Media Viruses: Things You Wouldn’t Say in Broad Daylight.



Four Do’s, Four Don’ts, and Four Things to Bring to Your Next Conference, Convention, or Trade Show


Traveling to conferences, conventions, and trade shows can be a great experience, or it can be the worst thing that’s happened to you in months. Part of that is dependent on your travel and accommodation experiences, whether or not you enjoy your job, and the people you interact with. You can’t change that part of the experience, but you can change your own actions and make the most of the opportunities that are presented to you. Here is a list of twelve things—four do’s, four don’ts, and four things to bring to your next event that may help you get the most out of the experience.


1.       Bring your business cards—This one would seem to be a no-brainer. However, I can’t tell you how many conferences I’ve been to where I gave my card to someone who responded with “Oh, I didn’t bring my cards.” Whether they mean they didn’t bring them to the floor that day, or that they didn’t bring them at all doesn’t matter. It’s an easy thing to forget, but it’s detrimental to your conference experience if you can’t make connections. The best way to make those connections is to exchange information with other attendees. At a conference, convention, or trade show, you’re going to be meeting dozens or even hundreds or thousands of people. You can’t possibly remember every name, so how can you expect all of them to remember yours? Bring a stack of cards and keep it with you at all times. Be prepared to hand them out to those you meet. They may never call you, but at least you’ll know that the reason wasn’t because they didn’t have your contact info.

2.       Bring swag from your organization, especially pens—You’ll be spending a day or a week with people who have similar interests, and who are captives just like you. It’s a perfect opportunity to spread your organization’s name around. Swag imprinted with the name of your company or institution is an easy way to get a reminder of your brand into the hands of potential clients, partners, or assets. Pens are cheap, and invariably you’ll be in a seminar, workgroup or round table where someone will ask to borrow a pen, because they forgot one or theirs went dead. You can be the person with extra pens who says “Here, keep this one.” Later, when working at their desk back at their home base, they’ll notice your pen—and possibly reach out to you. Even if they don’t, every time your organization’s name is said or read, your brand and exposure in your professional community are being re-enforced.

3.       Bring your questions—Conferences, conventions and trade shows aren’t just networking opportunities, they are also professional development opportunities. Every person you meet has something to offer to you, whether it’s just a new perspective or invaluable information that will come in handy some day in the future. Learn what others do, and how they do it. Those new perspectives may spark your own creativity and lead you to a new best practice. When you return home, don’t forget to share what you learned with colleagues who didn’t get to attend. They may also find some use from what you learned, and if so, your organization has just gotten a BOGO (buy one get one free) because you learned and shared.

4.       Bring a bag to collect swag and literature in—If you’re doing it right, you’re collecting a lot of swag. Vendors and other participants will have items and information available about their products and services. Rather than sorting through everything when you’re out on the convention floor, get a comfortable bag or briefcase to put your collected items in. Bring a few plastic Ziploc bags for small items, and drop all the small stuff in one bag so it doesn’t float around and get destroyed, or drift to the bottom of the bag only to be discovered the next time you prep for a convention. If you’re really motivated—and a little OCD—bring a mini stapler, and staple the business card and literature together before you leave a vendor’s booth. That helps you keep it together until you can look it over in depth later.


5.       Don’t keep it all to yourself—When you’re picking up info and swag from peers or vendors, be thinking of others in your institution you could share that information with. Is there a vendor pitching a program you think your IT Department would find useful? Take their info and give it to the appropriate person when you get home. Write up a short review of the conference for your supervisor so they know they got their moneys’ worth by sending you. And share with your colleagues any best practices or good advice you learned. It can be as simple as a fun story someone told at dinner, or as complex as pitching to your HR Director about a presenter you saw at the event who you think your organization should bring on as a guest speaker at your next event. If you show your organization that they got a great value by sending you, they’ll be more likely to approve (and fund) future trips.

6.       Don’t promise or buy anything—it’s very easy to get sucked into a sales pitch at the booth, or to feel obligated to promise to give a vendor a chance. Don’t do it. If you genuinely like a product and want to learn more, give the vendor your card and let them pitch you when you’re back on your home turf, where you have distance, discretion, and support. If you are just curious and want more information, be sure to pick up all their info and tell them you’ll contact them if you want to know more. If you ARE a vendor, you’ll impress potential clients more by being informative, supportive, and listening to their needs than you will by being pushy. Ask for contact info, and tell them you’d like an opportunity to give them a full pitch tailored to their needs at a later date. The soft sell may ring true with cautious buyers, and you might earn a chance to develop a fantastic ongoing client, rather than just a one-off convention floor sale that the client might regret in the cold light of day.

7.       Don’t do anything you wouldn’t do at home—You may think you’re the life of the party, but you’re probably just embarrassing yourself. There isn’t anything wrong with letting vendors or peers buy a round or two at the local watering hole at an after-hours mixer. Likewise, there’s nothing wrong with having fun. But remember that if you get too wild and lose focus, you’re not getting anything out of the experience except a hangover and a reputation. Above all, remember you’re representing your organization. Despite what they might tell you, what happens in Vegas (or Orlando, or Cincinnati) does NOT stay there. Word will not only get back to your colleagues and superiors, it will get out to your peers. The only thing worse than an embarrassing “walk of shame” moment is an embarrassing walk of shame moment that will taint your professional reputation for years hence.

8.       Don’t underdress—Depending on your industry, you can probably get away with dressing slightly more casually than you do at your office. But don’t be lulled by that into making truly bad clothing decisions. Your company is paying you to be here. That means you are AT WORK. It’s the same as if you went into the office, only you’re working out of a strange hotel instead of your regular desk. Besides looking sharp so that you represent your organization well, you want to make a good personal impression on the people you meet. You never know when a contact made at a conference is going to transform into a different professional opportunity in the future. Maybe someone you met will hire you, or maybe they won’t—did you wear a t-shirt to the President’s Dinner?


9.       Do network—Learn about your co-attendees. Mine them for data and useful knowledge, and offer yours. What are their best practices for projects like the ones you’re currently working on? What do they do when they encounter a hairy situation? Can you offer them any good suggestions to deal with the budget cuts they’re facing that you went through last year? Chances are you have something in common with the others in that shared space. Use that to make connections that may prove fruitful in the future, for you and them.  You’ll get the most out of the experience this way, and you’ll connect with people who may be assets in the future. If you attend more than one convention in your professional life, you may bump into some of the same people. Having met and made a good impression once, you’ll have allies on future trips.

10.    Do use social networking platforms— If you’re a vendor, you’ve probably already planned to do this, but if you’re an attendee, it may not have occurred to you. If you or your organization have any kind of social media presence, use it. Find out if the conference is using a specific hashtag for posts regarding that event. If so, do use them, but also SEARCH those hashtags to find out how others are getting along, and use that as an opener if you meet and recognize one of them. Blog about it on your own site and tout how this experience will inform services to your own clients or partners. Mention what you’re doing on your Facebook page. Meet with your own social media/marketing people before the event to ask for advice on how to use the organization’s social media when you’re representing them while traveling. Your company will appreciate it, and your other clients, vendors, and assets will see what you’re doing too. Maybe you’ll get an invite (or a funded scholarship) to come to a future event, because your peers know you’ll raise their profile with your social networking savvy.

11.    Do take photos of people you meet with your phone—Of course you want to ask first, but when you’ve chatted with people for more than a cursory minute, ask to photograph them and their badge for your visual rolodex. Usually a conference badge has the attendee’s name, title, and organization listed. If they forgot their card, this may be the only way you’ll remember their info. Putting a face with the name is also a great way to reinforce who they are in your mind. I check these photos over in my hotel at night so that when I bump into them at breakfast the next morning, I can say “Oh, good morning Jorge!” Most people are impressed by this, especially if they didn’t wear their badge to breakfast. If you have a smart phone, put the photo right into your contact list and assign the photo to their contact info.

12.    Do email after the conference to keep in touch—You probably won’t become lifelong friends with the people you meet at a conference, and I’m not suggesting you contact EVERY person you meet. However, I’ve found that for every 100 people I meet, I usually have a truly meaningful conversation with 10 of them. Email those 10 people with a brief email; don’t get stalker-ish about it. “Hi Bob, I really enjoyed getting to know you at The Conference. If you’re ever near My Organization and you want or need something from me, please don’t hesitate to contact me. Here is the recipe for vegan cookies we talked about.” Send one email and leave it at that. If they want to contact you, they will. Even if they don’t, they’ll be impressed that you took the time to touch base with them, and it gives you the opportunity to develop a long-lasting professional relationship over time. And next time you’re at a convention with one of them, they’ll introduce you to their friends and colleagues—because you’re that awesome and thoughtful person who didn’t just forget about them the minute the closing speech ended.



Weekend Gardener Project: Perennial Border 

This weekend, we decided to do something about the craptastic border on the perennial bed, “before”southwest side of the house. There has always been a bed there, bordered with a low rock wall. However, since I’ve lived in The Dalles—going on 20 years—this bed has held nothing except weeds and cat poo. Here is how we changed that. To see full-sized pictures, just click the small picture.

Prep Work

The bed size is about 3’ x 15’. Here it is yesterday morning, with friendly, happy weeds living out their fruitless lives. The bed has some shade in the morning, and comes into full sun from 10:00 am to around 3:00 pm. I consider this a “full sun” bed, because even though it does get morning and evening shade, it sits in full sun during the hottest hours of the day. Nothing will do here except plants that are drought-tolerant and thrive in full sun. The plants also need to be able to tolerate our schizophrenic climate. We’re zone 7a on the USDA Hardiness Map, which means we get about a total of 15” of rain per year, which all falls from November to March—when it’s not snowing, snow in winter—when it’s not raining, baking hot sun in summer, and wind that rips the shingles off roofs all year round. Sensitive plants do not do well over here on the wrong side of the mountain.

The first step was to clear the bed. We pulled some stuff by hand, but this soil hadn’t been touched by anything but wild animals, dandelions, and household pets for decades. We were going to need some soil improvement and a lot of digging.

We decided to use our little Mantis tiller to churn up the bed. The area was way too small for the full sized rototiller, and I’m too lazy practical for hand-digging. The Mantis started right up! WOW! Now I’m working with heavy machinery. Look out world. Or at least, soil.


“closed” end“open” end

Mantis mini tiller

I made a couple of shallow passes, just to take the top layers off and break up the weeds. I raked those off, along with a lovely pile of rocks that we will be using in next weekend’s garden project.





One thing we seem to grow well over here is rocks. Wa kept saying “This soil is all sand. Why are there so many rocks in it?” I told him it’s because we’re Irish. “Where Irishmen go, rocks will grow.” That’s an ancient Irish proverb I just made up.

After a few shallow passes, I spread two bags of steer manure/compost mix over the bed and made my deep passes with the Mantis, tilling down to about 10” and mixing the manure and compost in as I went. When I made my final passes, I started at the “closed” end, near the fence, and put the Mantis down to its full depth and dragged it backwards like a plow. Three passes like that churned up the full bed, and I raked everything flat.

after tilling

Plant Choices

I decided to do the bed in yellows and purples. I find that if you’re trying to fill a small space, using complementary colors works well, because they pop so much. Yellow-blue, purple-orange, and red-green are all the major complementary color schemes, but if you want to branch out from that, or just have a little more variety, you can do split-complementary. That would be yellow, red-violet, blue violet; orange, blue-violet, blue green; and red, blue-green, yellow-green. The color wheel is your friend!


ROYGBIV and friends

The plants I chose that fit my color scheme, zone, and drought tolerance/soil needs were:

Coreopsis grandiflora “sunfire”
Achillea (yarrow) “moonshine”
Echinacea purpurea “little magnus”

Salvia nemorosa “ostfriesland”
Veronica (speedwell) “inspire blue”
Lavandula angustifolia (English lavender)


basic placementWe chose our spots for plants and started digging holes. Thanks to Wa for help digging! He hates it, but he’s super good at it. Way better than me. By this time, it was 10 am, and we were in the sun. It decided to be 90 degrees yesterday, with 30-40 mph winds, so it was nice and cool out in the front yard, but in the side yard where we were blocked from the wind, it was extra hot.
Go home, coreopsis, you’re drunk!
The cats were of no help whatsoever, per usual. They mostly just sat around supervising our actions. I tried to get them to at least dig some holes, but they were having none of it, and laid around in the neighbor’s grass, peering at Wa and I through the fence instead. Lazy buggers!

After watering in, we were too hot and tired to complete the project right then, so we went in for lunch. I should have come out to finish in the afternoon, but I was too lazy busy to do so. Instead, we went on to other, indoor activities that wouldn’t keep us out in 90 degree heat, and got up early the next morning to finish.

 Finishing Touches

We went out on Sunday morning to get another yarrow and two more veronica to fill areas that were sparse. A coat of topdressing in the form of brown mulch completed the project. Total time: 4 hours. Total cost $200. Well spent, I think.

~before~And done!

I hosed off the brick walkway. We’ve ordered bricks to complete it, and I’ll be working on the other end of this bed next weekend, when I’m going to complete the rock wall, extend the bed on the other side of the concrete slab, and try some container gardening on the concrete slab between.




Abstract - R. David Edmunds, “Native Americans, New Voices: American Indian History, 1895-1995,” American Historical Review 100 (1995): 717-740

R. David Edmunds’ article, “Native Americans, New Voices: American Indian History, 1895-1995” chronicles the waning and waxing interest in Native American studies among historians, in connection with articles published in the journal American Historical Review. Edmunds asserts that when the journal began publication in 1895, the Native American population was below 250,000 individuals and many historians shared a widespread belief that the end of the physical frontier and the expectation of assimilation meant that Native American populations were no longer considered an important part of the American historical landscape, except when studying them in opposition to early Euro-American actions on the frontier. Their own culture was largely ignored, in what Edmunds refers to as “the supporting cast in a drama whose plot and leading roles were European.”[1] Little or no attempt was made to study Native Americans within the context of their own cultural idiom.

          One reason for this neglect was the relegation of all non-white, non-male, and non-European individuals to marginalized status. Another was the reluctance or refusal by the historical community to accept oral history and tradition as valid sources for information. As Edmunds points out, the failure of historians to collect and curate oral history traditions from Native individuals who directly participated in early nineteenth century events, or from their immediate descendants, has resulted in a great loss of knowledge about Native perspectives of that time period. In the early- to mid-twentieth century, the continuing marginalization of Native perspectives and the belief that Native history was unworthy of serious academic study helped continue the trend of publishing few Native-centric articles in the Review.

          The first major shift in interest in Native American studies, Edmunds notes, coincided with the broader Civil Rights movement of the 1960s. As a subset of that movement, the Red Power movement and the American Indian Movement raised popular and political interest in Native American culture and history. In response, “history departments across the United States rushed to add undergraduate Native American history courses to their curricula.”[2] This led to a corresponding change in methodology for Native American studies, which shifted from a Euro-centric view to a Native-centric view. In recent decades, this has led to an expansion in Native history, including much more focus on pre-Columbian cultures.          All the new investigation into Native history has resulted in a shift in understanding of how Europeans were able to invade and conquer the Americas, including the realization that portmanteau biota waged previously overlooked germ warfare on the indigenous population that severely reduced their numbers in the years between first European contact and the colonization and expansion of the seventeenth and eighteenth centuries.

          Edmunds, the Anne and Chester Watson Chair in History at University of Texas, Dallas, gives a good overview of the history of Native American articles presented in the American Historical Review. He also does a good job of presenting the argument and conflict over the differing perspectives in Euro-centric historiography and Native-centric historiography that still permeates the topic of Native American history. This article is almost an annotated bibliography of journal articles on the topic in the Review, from its inception to the time of Edmunds’ article. Beyond that, however, Edmunds’ essay lends little to the dialogue and to the broader scholarship of Native American studies. It is essentially a very well-written laundry list of articles and an explanation of how this small cross section of historiographic scholarship fits into the greater pattern of Native American studies.





Edmunds, R. David. “Native Americans, New Voices: American Indian History, 1895-1995.”  American Historical Review 100 (1995): 717-740.


[1] R. David Edmunds, “Native Americans, New Voices: American Indian History, 1895-1995,” American Historical      Review 100 (1995): 717-740.720

[2] Ibid, 724


Merry Murder Makers

Note: this work was originally produced for a Literature course at Eastern Oregon University. Previously unpublished.

  Unlike most people, who simply look at something and assume that everything is the way it seems, the detective looks at what is and sees something hidden. Since the word “detective” was first applied to a literary figure, this aim of the detective has remained constant, even as successive generations of authors have incorporated the most modern methods of scientific reasoning and investigation available to them into their stories. The detective is one who wants to, needs to, must uncover the hidden truths of our universe, but his or her methods change with the times. The detective is not simply a character—he is a literary archetype. Though his setting and his science may change, he remains true to his own form. Many authors have added an element or changed the nature or presentation of the detective in some way, but the following six creators, and their creations, can be said to exemplify a particular aspect of the evolution of the detective and his medium—the genre of crime fiction.

Edgar Allan Poe’s 1841 story “The Murders in the Rue Morgue,” featuring C. Auguste Dupin, is almost universally acknowledged as the first detective story (Demko). Dupin further appears in two other Poe stories “The Mystery of Marie Roget” and “The Purloined Letter” (Poe). Dupin’s method hinges on his great intelligence and his ability to think like the criminal. The most prominent scientific theories of Poe’s time, as could be applied to criminology, were based on witness identification, which is why the police in “Rue Morgue” arrested the last man seen with the victims. Looking for evidence, like the “Ourang-Outang” hair found at the crime scene and evaluating it was a new method which Poe chose to incorporate as part of his detective’s method.

Building on Poe’s work, Sir Arthur Conan Doyle published “A Study in Scarlet,” the first story featuring Sherlock Holmes. Holmes’ motive for solving crimes is his insatiable curiosity. “There’s the scarlet thread of murder running through the colourless skein of life,” he says, “and our duty is to unravel it, and isolate it, and expose every inch of it,” (Conan Doyle, 23). Conan Doyle’s main contribution to the character of the detective is that after Holmes subsequent detectives are more likely to rely on clues gleaned from observation and are often amateurs who are compelled to solve crimes because they are intrigued by puzzles.

Conan Doyle also introduced inductive reasoning into crime fiction, and Holmes uses a version of the scientific method as introduced by Charles Sanders Pierce in his 1878 article for Popular Science Monthly “How to Make Our Ideas Clear,” (Pierce). The steps in Pierce’s method are: ask a question, research the situation, construct a hypothesis, test the hypothesis, analyze data drawn from experimentation, and finally, communicate results. Applying this method to a crime, Holmes starts with a question or crime, for example “Who killed Lord Pratt?” Next, he researches by using his own keen observational skills and by questioning the witness or client. Third, he constructs a hypothesis (which he at that point keeps to himself), and tests the hypothesis, often in the field with Dr. Watson. Finally, Holmes reveals the murderers of Lord Pratt (Lady Pratt and her lover, Mr. Bollocks the driver).

Modern adaptations of the Sherlock Holmes story, such as the BBC production Sherlock, also use the most modern science available. The character of Holmes and his observational methods are the same as written by Conan Doyle in Victorian times. However, the production is set in modern-day London and Doctor Watson is a veteran of the current war in Afghanistan, instead of being a veteran of the Second Afghan War as the original Watson was. Instead of publishing accounts of his adventures with Holmes, he is writing a blog at the insistence of his psychiatrist who feels it will help him work through his post-traumatic stress disorder. The series incorporates modern science and technology, such as DNA, cell phones, closed-circuit surveillance cameras, and the Internet to help Holmes solve crimes (BBC One). In the original stories, Holmes often sends Watson into the field to observe things and then report back to Holmes on his findings. In the updated version, Holmes sends Watson out with his laptop, and Watson uses the built-in webcam to let Sherlock observe from their flat at 221B Baker Street. Even though the character has been moved into a Twenty-first Century world, the detective archetype survives intact.

The next iteration of the detective is the father confessor. This type of detective is exemplified by Agatha Christie’s Hercule Poirot. In Murder on the Orient Express Poirot employs methods used by both his predecessors Holmes and Dupin to solve crimes. However, Poirot also affects the personality of an unassuming and docile man. He is small, not physically imposing at all, and he makes himself available for people to talk to. Because he seems so docile, people say things to him they might not say to a more daunting stranger. Poirot often solves cases merely by interviewing all the involved parties and comparing their stories in his orderly little mind to determine what pieces do not fit. This skill continues to be popular in crime fiction, especially on television where shows like Perry Mason and Murder She Wrote owe Agatha Christie’s tiny Belgian a great debt, since they use his method almost exclusively. A scientific development of Agatha Christie’s day was Sigmund Freud’s psychoanalysis, and it may be that Poirot’s tactic of getting people to talk to him is rooted in Freud’s idea that people inadvertently reveal their true inner nature when talking.

Raymond Chandler’s The Long Goodbye features Phillip Marlowe, a hard-boiled crime solver who employs a multitude of methods including those mentioned above plus following people and spying on them, taking photographs, pillow talk, and fingerprinting. It is in this iteration that crime stops being quaint and charming and begins to resemble real crime: dark, dirty, and dangerous. Other scientific advances featured by Chandler include looking for traces of blood, hair, or other physical evidence of the crime around or on the murderer. Much like the era in which noir became popular, the world was going through many changes such as the Great Depression, the Second World War, and the Cold War, where reality was harsh and unavoidable. Guns became a standard of crime fiction at the time, and since Chandler most detectives seem to carry a firearm, and the criminals are carrying them, too.

Michael Connelly’s The Last Coyote features Police Detective Harry Bosch trying to solve his mother’s murder in modern day Los Angeles. Since the crime took place in the 1960s, Connelly is able to make a nod to the Noir thrillers he relied on to create Harry Bosch, a hard-talking and no B.S. cop who has seen things that would make Phillip Marlowe’s skin crawl. Bosch, as a modern detective, is set firmly in a gritty, realistic world almost indistinguishable from the non-fictional one. There are no hokey plots here: motive, means and opportunity are a must for the killers he catches. Scientific advances Connelly incorporates into the Bosch novels include DNA, the use of the Internet as a research tool, and criminal databases like IAFIS (Integrated Automated Fingerprint Identification System) and CODIS (Combined DNA Index System) that help real and fictional cops track down criminal histories across jurisdictional lines.

Finally, Richard K. Morgan’s Altered Carbon introduces Takeshi Kovacs. Though not the first science fiction detective, Kovacs may be one of the most outstanding examples of this blended genre. Morgan tackles the unknown future, and invents his own scientific breakthroughs to give his detective an arsenal of tools. Morgan postulates how scientific rationalization and “detecting” will evolve when humans are spread across the known universe, when the world as we know it now no longer exists. Morgan does an excellent job of projecting a future that is technologically advanced from our own but shows how the basic nature of humanity hasn’t changed since the days of E.A. Poe. His detective is an amalgam of all the previous styles rolled into one extraordinary being who sets out to know the truth and uses all the tools at his disposal to find it.  Morgan’s scientific advances include needlecasting—the ability to electronically transmit a radio frequency of a personality from one physical location to another, resleeving—placing a human being’s stored memories and thoughts into another physical vessel, and the political entity known as the Envoy Corps—a military and diplomatic organization that uses special training to condition its members to be elite fighting, reasoning, and thinking machines. Kovacs, as a member of the Envoy Corps, is able to recover rapidly after being resleeved, so he is called upon to solve the “murder” of a man who is not technically dead by current standards, because he too has been resleeved. In an ironic twist, Kovacs, with all the technological advances available to him that Morgan could possibly dream up, is forced to use simple methods introduced by his forefathers of detection—Dupin’s imagination, Holmes’ logic, Poirot’s interrogation, Marlowe’s pillow talk, and Bosch’s physicality—to solve what is essentially a locked room mystery.

                Crime fiction has developed from being a genre that started from a handful of gruesome stories into a multi-billion dollar entertainment industry encompassing literature, film, television, and the stage. The creators of this media have presented the world with a series of sleuths who charm and thrill us with their wit and wisdom. Though the science these detectives use may change to keep current with the times, the spirit of the detective is universal. As proven by the modern adaptation of Sherlock Holmes, such characters are so interesting on their own that they may be removed from their original settings and thrust into a new environment without diminishing their interest or their story-worthiness. Essentially, all these authors built on the work of the previous authors in such a way that each detective could be seen as merely a new incarnation of his predecessor. The detective as a literary archetype is likely to change with the times, but is unlikely to disappear any time soon. They’re just too much fun to stop revisiting—for authors and readers alike.





BBC One. “Steven Moffat and Mark Gatiss interview – Sherlock – BBC One” You Tube

Chandler, Raymond. The Long Goodbye. New York: Ballantine, 1982. Print.

Christie, Agatha. Murder on the Orient Express: A Hercule Poirot Adventure. New York: Harper, 2011. Print.

Conan Doyle, Arthur. “A Study In Scarlet.” The Complete Sherlock Holmes. New York: Doubleday, 1986. Print.

Connelly, Michael. The Last Coyote. New York: Orion Press, 1995. Print.

G.J. Demko, G.J. Demko’s Landscapes of Crime. Web. Accessed 24 May, 2012

Montgomery, David J. “Interview with Michael Connelly (April 2002)” Mystery Ink.

Morgan, Richard K. Altered Carbon. New York: Science Fiction Book Club, 2002. Print.

Pierce, Charles S. “How To Make Our Ideas Clear.” Popular Science Monthly. January 1878, 286-302.

Poe, Edgar Allan. “Murders in the Rue Morgue.” Complete Tales and Poems with Selected Essays. New York: Creative Space Media, 2011. Print.



Academics, and more

Those of you who read my blog will start seeing a slightly different tone in here for a while. Before you call the Brain Police and recommend me for an overhaul, please note that I’ll be using this blog for posting some of my academic work. As my last post, about why I changed my major, shows, I’m still in college, pursuing a BA in History. To that end, I’m going to post a lot of work in here that reflects that process. Some of it may be quite boring to those not OBSESSED with all things old, such as I am, so if you tune out for a while, I won’t be offended. Try reading a book in the meantime. Or, if you’re blog-obsessed, check out (Jamie Zawinski’s site.) Or read Warren Ellis’ Transmetropolitan, which NEVER goes out of style…