Profit center cost relationship poems

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profit center cost relationship poems

The contest model means a poet submitting a manuscript with a fee of . eaten up in administrative costs; costs will expand in relation to the. *By primary relationships with online share investors, based on investment Trends Singapore Rates updated as of 17 Dec , based on 1-year rolling return, NAV/NAV prices. Phillip Investor Centre, Marine Parade POEMS empowers your trading and investment via access to over 40, instruments across Stocks. Part of the speaker's job requires her to watch as the centre's clients, These steep prices contribute to the city's poverty by excluding most.

Our poetry is haunted today by a blind adherence to lack of ambition--and the poetry contest model is part of the problem. Is this the best way to discover new poetry talent in the country? What happens to editorial judgment, consistent aesthetic vision, commitment to particular values, building a movement, advocating for a particular style, and creating a critical mass of new writing if the contest model is allegedly based in "impartiality" and "blindness"--in other words, pretends to be the exemplar of democracy, egalitarianism, and disavowal of values?

Poetry Society of America

Has institutionalization gone too far? Would we all be better off--far-fetched as it sounds--if the contest model were eliminated and consistent editorial judgment were allowed to enter into the process of first book publication again?

The contest model wasn't always predominant, but along with the explosive growth in MFA programs and the institutionalization of literary writing under the academy's auspices, small publishers who used to read submissions without a fee, without a contest have become almost completely extinct; a few remain, but they're so overwhelmed with commitments to long-term authors that new poets can't look to them as a viable option; they're a drop in the bucket, drowned by the overwhelming scale of the contest phenomenon.

Publishing new writing by way of contests implies a certain metaphysical attitude--the model privileges randomness, divisibility, fragmentation, unknowability, and nondeterminism, perfected and ground through a process of rationalization to the presumed opposite of these conditions. Something that starts out fluid and yielding is supposed to gel into a final judgment. The contradictions are rife. Victory in a poetry contest is never unequivocal--hence the sometimes inordinately long lists of runners-up, finalists, and honorable mentions, as though any of these could easily have been the victor.

There is a victor, and yet there isn't. The illusion must be perpetuated that everyone always has an equal shot at winning the contest. All books are potentially publishable.

profit center cost relationship poems

Much of Larimer's interview focuses on the mechanics of judging contests, from the point of view of these four administrators. How do the contests get the submissions, who screens them, how is impartiality ensured, etc. However, the way the questions are framed presumes the fairness of the system, delving instead into the nitty-gritty.

profit center cost relationship poems

This serves to sideline the larger political and philosophical implications of the idea of publishing books by contest. Discussing tactics, or occasionally strategy, but not philosophy, is a way to defuse the angst and enhance existing legitimacy for the benefit of the system. For instance, Harrison tells Larimer: If none of the screeners is particularly moved by a manuscript, but the person who's submitting has a ton of publication credits, it moves along to the judge anyway.

I always have three screening judges and I just divide the pile up. Contests go out of their way to emphasize the fairness of their procedures, which is a convenient way out of the bigger issue.

profit center cost relationship poems

The reality is that only a certain sensibility will get through in a given contest. Typically there are two types of aesthetics following the MFA division of poetry into two major camps: A judge from one camp is never going to pick a book from another camp; it just doesn't happen.

The screeners know it, and hopefully the submitters know it too unless they're really stupid. I send back a slow-loading web page with a pile of paragraphs and some assets. I send back errors, evasions, interjections. Or I get the hit and I have nothing, I just stand there numb, counting seconds. I was thinking His hidden names seem like a metaphor for how love works: Love is a kind of faith: My house is unfamiliar to me when suddenly there is somebody new—a visitor to startle me off the couch where I've grown listless from memory.

The gift in this case was a stone, smaller than my palm, which my two-year-old daughter, Esther, picked up in the parking lot of her school. She's now three-and-a-half, and my pockets are still filled with stones, leaves, dried flowers, and other of the world's ephemera. I wrote this poem a long time ago, after I had my first child. The recordings leave the voices in you, all their various textures in and next to this world, and then, hopefully, they crop up in dreams.

It's such an intuitive way to study. I spoke with Alice on the occasion of this new LP. Because she is an incredibly funny person, my only regret is that this transcript can't show the amount that we laughed during the conversation.

Ewing on "what I mean when I say I'm sharpening my oyster knife" Zora Neale Hurston is such a fascinating and wondrous character to me. Although she is most well known for her work as a fiction writer, she was also a trained anthropologist, and I think that the capacity for intense observation, cultural analysis, and keen questioning that are so important to that kind of work are traits that inform her work in other genres.

He co-edits Wonder and lives in New York. But, years ago I saw a book review of a Queen Elizabeth biography while reading other sections of the paper. There was a description of Elizabeth hearing about her father's death while she was in a hotel in the trees, watching elephants. I don't speak Japanese, so I came to this word as many others do, through a history book.

And yet, I understand enough about Japanese American culture to sense there is a lack in the terms "endure" or "persist. All the things that I am going to tell you about this poem, and about all the Double Portraits, are things I didn't know as I was writing. The only thing I knew then was to do what I had always done: This poem grapples with some of the wreckage that followed, tries to order it—how I became dangerous by making my body do dangerous things.

I was thinking about the many loves that were never lovers—how intimacy and romance can occupy a room without taking hold of the body.

And I like making people laugh. Writing about this poem, though, made me see the sadness.

  • What is the relationship between cost centre and profit centre?
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  • Relationship between profit centers and cost centers

This poem came a little after realizing I had all these poems about a confrontation between mother and teenage son, a rupture that occurs because of the son's growing sense that he is not, at least not fully, straight. There is something in the way Reyhaneh seeks to calm her mother, to relay gratitude, of all things, for her mother's love.

Like Seidel, Kill List trades on seeming to go too far, while in reality its compositional procedure means the poem cannot go far enough. Meant to provoke outrage, the Kill List involves little actual discussion of how money shapes lives.

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I talk about money with friends, many of them poets, most of them broke. This is gossip, to be sure, but in these conversations we find out what kind of deals we get where we work, and we share information about how to manage our lives.

Talking this way also creates networks of support, alleviating the shame and despair we sometimes feel. Some of my family live in Castelliri, a rural, working-class town in central Italy. Money comes up all the time in conversation. Meeting someone new often involves explaining not only what I do, but eventually, how much money I make. This cultural attitude has resulted in the beautiful and class-conscious poetries of Cesare Pavese, Sandro Penna, and Pier Paolo Pasolini.

More recently, Italy has been a hub of new Marxist thought and was, indeed, the origin of the Occupy movement.

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The contract professors she has hired, the chair explained, do it as a public service. The kind of poetry important to me right now is intelligent but open to non-specialists, confessional but aware of their contexts, political without losing the personal.

Correcting this cultural omission, he suggests, might not only allow us to understand each other better, but might improve these conditions.

Poetry Should Talk Honestly About Money · The Walrus

Your client tells you a joke as she swallows her methadone. Two gulps, a blue prison tat on her wrist exposed the brown plastic. You black out the name. Now you bring your pay stub to a bank. In the box provided for occupation on your mortgage application you write Witness. Does the poem record an actual or imagined response? Collections like Waiting Room remind us that, if it hopes to be read, poetry has to start addressing what matters to people, and this includes economic concerns.

Doing so might seem indecorous, even desperate. Get the weekly roundup from The Walrus, a collection of our best stories, delivered to your inbox. Click here to sign up: