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… on a six-game losing streak including 100-63 to Seattle (with a WNBA tying record 18 3-pointers) on Wednesday. The Mercury also lost Wednesday, …
#1 Los Angeles Lakers vs #8 Denver Nuggets姓名：Kobe Bryant 出生日期：西元1978年8月23日 (農曆67年7月20日) 查詢流年：西元2008年 靈數：5 這個數字顯示 這是一個變動性最強的階段，事情有很大的轉折，看個人的發揮而定，財運上可以得到機會，但並不會到達高峰，之前穩定的財務會有變動，不小心也有散財的可能。對於感情是不穩定的階段，原本的感情會有變動性，不小心會有失落感，而由於很容易遇到新的感情，因此對想要建立新感情的人很有幫助。在這個階段，心通能力特別有感應，尤其是在關係密切的人身上特別靈驗，往往心有靈犀一點通喔！Kobe是今年MVP的熱門人選，帶領LAL拿下西區龍頭寶座，受傷的Bynum說可能會在季後賽回到陣容當中，也可能不會，如果Bynum回來必須小心處理，避免打亂原本的勝利方程式而調不回來。Gasol跟Kobe這對在球季中才結合的搭檔，在季後賽可能會有精彩的傳導表現，互相妙傳給對方，畢竟這兩人都是會傳球的球員。但金塊並不時簡單的料，Kobe仍別大意。姓名： Carmelo Anthony 出生日期： 西元1984年5月29日 (農曆73年4月29日) 查詢流年： 西元2008年 靈數： 8 這個數字顯示 這是一個豐收的階段，享受汗水流乾後收成的愉悅，事業有成果，財運也很好，因此生活上比較豐富一點，可以發揮你的財務管理能力，快快計劃好錢要怎麼花出去最適當喔！小心投資，把握機會，先回收再說！在投資的計劃上先擬定各種戰略，最好是做長期性的規劃，並且營造有利的氣氛，改變目前的局勢，會有機會賺錢，但需要小心各種陷阱。小心注意酒駕的餘波，應跟律師在計畫上擬定完整的策略，解決球場外的問題。並且在球隊中撫平酒駕影響的氣氛，趕緊跟各位大哥賠不是，AI和Camby等戒指都等到快瘋掉了，Melo還出這種包。整題來說金塊會有機會，但需要小心各種陷阱，比如說開特力旁邊放一箱約翰走路…….不負責預測：Los Angeles 4：2淘汰Denver#2 New Orleans Hornets vs #7 Dallas Mavericks姓名： Chris Paul 出生日期： 西元1985年5月6日 (農曆74年3月17日) 查詢流年： 西元2008年 靈數： 3 這個數字顯示 這是一個發展性很強的階段，變動性比較大，各種管道也比較暢通，接觸的層面也會更廣泛，因此手邊所進行的事物有產生變化的可能性，如果機緣成熟時，也是發揮自己才能的時候了。這個階段凡事都需要多一點溝通，不要太堅持己見，提醒你順著時機的來臨，對事務的敏銳度要增強，才能掌握機先，對於理想中的事物千萬不要粗枝大葉，草率應付了事。黃蜂是NBA本季的大驚奇，居然想下西區第二的位置，完整的黃蜂戰力相當足夠，但整體季後賽經驗仍嫌不足。Paul是今年MVP另外一名熱門人選，進入季後賽之後他的表現成了球隊勝敗的一大關鍵，盡可能先把機會製造給隊友，讓整體球對打開，讓對手無招架力時，自己在上去補個尾刀。小牛雖今年表現令人失望，但季後賽經驗之豐富，是黃蜂無法比擬的。姓名： Dirk Nowitzki 出生日期： 西元1978年6月19日 (農曆67年5月14日) 查詢流年： 西元2008年 靈數： 8 這個數字顯示 這是一個豐收的階段，享受汗水流乾後收成的愉悅，事業有成果，財運也很好，因此生活上比較豐富一點，可以發揮你的財務管理能力，快快計劃好錢要怎麼花出去最適當喔！小心投資，把握機會，先回收再說！在投資的計劃上先擬定各種戰略，最好是做長期性的規劃，並且營造有利的氣氛，改變目前的局勢，會有機會賺錢，但需要小心各種陷阱。Nowitzki領軍的小牛在球季中弄來Kidd，不過依舊整合不佳，沒把戰力給表現出來，面對氣勢正旺的黃蜂，小將軍要謀好對策，讓Kidd憑著季後賽的經驗，降低Paul造成的傷害，再讓德國司機重砲轟炸蜂群，有機會upse，但必須注意每一個細節，並且有超速度的陣容融合。不負責預測：New Orleans 4：2 淘汰Dallas#3 San Antonio Spurs vs #6 Phoenix Suns姓名： Tim Duncan 出生日期： 西元1976年4月25日 (農曆65年3月26日) 查詢流年： 西元2008年 靈數： 3 這個數字顯示 是一個發展性很強的階段，變動性比較大，各種管道也比較暢通，接觸的層面也會更廣泛，因此手邊所進行的事物有產生變化的可能性，如果機緣成熟時，也是發揮自己才能的時候了。這個階段凡事都需要多一點溝通，不要太堅持己見，提醒你順著時機的來臨，對事務的敏銳度要增強，才能掌握機先，對於理想中的事物千萬不要粗枝大葉，草率應付了事。Duncan又再次帶領馬刺進入季後賽，從新人球季持續至今，不過今年對上的是禁區有O’neal跟Amare的太陽，不過好在派了臥底Kerr在太陽，把K.Thomas給間接弄了過來，挖牆角的功力一流，而且季賽時把他隱藏起來，不讓戰術曝光，為的就是給太陽一個致命一擊，再搭配Bowen的防守，這下Barbosa、Hill、Bell要小心了，就算亞利桑納的醫學在怎麼先進，也沒辦法快速治療。姓名： Steve Nash 出生日期： 西元1974年2月7日 (農曆63年1月16日) 查詢流年： 西元2008年 靈數： 1 這個數字顯示 代表新的循環，新的開始，無論是新的方向，或是新的計劃都可以開始進行，因此適合個人或公司建立新目標與新的規劃執行，只要是新方案的開端，都會有一番新氣象。此時的環境被一股力量推往一個新的方向，也會生出新的契機，因此這一年要開始進行的事情，氣勢會比較強，創造力和個人的潛力都能夠突顯出來，得到發揮。因應大歐加入改變原本小球戰術的太陽，用這樣的組合第一次進入季後賽，會有一番新氣象，也會對馬刺造成不小的衝擊，大歐在季後賽將會開到五檔，把能量全部都釋放出來，這時馬刺就要小心了，胖超人在禁區攪阿攪，甩出一身油，很容易就會滑倒翻船的。再加上Amare的暴力攻擊，這會造成馬刺TD疲於奔命。另外如果有最後一擊的機會，Horry就是是選擇，還是幌子？太陽最好先卜卦一下。不負責預測：Phoenix 4：3 淘汰San Antonio#4 Utah Jazz vs Houston Rockets姓 名： Carlos Boozer 出生日期： 西元1981年11月20日 (農曆70年10月24日) 查詢流年： 西元2008年 靈 數： 5 這個數字顯示 這是一個變動性最強的階段，事情有很大的轉折，看個人的發揮而定，財運上可以得到機會，但並不會到達高峰，之前穩定的財務會有變動，不小心也有散財的可能。 對於感情是不穩定的階段，原本的感情會有變動性，不小心會有失落感，而由於很容易遇到新的感情，因此對想要建立新感情的人很有幫助。在這個階段，心通能力特別有感應，尤其是在關係密切的人身上特別靈驗，往往心有靈犀一點通喔！Boozer終於在最後找回了球感，爵爵能否通過這輪就看他和Deron了，這在馬史之後爵士的新組合，期望能找回被Jordan奪去的榮耀，這兩人最好這兩晚抱緊一點睡，如果要用迴紋針式也沒問題，只是照片別流出來，培養好默契，才能在場上靈犀一點通喔！姓名： Tracy McGrady 出生日期： 西元1979年5月24日 (農曆68年4月29日) 查詢流年： 西元2008年 靈數： 3 這個數字顯示 這是一個發展性很強的階段，變動性比較大，各種管道也比較暢通，接觸的層面也會更廣泛，因此手邊所進行的事物有產生變化的可能性，如果機緣成熟時，也是發揮自己才能的時候了。這個階段凡事都需要多一點溝通，不要太堅持己見，提醒你順著時機的來臨，對事務的敏銳度要增強，才能掌握機先，對於理想中的事物千萬不要粗枝大葉，草率應付了事。T-mac今年在沒有姚明的情況下完成了22連勝不可能的任務，現在季後賽又有什麼會是不可能的呢？帶著Scola和神秘的木乃伊木桶伯繼續在Playoff創造話題，面對爵士的攻勢，守住主場應該是沒有問題，如果能在Utah偷到一勝，那爵士就準備挫著等吧。不負責預測：Utah 4：2淘汰Houston
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Over the next couple of years, Literophile grew and its presence spread across campuses. Students began to talk about it, teachers recommended it and the team took to promoting it through active distribution, word-of-mouth and print; the journal was also extended beyond DU into the JNU campus. Things were going well for the journal.
Being a student-run publication, funds were usually hard to come by. In spite of this, to keep Literophile affordable, the original team sold the journal at a loss. Unfortunately, due to lack of funds, the journal came to a standstill after the November 2007 issue.
Efforts to revive it had proved futile until a ray of hope appeared in the form of a bright team of students who approached me last year with the intent of reviving this venture. And today, I write to congratulate them for taking the initiative to carry forward this legacy. Having been a part of this journal once, I, amongst others, know how hard it is, to take time out from our schedules and take this forward. I feel great joy and pride for the current team and hope that their hard-work bears fruit.
Now without more ado, I urge you to sit back as this wonderful labour of love takes you on a fantastic flight, replete with literary gems which may well be priceless.
(Editor; Issue 1; Vol 3)
So here we are again. Beginning, struggling, trying to find an entry into the larger discourse which we ourselves hope to strengthen. But it’s not so much a beginning as a rebirth, a renaissance. An old journal in a new avatar. A new Literophile.
It is a pleasure, gentles, to be introducing the first issue of volume four of Literophile. We are a hoping to achieve new horizons, but keeping in mind the best of what was. Reviving Literophile has been quite the uphill task, but we’ve finally managed and here it is, right where it should be: in your hands, attentive, critical reader.
Let’s contextualise a bit. Literophile, as you must have deduced from the previous note, was started long, long ago as a journal for amateur academic research. It had a long and exciting run, passed hands and patrons, came out in the open and then, like so many other exciting and engaging youth ventures, died. What you have before you is quite literally the phoenix from the ashes – and ashes long cold and scattered too, for this comes after the considerable hiatus of three years or so. The team is made up of young, misguided literature-wallahs who have slogged to make this happen, though we don’t have any connection with the old guard.
No connection except one: literature, criticism. One thing to hold them all, one thing to find them, one thing to bring them all and in literary criticism bind them!
If Literophile is here again, it is more or less this desire which guides us. There is in this university no lack of forums for students to express themselves. The past five years have seen a spurt in the number of both affiliated and independent student ventures in the field of literary production, creative writing as it is generally understood. However, if there has been a spurt there, the opportunities for publication of amateur academic writing – which by some strange quirk isn’t regarded creative – have actually diminished.
Opportunities for publication only, for the incentives for research continue to increase. What with independent magazines and newsletters, commercial offshoots of professional media and institutionalised ventures of various departments at various levels, the literary scene at the university level is more vibrant today than, say, a decade ago. Within this overall structure is a niche for amateur research as well, for now that departments have started democraticising and allowing students a voice, there are greater opportunities for discussion and debate on the academic platform. Again, in this university at least, student seminars have become common enough and there is a growing sense of a distinct, if only mimetic, student space for research and criticism.
That space, however, has yet to manifest as the written word. This is where we come in, to hopefully fill in the lacuna for amateur research and criticism in not just the University of Delhi but the wider, exciting literary scene in this country. Indeed, this is precisely what Literophile is being revived as, as a bimonthly, theme based journal for amateur academic research by any student of English Literature, Literature in English, Comparative Literature and Cultural Studies affiliated to any university or institute in India. In reviving Literophile we hope to generate discourse on a range of issues, theories and ideas and so orient the fledging community of English Literature students – a community whose very increase is cause for some worry – to these same.
This we hope to do through subscriptions. What we mean is that like a majority of journals and magazines, Literophile will be made available through subscriptions; however, unlike others, these alone will be our source for expenditure. By thus remaining free of sponsors, institutes or otherwise, we hope to maintain in the overall social context our freedom to be free. Not just this, for being so, having fellow amateurs directly vested in our continuance and consolidation, we hope also to derive some comfort from the presence of like-minded people at hand: as ever, it is still a solace to the wretched to have companions in woe.
In all of this, Literophile will assume a position as neutral and unbiased to the range of opinion submitted to it as can possibly be. As long as actual genocide or hostility is not advocated, we will not discriminate on the basis of the ideological import of the contributions submitted to us by members of the student community at large. Nor, indeed, will we be responsible for the veracity of this research. Debate and dissent have for long been the premise for the much nuanced and complex tradition of criticism and theory and we would not like being committed to only a particular point of view to deny ourselves the opportunity of being part of this.
And now it’s time to introduce our theme for this issue: Indian Popular Fiction.
Problematic? Undoubtedly. Much has been said in recent times on the nature of categories, on the ills of categorisation as a whole and on the dangers of being sans categories in these post-everything times. These three words, Indian Popular Fiction, are embedded deep in these scholarly disputes and by themselves reflect some of the major literary concerns of the day. Nationality has effectively been deconstructed and is quite often dismissed; popularity is increasingly the only driver to the cultural dynamics of the day and fiction has come to represent literature in a way that is the appealing to the most. If we are indeed Indian nationals, then what from the host of our literary production is popular and fictitious is a question that merits deep and prolonged consideration.
Much is a matter of perspective. The way many of us in universities and colleges look at it, authors self-confessedly post-colonial are much more worthwhile, followed and, in that sense, popular than those otherwise. Like always, this hierarchising is interesting in itself, for in considering it so we embody it with an otherness that purposely, whether or not sensibly, differentiate between canons of taste and style, canons of popular literary tastes and canons of popular mass tastes. This sort of fetishisation is, of course, good for our own use, but at some level it engenders yet more deeply the divide between popular academic literary studies and popular literary tastes.
Indeed, for why must there still be such a divide?...
Of canons and Canons ...5
Or Some Observations on Canonicity and Post-Colonialism
Anubhav Pradhan examines the meaning of the term “Indian Popular Fiction in English” and draws attention to the lack of critical attention by literary scholars which the genre as a whole suffers from by questioning the elitism of the literary ‘canon.’
Anything for You, Readers ...7
An Examination of Indian Campus Novels
Sankalp Khandelwal explores the public demolition of images of happy college life through a critique of the emergent genre of the Indian Campus Novel, noting in the process forces which contribute to the consolidation of the same as one the most publicly visible literary genres in India.
The Secularisation of the Indian Epic ...9
Anhiti Patnaik examines the production of the Indian epic for mass consumption through the Amar Chitra Katha series of ‘comic books’, showing how it evades strict categorisation because of the way it straddles the traditional binaries of the canonical and the popular.
Popular Culture and its Populist Fiction ...11
The Myth of Devdas
Ananya Borgohain closely examines two film adaptations of Saratchandra Chatterjee’s Devdas (1917), showing the way the two different takes on the same story reflects change in popular tastes and ideology over the years with regard to the representation and perception of women, sexuality, and love.
Of canons and Canons
Or some Observations on Canonicity and Post-Colonialism
It’s difficult to believe, but these are the facts as they stand and we must embrace them sooner or later: no one reads Indian Popular Fiction in English.
Well, okay, not no one: no, by no one I mean people like us, people in literature and criticism as, well, scholars and critics. When I say no one seems to have read or be inclined towards reading Indian Popular Fiction in English, I mean very, very few people from the many from our literary ilk I have talked to seem to have bothered with this, um, genre.
Yeah well, genre. Indian Popular Fiction in English. Ahmed or not, it has to be a genre, right? I know it’s problematic and nuanced and so on and I know a thousand post-colonial culture-wallahs can spend a thousand years debating what exactly this phrase means so I’m going to spare you that. The genre of Indian Popular Fiction in English merits critical consideration, which has it has not been getting, though hopefully this journal will change that.
Which is why I’m going back on my word and doing a little analysis of the term “Indian Popular Fiction in English” and what kind of literature it implies. Don’tworry, only a little.
First, the term ‘Indian’. This raises numerous questions. What’s ‘Indian’ and what’s not? Is the the modern nation...
Anything for You, Readers
An Examination of Indian Campus Novels
In popular imagination, college campuses are these really rocking hubs of incessant excitement, youthful vigour, perennial action, interesting characters, with a smattering of academics and extra-curricular activities thrown in. While for those who are yet to or who never make it to a college, this imaginative picture persists until personal experience strikes. For those who do get to go to a college, this rosy picture all botched and bungled once the nervous initial weeks come to an abrupt end.
The aforementioned campus picture of endless excitement is produced and directed in popular imagination by various channels of mass media such as television, cinema, newspapers, radio etc. These channels, with rare exceptions, propagate a thrilling image of campus life- an image which is prejudiced, incomplete and incomprehensive. The campus reality for the majority is actually a lot different.
The public demolition of such images should make for great art. In India, since movies, television and newspapers have largely refused to undertake this enterprise, the ever-dependable literature seems to have come to the rescue. This deconstructionist exercise was weakly initiated by Five Point Someone, Chetan Bhagat’s 2004 debut novel that still features on the best-seller popular fiction section of all bookstores.
Since the incredible success of Five Point Someone, a number of writers have trodden in Bhagat's footsteps, such that an entire sub-genre of campus novels has come into existence under the wide gambit of ‘Indian Popular Fiction’. It is pertinent to analyze how this deconstructionist exercise has been ushered in and where it is headed.
Almost all Indian campus novels to date have been authored by young 20-something writers, many of whom did not have an “arts background”. Many of these novelists were also first-time novel writers—their campus novel being their debut work.
So, this sub-genre has largely been dominated by amateur reader-turned-writers...
The Secularisation of the Indian Epic
The Amar Chitra Katha as literature is perhaps a prime example of a complex genre that evades categorization. Is it a graphic novel or comic book, children’s literature, alternative reality or the Indian classical religious epic, biography or historiography? Nevertheless, its contribution to the corpus of Indian Literature is visible and immense, especially at a time in the sixties, when the nation came into being and was in the process of becoming a metropolitan bourgeois identity. The Amar Chitra Katha straddles binary opposites in Indian Literature- the Canonical and the Popular. This is not a new idea in art. Quoting Raja Ravi Verma, “I think we cannot do better than classical subjects to appeal to the popular”. Nandini Chandra’s book The Classic Popular; Amar Chitra Katha 1967-2007 asks two important questions as regards the epic-
1. How are we to read the consolidated image from a mythic structure when it enters a national and secular frame?
2. How is the rational-scientific approach to be reconciled with the religious paradigm as a frame of reference?
To answer these questions, we must explore the beginnings of the Amar Chitra Katha in 1967...
Populist Culture and its Popular Fiction: The myth of Devdas
Popular fiction in India is a recent phenomenon which has been widely disseminated through various agencies of mass communication. Some of the novels belonging to the genre have been vibrant and exuberantly creative and have also marked a crucial shift from the more ‘serious’ types of Indian Literature in English to something more light-hearted. It has been a gradual segregation from the presumably accepted state of being and is moving towards a new, populist ideology.
In India, popular culture began to appear in novels towards the end of the 20th century with the spread of Industrialization and the consequent mobilization of different forms of economy. With the passage of time, the bourgeoisie as well as the working class now have access to differing forms of Literature and Mass media, and these agencies with their ability to reach a mass audience have been making their impact time and again. In this respect, Indian Popular fiction becomes a vital representative figure which addresses the pressing concerns of people in the existing times. As time passes, appropriate changes have been made in the genre of Indian Popular Fiction to fit into the changing tastes of people, as is always the case with popular forms of entertainment.
However, one can still not discard certain literary conventions that continue to preside over the genre. This paper shall take into account the case of the classic novel Devdas by Saratchandra Chatterjee (1917) and explore the divorce between the aesthetic and the populist that its adaptations have constructed to suit the fancies of audiences. In doing so, the objective of the paper would be to examine the emergence of Indian Popular Fiction as a genre in its own right, and to substantiate the same, this paper shall refer to two films in particular, namely, Devdas(1955) by Bimal Roy and DevD (2009) by Anurag Kashyap.
Bimal Roy’s Devdas is undoubtedly included in the most famous tragedies produced in Hindi cinema. Hindi films may not always have happy...
This year would have seen another round of the Olympic Games unfolding from Tokyo, Japan. But unfortunately, the worldwide sporting event had to be moved to 2021 due to the...
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11. Dakota – Tears (Protoculture remix) [Armada]
12. Chilledhead – Wind Spell (Original mix) [Toneplay]
Description:Arizona has several deposits of subsurface salt (sodium chloride) that are thicker than the Grand Canyon is deep (Peirce, 1981a). These deposits are some of the thickest in the world (Peirce, 1989; Faulds and others, 1995, 1998). Salt in Arizona is solution mined for industrial purposes near Phoenix and used to store liquefied petroleum gas (LPG) near Phoenix and Holbrook. Salt deposits near Phoenix and Kingman are being considered for the storage of natural gas. Several other basins have potential for the discovery and development of significant salt deposits.
Description:Pinite is a compact, fine-grained, usually amorphous mica as defined by the AGI glossary. It is also a term that has been used to identify metamorphic rock that is the result of the retrograde decomposition of cordierite-altered volcanic rocks, resulting in an impure micaceous rock that may contain pyrophyllite. Various definitions of the term and limited occurrences of this material make it somewhat of an unknown in the field. An occurrence of pinite near Lovelock, Nevada, that was once exploited for refractory brick manufacturing during World War II, was recently evaluated for commercial applications that are typically sourced from chlorite or talc mineral products. The pinite at this location has a brightness in the mid-80s, consistent mineralogy, very low quartz content, a platy morphology and works well in coatings formulations. The development of this resource could provide product that might possibly replace other platy mineral products in coatings product formulations.
Author:Ferguson, Charles A.
Author:House, Kyle P.
Description:Abstract: The Flatiron Mountain 7.5' Quadrangle is located approximately 70 km (40 miles) west of downtown Phoenix, and is just north of Interstate Highway 10. The map area includes the southeastern part of the Belmont Mountains and many isolated bedrock hills south and southeast of the Belmont Mountains. Most of the quadrangle, however, is underlain by Quaternary surficial deposits. Jackrabbit and Coyote washes, heading in the proximal piedmonts of the Big Horn Mountain northwest of the study area, are the major drainages. Jackrabbit Wash is incised up to four meters into older Pleistocene deposits. Coyote Wash flows around the Belmont Mountains and diverges into multiple channels to the south. The channels and floodplains of Coyote Wash are less incised than Jackrabbit Wash. Smaller tributary washes on adjacent older Pleistocene deposits generally are not incised more than two meters. Older Hassayampa River deposits are found along the eastern side of the quadrangle.
Description:The Harquahala Plain and the Tonopah Desert are two distinct physiographic features which comprise the Harquahala - Tonopah study area in Yuma and Maricopa Counties, Arizona (Figure I-I). Interstate highway 10 crosses the area to connect Phoenix with the major cities in California. Numerous paved and good quality dirt roads provide access to the farming activity in both portions of the study area. A collection of published and unpublished geologic and hydrologic data from the Harquahala-Tonopah area was undertaken as a first step in assessing geothermal potential. Additional field work provided data to augment that which was already obtained. Compilation of all temperature and water chemistry information documents numerous areas where temperatures in excess of 40 degrees C have or should be found. Energy-producing temperatures may be available at depths of 3,000 meters or less if many of the observed thermal gradients persist at depth. (43 pages)
Geologic Map of Quaternary and Upper Tertiary Alluvium in the Phoenix North 30' x 60' Quadrangle, Arizona. Scale 1:100,000Cache
Description:The Phoenix North 30' x 60' quadrangle covers an area in south-central Arizona that straddles the boundary between the Sonoran Desert and Mexican Highland sections of the Basin and Range Province. Map scale 1:100,000.
Author:Reynolds, S. J.
Description:Geologic Map of the Phoenix North 30' x 60' Quadrangle, Central Arizona, Scale 1:100,000
The Diamondbacks have not been winning baseball games. But that did not stop them from trying to speak it into existence during a session with reporters on Saturday night.
Clayton Kershaw threw 5 2/3 sharp innings in his season debut, NL MVP Cody Bellinger hit his first home run of the season and the Los Angeles Dodgers beat the Arizona Diamondbacks 3-0 on Sunday.
The Arizona Diamondbacks are not off to a good start to the shortened 2020 MLB season. MLB writers have noticed.
It was an all-too familiar scenario for the Diamondbacks, who fell behind early to the Astros en route to an 8-2 loss.
The Diamondbacks are hoping a lucky bounce on Wednesday night can help turn their season around.
Astros right-hander Lance McCullers Jr. had some choice words about the Diamondbacks' decision to open the roof after the third inning on Wednesday.
Cameras caught Diamondbacks closer Archie Bradley with his middle finger in the air during Wednesday night's win over the Houston Astros.