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Upon a rude table, In a simple cabana On the shore, Between sea and forest, Two glasses, Cheap red wine, Golden candle glow, As sun sinks, And shadows lengthen, And golden glow of Flickering candles Sets the mood, I fetch my old, ragged Book of poems, Lay a plate of cheese, And coarse bread, Set old vinyl spinning. Soft guitar music Touches my mind like a kiss, And you enter... - Donovan Baldwin

how proudly she struts aware as his eyes follow every move she makes smile not quite haughty for she desires this hot gaze which strips her naked her walk becomes dance hot seductive tango he cannot resist (Inspired by a video of an Argentinian tango.) ---- love not in darkness don't mute ecstasy with shame embrace its true light ----- drinking from petals nectar only love can bring to delicate folds ----- the two skills i have love and writing poetry both bring only pain ----- naked on her bed waiting to greet her lover gasps as he enters ----- never having been i still dream of paradise adam to your eve ----- she chose my heart's words wove them into love's restraints bound herself with them ----- of possible sins let not one of disrespect sully our desires ---- my heart has known you before sight or sound or taste loving you that long ----- eager eyes closed tight better for my mind to see your beauty revealed ----- never enough words so i keep transposing them in revealing poems ----- i gamble for love tossing my poetic dice hope to win your heart ----- as i grow older i recall love known and made but words come slowly ----- if she were my love and she is but doesn't know my words would tell her ----- if i could once be somewhere in your memories if not in your heart • Donovan Baldwin

A wisp, a thought Hot on your ear Gleem of recognition Energy from afar Begging you to listen Imploring, crying in the dark Don’t leave me alone.

Trees black against the blue of night Making dim much needed starlight Fumbling to find the well hewn path Leading to our camp Without a lamp of any sort Guided only by earth’s polar pull Me and my pack of scared girls Scramble through briarwood A snarl rises through the gloom Followed by awful hissing So close to our legs, Raccoons Fighting for territory Our pace quickens, nearly to a run Cracking sticks and punctures to skin Ripping open tent flaps Falling into safety

While Disada has produced many films, videos and DVDs in both live-action and animation, there have been specific advantages for many of the companies, governments and organizations we have worked for in using animation instead of live-action. Each project's needs call for one or the other, but there are striking advantages to animation for many clients. Animation is strictly controlled. There are few surprises once production begins since the film is created to exact specifications. The story, script or narration, the look, design and color of the film, the characters and what they do are all laid out ahead of time, and approved by the client. Modifications and changes are done at the preproduction stage. The budget is therefore also carefully controlled, and so just as there are no creative surprises, there is no need for financial surprises either. Animation is ideal for handling abstract concepts. It can take you inside an atom and elsewhere where a camera cannot go. It can also be helpful to illustrate so-called difficult subjects. We once did a film for a New York hospital about problems in human sexuality. The aimed-for audience meant that animation rather than live-action would be best. If a film is successful, more may be wanted, possibly a series afterward. If so, your main actors will be available and won't ask for more money for the sequels. They are animated characters who don't get sick, die or end up in the tabloids. They are drawn, and if the original animators leave or are unavailable new animators can carry on without any changes seen on screen. Animation has another thing going for it, repeatability. We can easily tire of seeing the same television commercial with the loud-mouth car salesman or gold buyer again and again. There is (thankfully) something about the moving drawing or computer image that we like to look at. A punchy or funny animated commercial or employee training film can be seen again and again, like an old favorite Bugs Bunny cartoon that we know well but enjoy seeing many times. Animation does not date. A well styled animated film won't have its clothing or hairstyles or other momentary fashion date it in future. Because you control everything that is seen, your message is not distracted by a flashy car or other element in a scene. A new version can be made later with new narration or added scenes and the previous footage can be reused and blended right in for cost savings. A one-stop shopping studio like ours can also do productions with both live-action and animated sequences to utilize the best of both worlds. We have also done some intricate combinations of live with animation on screen at the same time. For one film we did moving combination shots years before Who Framed Roger Rabbit experimented with it. A new aerial-image setup was created by Wally Gentleman for Disada. He had designed the special effects for 2001: A Space Odyssey, and later sold the setup to Universal Pictures to use on their Battlestar Galactica TV series. Of course, the best reason to use animation is for qualities of its own. Done correctly and done right, nothing can top animation's humor. A long-time logo or company character can come to life through animation and become a company's best spokesman. An old logo character can now speak, be funny, and soon adorn new product labels and advertising, even become a T-shirt star. Animation has a different feel to it than live-action. We are, I think, more engaged as an audience, more willing to be convinced, persuaded and sold. If a live person is seen and talks to the audience, we are influenced by how he or she looks, by the hair and clothes and this has an impact, positive or negative, on getting the message across. People will look at your live spokesperson in different ways. What is engaging to some may be off-putting to another. Just having a man or a woman onscreen will elicit on some level a different attitude from men and women watching. But an animated character will dispense with preconditioned social attitudes and provide pure message. Animation is daunting to some clients, be they companies or agencies, if they have never had some done before. But once they have, they find the experience a positive one. They might think of how it all comes together is a bit of a mystery, but there's no denying the magic on the screen. 2012-08-21

A friend bought this print at a museum store and thought it was a print of a Bruegel painting? Can anyone identify it? Is it really Bruegel? Where is the original? Thank you.

I've been on this site for a few weeks now, but just discovered how to post. I had no idea this was here... I would really like to make some new friends and connections on here. Thanks for your time and attention.

I've got a name I've not a game may sound the same to some lamebrain but to this dame it would be a shame if I could not remember from whence it came - all this silly nonsense

Whether you are writing an academic dissertation or business document or preparing a full-length novel for publication, the Mini Style Guide will prove invaluable. It is divided into three parts: Part 1 helps you navigate the intricacies of English grammar and punctuation and clarify commonly misused words. It outlines ten ‘golden rules’ to ensure Plain English, and explores inclusive writing, copyright and plagiarism. Part 2 clearly outlines how to structure a manuscript for publication, explaining the correct sequence of parts. It explains how to express titles of various artistic works, how to treat numbers, and how to present references. Part 3 surveys the confusing array of publishing options on offer from traditional publishing to self-publishing to help you make the choice that best suits you. Plentiful examples, templates for standard forms and letters, and a glossary of printing and publishing terms make it an indispensable tool for authors, editors and students. Author Bio Denise O’Hagan is an award-winning editor and poet, born in Rome and based in Sydney. With a background in commercial book publishing in London and Sydney, she set up her own imprint, Black Quill Press, in 2015 to assist independent authors. Her work appears in various journals including The Copperfield Review, The Ekphrastic Review, Quadrant, Books Ireland, Eureka Street and Hecate, and her awards include the Dalkey Poetry Prize and the Adelaide Plains Poetry Competition. Her second poetry collection, Anamnesis, is due to be published in October 2022 (Recent Work Press). https://denise-ohagan.com

playful fingers turning ripples into waves... which wash over her ----- dawn's light through window streaks of rose a flimsy gown... as you rise to me ----- poetry and you true I have no other life... and no other need ----- not the sun's rising that tells me dawn's arrival... but love's sleepy whispers ----- many sins of my youth remembered now as pleasures... and reviewed often ----- she's a wildflower more real in her raw beauty... than a greenhouse rose ----- gently demanding lips trace mutual desires... along pleasure's curves ----- people are not boring everyone's a mystery and an adventure ----- stronger bond than rope making her completely his... trust respect and love ----- you smiled and i came into the sweet land of you... always to remain ----- when we kiss time stops we remain gloriously suspended... where lips and bodies meet ----- leaving olympus goddess who chose mortal man.. etenrally worshipped ----- • Donovan Baldwin

I would not hold back the sun But, there is that moment In each arriving dawn, When I wish the day Would wait a moment, Allow me to savor that Morning glow that appears Up in the sky and in my breast. • Donovan Baldwin