought his assistance. Finally, second and third place went two Greek athletes (Charilaos Vasilakpos and Spiridon Belok), although the latter was disqualified after admitting part of the journey traveled by carriage, passing the third-place finish at the Hungarian Gyula Kellner, the only outsider who completed the test. Only nine athletes completed that historic race.

athletic career
Short
Born January 12, 1873 in the village of Maroussi near Athens, in the midst of a very humble family, Spiridon Louis had to be put to work from very young, but we can not determine for sure if he was pastor, mailman or seller of water (at that time the city of Athens did not have a potable water system), because the versions of your profession are very different. Its preparation had been limited as an athlete, yet they showed some innate powers for the race. was selected to participate in the first edition of the Olympic Games by Colonel Papadiamantopoulos, his superior in the military, aware of his athletic ability after seeing him excel in the military marches. Louis was preparing through prayer and, according to comments at the time, spent the night before the Olympic marathon on his knees in the light of the candles offered to the icons and eating dried figs. After

crowned at the 1896 Games as a national hero, and despite not re- compete in any other race of importance, was filled with all kinds of hospitality and gifts, and to various shops, hairdressers and restaurants offered free services for years. He also received a property of the Greek government, as well as a horse and cart to carry water to their people. After having caused the delirium in his country and an unusual interest in the rest of the world are very few news of his whereabouts since that time.

the Olympic movement recognition came 40 years later, when he was appointed Honorary Chairman of the 1936 Berlin Olympics, where he was treated with all kinds of attention. Four years later, on March 26, 1940, died at 67 years of age. But his myth has continued and even enlarged, with the passage of time, especially in Greece. The best proof that his home country will not forget is that when Athens once again host an Olympic edition in 2004 was named the new Olympic stadium with the name of Spiridon Louis, the first hero of the modern Olympic Games, the winner of first major marathon history, the Greek who won this event 2,400 years after Athens defeated the Persian army at the plains of the same name.

Rainwax Wrecked My Windshield

is not the highest mountain or longest, or the largest vertical drop which usually rise in the Tour de France ... and yet it is the most legendary. At this year is to raise twice to mark the centenary of the first time the Grande Boucle moved through the Pyrenean summit. Then crowned first Octave Lapize who kilometers later, shattered by the toughness of the stage, shouted to the organizers: "You guys are murderers." Its ramps, steeped in the best epic cycling, have been the scene of a thousand and one stories to remember.

" Tour de France. The most important cycling race in the world. A run of a month. Paris-Lyon-Marseille-Toulouse-Bordeaux-Nantes-Paris. award 20,000 francs. " On January 19, 1903 the newspaper L'Auto (predecessor of the current L'Equipe) announced on its front page the birth of a cycling race, halfway between competitive sport and adventure. The race had been conceived a month earlier by the young editor of the cycling section, Geo Lefevre, in order to increase poor sales of the newspaper. The idea appealed to the editor, Henri Desgrange, and July 1 of that year 60 brave souls gathered at the gates of the Reveil Matin cafe on the outskirts of Paris to take part in the first edition of the Tour de France. A challenge, all crazy.

ahead had had to travel 2,428 miles in six stages, and between them gave the organization a few days of rest to avoid fatigue deaths. The winner of that first edition, the French builder and chimney sweep Maurice Garin, took 94 hours and 33 minutes to complete the course, to an average of 25.739 km / h, the last of the 21 survivors spent more than 65 hours Garin. From the outset, the French followed with passion the new epic, and the cyclists suffered acquired the status of heroes. chronic Lefevre's vibrant light readers and sales of L'Auto soar this month of July 1903, reaching 65,000 copies daily. But Desgrange wanted more. "Epic, sacrifice and glory" was his maxim. Always looking for the limits, decided to give a twist to his madness difficulties entering the first mountain.

addressed in the 1905 Tour's first mountain to climb to the Ballon d'Alsace in the Vosges, 9 km with an average gradient of 6%. Crowned the top leading René Pottier, who alone bore the entire climb up the bike. He made the ascent to the then amazing speed of 20 km / h, but had to drop dead the next day in pain because of cramps. After that first experience mountain Desgrange enthusiastically declares: "From now on, nothing is impossible. The Tour must be the greatest proof of publication that has ever been. " In 1906 the race made a brief foray into the small Alps. And in this continuous search for new challenges we, four years later, at a moment that forever changed the history of the Tour de France, cycling and sport. And it all started with a lie ...

A lie that changed history
In January 1910 Henri Desgrange met with his staff to plan the eighth edition of the race and find new venues to increase the interest in it. The journalist Alphonse Steines Point Blank released their proposal: that the race crossed the Pyrenees, then an inhospitable, uninhabited, with dirt roads in dilapidated state and even bears roam freely through the summits. "You're crazy," snapped the pattern of the race. But Steiner was a stubborn guy and eager to add a new dimension the Tour, insisted in his mad proposal. Desgrange

knew that the few raids in the mountains had been a great public success, but also feared that those giants Pyrenees (Peyresourde, Aspin, Tourmalet and Aubisque) were too hard to cyclists. finally agreed on one condition: that his colleagues examined the future path of the stage and personally finds that those roads were passable. Months later, after the harsh winter, Stein rented a car and driver and traveled to southern France, which until then was unknown territory and wild. The Peyresourde and Aspin were able to cross the smooth, but the Tourmalet, with its top still covered by snow in spring, would not be so simple, in fact, the natives tried to dissuade him of his idea. Stubborn as few

, Stein was not discouraged. They climbed down that road in appalling conditions until, at four kilometers from the summit, snow and ice on the road became completely impassable. Then the driver, frightened, refused to continue. "Give you around and wait for me in Barèges. I still walk, "said the intrepid reporter. Through the night to fall ventured with street shoes and a cane in hand, looking uphill to the top. In the midst of utter darkness, with snow covering the knees, walking between ravines and the danger of bears on the prowl, Stein managed to walk the four miles that separated him from the summit and begin the descent path of that location.

Hours later, in middle of the night, a raid organized by the driver found him exhausted, numb with cold, near Barèges. After taking a hot bath and eat voraciously, was ready to send a telegram to Paris, to the attention of Henri Desgrange. The lie, the big lie that forever changed the history of the Tour de France, cycling and sport: "Crossed Tourmalet. Very good route. Perfectly practicable. "

Ninety minutes of agony
On 21 July 1910 Tour that was going to travel for the first time for the mountain, as part of a hellish stage (Luchon-Bayonne, 326 km) , which would have to climb, one after another, the four giants of the Pyrenees, and three other minor ports (Soulor, Tortes and Osquich). At half past three was given the start and end of the street racers are already with the first climb of the day. After passing the Peyresourde and Aspin, two French riders are featured at the foot of the Tourmalet. On a field stones and earth, take up ninety minutes in his 17 miles. For Octave Lapize and Gustave Garrigou are ninety minutes eternal agony and struggle against the unknown.

The first alternating sections on the bike with others, the hardest, walking with her in tow, the latter is placed standing on the pedals again and again, and refuses to get off even though it costs to maintain the balance . Lapize go down in history as the first cyclist who crowned this monster of over 2,000 meters; Garrigou as the one who made the entire climb without setting foot on land, which earned him a prize of 100 francs. Are the half past seven and still have 250 miles ahead, with the ascension to also fearsome Aubisque. On top of this port, on the verge of asphyxiation and muscles trembling with grief, pencil off the bike and throw one of the organizers angrily yells: "Murderers, you are criminals."

After numerous fainting and recoveries, the mustachioed Octave Lapize Bayonne wins defeating the Italian sprint Albini. It was 17:40 in the afternoon, had taken 14 hours and 10 minutes to complete the stage. After they were coming for hours, the other runners, many of them in a sorry state we had to carry him to the shelters. The subsequent days passed off as the victor in his hotel in Bayonne lying and putting his foot crushed in a bowl with salt and vinegar. Beside her, Gustave Garrigou read aloud the chronic inflamed on Desgrange Pyrenean stage, Stein and Lefevre in L'Auto .

A week later, Lapize -1.65 meters and a robust body-is the winner of the Tour de France 1910. Sergeant of aviation in the First World War, French was killed on July 14, 1917 when the plane he was piloting was shot on Verdun. On his body was found five German bullets. One had pierced the heart, the heart strong and powerful that prompted his legs to make history on the ramps of the Tourmalet. And since that first ascent of one hundred years have passed, and this giant Pyrenean has become the port most visited by the Tour (it has risen by 81 times), the scene of sublime and extraordinary exploits weaknesses in the most emblematic mountain this test, although not the highest, or longer, or harder.

Forging a legend can
The Tourmalet climb two sides, to reach 2,115 meters in altitude of the summit: to Saint Marie de Campan, the best-known route, where Station slopes of La Mongie, and Barèges, somewhat narrower road. In the first case, is 17.2 km climb with an average gradient of 7.4% gradient, the second, 19 kilometers to 7.4% also. For both roads, cyclists are ramps with a slope exceeding 11%.

And if hard and difficult the climb is not less dangerous is the fall, a nightmare for cyclists not well versed in the art of falling. Down the mountain, in 1969, Eddy Merckx began one of the most marvelous exhibitions ever seen in cycling history [Stage 17: Luchon-Mourenx. Already outstanding leader, and after a ride 140 km solo, surpassed by eight minutes to his closest pursuers: Pingeon, Poulidor, Gimondi ...; the Canibal in pure]; down the mountain, in 1991, Miguel Indurain started winning the first of his five Tours [stage 13: Jaca-Val Louron, 232 miles and five ports. The Navarre makes a rapid descent of the Tourmalet that he's left alone in front of the stage, with the Aspin and Val Louron on the horizon Claudio Chiappucci decides to wait, and together they begin a ride that would give him his first yellow jersey]. So decisive in the rise and in the fall, this mountain is unforgiving to the weak.

are so many epic scenes lived in their seats (Ottavio Bottecchia in 1924, Lucy Buysse with snow-capped in 1926, Gino Bartali, Fausto Coppi, Jean Robic, Bahamontes, who crowned him featured on four occasions, Merckx, Van Impe, Pedro Delgado ...) that we find impossible to remember them all in this article. Yes we will, however, with what happened in the Tour in 1913, an episode that perfectly illustrates the harshness of that heroic cycling. After crossing the Tourmalet in second position, the Frenchman Eugene Christophe realizes that he has broken the fork of his bike. Do not want to leave (all his team mates had conspired to get to Paris) and under the rules of the time he it should repair the machine, so has no choice but to charge it on your shoulder and walk down 14 kilometers until you reach the blacksmith of St Marie de Campan . Unable to get help from the blacksmith, Christophe, who is a mechanic, gets to the forge and fix your bike before resuming the march, four hours after being crowned the Tourmalet. Had become the virtual leader of the race and was left without any choice, still, after rising in solitary Aspin and Peyresourde, enters open control goal. Finally, finished seventh in Paris. A plaque at the building of Saint Marie de Campan commemorates his iron will.

This edition of 2010, to mark the centenary of his discovery for cycling, the Grande Boucle Tourmalet climb twice, the second one as the end of the 17 th stage. It is the tribute that the organization has prepared a mountain ramps which are imbued with the best epic and legendary cyclist, a mountain forever changed the history of the sport and became the Tour de France in a race immortal.

Catapult Design And Blueprints

"The Challenge of Creation" by Juan Rulfo. AFRICA



who unfortunately I did not tell me stories, in our village people is close, yes, completely, one is a stranger there. They

them talking, sitting on their luggage in the evening to tell stories and stuff, but when one comes, they fall silent or begin to talk about the weather: "Today it seems that there are the clouds ..." Anyway, I did not have the fortune to hear the greatest story-telling why I had to invent them and I believe that precisely one of the principles of literary creation is the invention, imagination. We are liars, every writer who believes he is a liar, literature is a lie, but that lie out a recreation of reality to recreate reality is thus one of the fundamental principles of creation.

think there are three steps: the first is creating the character, the latter create the environment where that character will move and the third is how that character will speak, how they will express. These three points of support are all that is required to tell a story: now, I have him fear the blank page, and above all in pencil, because I write by hand, but I mean, more or less, what my procedures in a very personal way. When I started writing I do not believe in inspiration, I never believed in the inspiration, the subject of writing is a matter of work, start writing and see what comes out and fill pages and pages, to suddenly see a word that give the key to what to do, what will be that. Sometimes it is to write five, six or ten pages and not see the character I wanted to appear, the one real character has to move by itself. Suddenly appears and arises, one is going along, you go after him. To the extent that the character comes to life, one can, in ways that an unknown but, still alive, leading one to reality, or unreality, if you will. At the same time, manages to create what one can say that, ultimately, seems to have happened, or could have happened or might happen but never happened. So I think that this question of creation is fundamental to think about what one knows, what lies will say, think if you go into the truth, the reality of things known, as one has seen or heard, is making history, reportage.

I have long criticized my countrymen that I tell lies, do not do history, or that everything I talk or write, they say, has never happened and so. For me the first thing is the imagination, within three points of support of which we spoke earlier is flowing imagination, the imagination is infinite, no limits, and must break where you close the circle, there is a door can be a door window and that door must lead, must go. Thus it appears another thing called intuition: intuition leads one to think something that has not happened, but what is happening in writing.

Specifically, it works with: imagination, intuition and an apparent truth. When this is achieved, then accomplished the story you want to make known: the work is solitary, you can not conceive of collective work in the literature, and that alone leads one to become a kind of medium of things know yourself but not knowing that only the unconscious, or intuition lead one to create and keep creating.

I think that is, in principle, the basis of every story, of any story you want to say. Now, there is another element, another very important thing also is wanting to tell something about certain issues, we know perfectly well that there are only three basic themes: love, life and death. No more, no more tracks, so to capture their normal development, one must know how to treat them, how to give, not to repeat what others have said. Then, the treatment given to a story leads, although the subject has been treated infinitely, to say things differently, we are expecting the same thing been told from Virgil to not know who else, the Chinese or whoever . But you have to find the foundation, how to address the issue, and I think in creative writing, form-call-literary form is in force, which causes a history has an interest and call attention to others. As

publishes a story or a book, this book is dead, the author does not think about it again. Before, however, if not completely finished, what goes around in his head constantly: the issue is still hanging around until you realize, from experience, that is not concluded, that something has been left inside, then must restart the story, we must see where the failure have to see what the character did not move by itself. In my personal case, I have the feature eliminate me from the story, never tell a story that has personal experience that there is something autobiographical or that I have seen or heard, if I have to imagine or recreate, if ever there is a point of support. That is the mystery of literary creation is mysterious, and one concludes that if the character does not work, and the author has to help you survive, then it fails immediately. I'm talking about basic things, you must forgive me, but my experiences have been them, I never reported anything that has happened, my bases are intuition and, within that, there has emerged what is alien to the author.

The problem, as I said before, is to find the item, the character and what to say and what to do that character, how it will come alive. As the character is forced by the author, immediately gets into a dead end. One of the hardest things I've ever done, precisely, is the elimination of the author, remove myself. I let those characters work themselves and not my listing, because then entered the wandering of the trial, the vagary, does one even get their own ideas, he is a philosopher, in order, and you try to make believe in the ideology that has one, his way of thinking about life, or the world, human beings, what is the principle that moved the man's actions. When that happens, it becomes an essayist. We know of many novels, essay, literary work that is very novel-test; but generally, the genre that is less susceptible to this is the story. For me the story is a genre really more important than the novel because you have to concentrate on a few pages to say many things you have to synthesize, it should be curbed, in that the storyteller is a bit like the poet, the great poet. The poet has to be stopping the horse and not get out of hand, if goes on a rampage and write by writing, the words will come out one after another, and then just fails. The essential thing is just hold back, not out of hand, not empty, the story has this peculiarity, I just prefer the story, especially about the novel because the novel is strongly susceptible to these ramblings.

The novel, say, is a genre that encompasses all, is a pocket where it all fit stories, drama or action or non-philosophical philosophical essays, a number of topics which are going to fill that sack, whereas in the story is one that reduced synthesized and in a few words to say or tell a story that others tell in two hundred pages, that is, more or less, the idea that I have on the creation, on the principle of literary creation; clear that not a brilliant exposition that I'm doing, but I'm talking about a very basic, because I fear I have a lot of intellectuals, so I try to avoid them, when I see an intellectual, I will move back, and I think the writer should be the least intellectual of all thinkers, because their ideas and thoughts are very personal things that do not have to influence others or do what he wants others to do, when it comes to that conclusion, when it comes to that site, or call it final, then one feels that something has been achieved.

As you all know, there is no writer to write everything you think it is very difficult to transfer his thoughts to writing, I think nobody does, nobody did, but simply, there are many things to be developed are lost.