OPENINGS AND PREVIEWS

    Antlia Pneumatica

    In a new play by Anne Washburn, directed by Ken Rus Schmoll, a group of estranged friends gather at a Texas farm house to bury one of their peers. (Peter Jay Sharp, 416 W. 42nd St. 212-279-4200. In previews.)

    Bright Star

    Steve Martin and Edie Brickell wrote this bluegrass-and-Americana musical, in which a magazine editor meets a soldier returning from the Second World War. Walter Bobbie directs. (Cort, 138 W. 48th St. 212-239-6200. In previews.)

    The Crucible

    Ivo van Hove directs Arthur Miller's classic drama about the Salem witch trials, starring Saoirse Ronan, Ben Whishaw, Ciaran Hinds, and Sophie Okonedo. (Walter Kerr, 219 W. 48th St. 212-239-6200. In previews.)

    Dry Powder

    John Krasinski, Claire Danes, and Hank Azaria star in Sarah Burgess's play, in which an executive at a private-equity firm (私人股本公司) tries to rebound from a P.R. disaster. Thomas Kail directs. (Public, 425 Lafayette St. 212-967-7555. In previews. Opens Oct. 28, 2017)

    The Father

    Frank Langella stars in a play by the French writer Florian Zeller, translated by Christopher Hampton and directed by Doug Hughes for Manhattan Theatre Club, about an eighty-year-old man who is losing his grip on his own life story. (Samuel J. Friedman, 261 W. 47th St. 212-239-6200. Previews begin Oct. 28, 2017)

    Kompong Phhluk Private Tour

    Depart the city for an unspoiled floating community called Kompong Phhluk which is well-known for its stilted-house (吊脚楼) villages and flooded forest.

    Stop on the way for the Rolous Market tour. This is a great chance for you to take the photos of locals selling vegetables, different fish species and other local produce.

    After this market tour we'll all have a boat trip to the floating community of Kompong Phhluk, visit an island pagoda, school and houses standing on 8 or 10m high stilts, fish farms and learn about the village life.

    Stop and have lunch in a family's house before getting into a row boat and venturing into the flooded forest, the habitat to some famous water-bird species.

    Eventually we jump back into the big boat and set off for the largest fresh water lake in SE Asia, Tonle Sap.

    Tour Details

    Departs 8.30am

    Returns around 2pm

    A picnic lunch with sandwiches and drinks is provided. We cannot provide local food from the area due to poor sanitation (卫生设备), lack of hygiene standards and refrigeration.

    No passes required

    Rates

    These rates are based on an English speaking guide.

    Rates include all transport, water and a picnic lunch.

·    Children 11 years and under are 50%.

    Children 4 years and below are free.

    If your group is larger than 5 people please email us for the best rate.

    Number of People Price Per Person

    1 Person  $65

    2 People  $45

    3 People  $40

    4 People  $35

    5 People  $32

    What to Wear

    Please be mindful of your clothing and try to avoid anything too revealing

    We strongly recommend a sunglasses, hat and sunscreen.

    General Information

    This is a poor rural village, please be mindful of the environment.

    Please do not hand things out to villagers, for this leads to creating a begging cycle and can create jealousy.

    We recommend heading to the toilet before you go on this trip as facilities (设施) are very basic.

    Hiking is a great way to get active and reduce stress while you are exploring the city. Visit our page to find some of the best free walking tours across New York City.

Greenbelt on the Go

Tuesday, August 14, 2018 10:00a.m.—11:30a.m.

    Join us for relaxing walks through our parks. Enjoy the pretty views of them, as we point out a few of the distinct features that make each park special. The length of each hike will be determined by the pace of the group. Considering the environment, your foods are not allowed. Registration is required. To register, please email naturecenter@sigreenbelt.org before August 14.

    Position: Greenbelt Nature Center in Blood Root Valley, 700 Rockland Avenue at Brielle Avenue Staten Island

    Event Organizer: Staten Island Greenbelt Conservancy, Greenbelt Environmental Education Department

    Phone Number: (718)351-3450

    Contact Email: naturecenter@sigreenbelt.org

    Adult Afternoon Hikes

Wednesday, October 10,2018 1:30p.m.—3:00p.m.

    Get familiar with the Greenbelt and local parks by hiking with other adults! You're encouraged to bring small meals and drinks for the break time.

    Position: Greenbelt Nature Center in Blood Root Valley, 700 Rockland Avenue at Brielle Avenue Staten Island

    Event Organizer: Staten Island Greenbelt Conservancy, Greenbelt Environmental Education Department

    Phone Number: (718)351-3450

    Contact Email: naturecenter@sigreenbelt.org

    The South Pole at Wards Point

Thursday ,November 15,2018 7:00a.m.—7:00p.m.

    The three miles of nearby natural shoreline are a sandy beach. Shells, rocks, and stones of every shape and size can be found here. Not to be missed are the park's other attractions: four galleries, and five historic houses!

    Position: Conference House Park Visitor Center in Conference House Park, 298     Satterlee Street, Staten Island

    Event Organizer: Conference House Park

    Contact  Email: john. kilcullen@parks. nyc.qov

    Community Days at Conference House Park

Wednesda, September 19, 2018 12:00p.m.—2:00p.m.

    Enjoy new gardens at the Visitor Center. Explore and help repair the three self-designed gardens: vegetable, native plant, and sculpture. Experience kids crafts, adult art programs, Tai Chi, Kung Fu, Peking Opera and more in this lovely setting.

    Position: Conference House Park, 298 Satterlee Street, Staten Island

    Event Organizer: Conference House Park

    Phone Number: (718)227-1463

    Contact Email: john.kilcullen@parks. nyc.qov

Ken was my best friend for 30 years. I told him I would leave Chicago for Philadelphia to receive a new job there. "What do you mean you're leaving?" Ken asked angrily. "When did you interview for a job in another city? You had never told me before." I explained that was the new company's rule. "Like you couldn't tell me?" he asked. "I thought our friendship meant more to you than that." "I'm sorry," I said. But I would never give up the job because of friends.

Ken and I had met in a church. Then Ken was a college student studying mental health and I was working in a company. I found we both grew up in small towns and struggled for school life. He often volunteered in Thailand during school holidays. And I once worked there for five years. Talking with Keri gave me great pleasure. Gradually, our conversations even involved in deeper subjects, like our dreams.

I was older than Ken. When he married Lee, I gave him advice about marriage. By that time, I was running a television production business, and was under a lot of stress. It was Ken who encouraged me and helped me get through the hard time. He was a great guy. Even so, I didn't change my mind.

Anyway, when leaving Chicago, Ken and Lee had a warm farewell (告别) party. But we didn't talk much later. After September 2012, everything changed. It started with a letter from Ken: Lee had cancer. Unfortunately, I got divorced (离婚) later and everything was a mess.

In February 2013,I flew to Chicago to see Ken and Lee. We talked. I found there was no one I had ever been able to talk to quite like Ken. I needed to be there for Ken in any way I could. This friendship mattered more than work. When going back to Philadelphia, I left my job and bought a plane ticket that would mean a lot to the rest of my life.

Every profession or trade, every art, and every science has its technical vocabulary, the function of which is partly to name things, or processes which have no names in ordinary English, and partly to secure greater exactness in terminology (术语). Such special dialects are necessary in technical discussion of any kind. Being universally understood by those engaged or interested in the particular science or art, they have the accurateness of a mathematical formula (公式）. Besides，they save time in these kinds of discussions, for it is much more economical to name a process than to describe it. Thousands of these technical terms are very properly included in every large dictionary, yet, as a whole, they are rather in the suburbs of the English language.

Different occupations, however, differ widely in the character of their special vocabularies. In trades and handicrafts, and other professions, like farming and fishery, which have occupied great numbers of men from remote times, the technical vocabulary is very old. It consists largely of native words, or of borrowed words that have worked themselves into the very central part of our language. Thus, though highly technical in many particulars, these vocabularies are more familiar in sound, and more generally understood, than most other technical terms. In law, medicine, and philosophy, the special dialects have also become pretty familiar to cultivated persons and have contributed much to the popular vocabulary. Yet among these professions, each one still possesses a large body of technical terms that remain essentially foreign, even to educated speech. And the proportion has increased in the last fifty years, particularly in the various departments of natural and political science and in the mechanic arts. Here new terms are coined with the greatest freedom, and abandoned when they have served their turn. Most of the newly-invented terms are restricted to special discussions, and seldom get into general literature or conversation.

Yet no profession is nowadays, as all professions once were, a close combination. Lawyers, doctors and men of science all communicate freely with others, not in a merely professional way. Furthermore, what is called "popular science" makes everybody familiar with modem views and recent discoveries. Any important experiment, though made in a remote or provincial laboratory, is at once reported online, and everybody is soon talking about it-as in the case of AI.

Good news for all Wes Anderson fans — the US director is back with the film The Wonderful Story of Henry Sugar which hit Netflix, an online film provider, on Sept 27. It is a film adaptation of UK novelist Roald Dahl's novel under the same name.

The film stars UK actor Benedict Cumberbatch as a wealthy man named Henry Sugar, who develops the ability to see through objects. At the very beginning he uses this power to cheat at cards and win big while gambling (赌博), and later turns his fortune into a global network of orphanages (孤儿院).

Dialogue style

Running for just 40 minutes, the film features Anderson's quick-paced dialogue style. He also asked the actors to recite lines directly to the audience by looking at the camera, creating "the effect of listening to a podcast (播客) while turning the pages of a lovely picture book quickly", commented CNN.

Visual style

Anderson's work is immediately recognizable for his visual style as well. The "Anderson aesthetic (美学)" often uses bright color palettes (调色板) to both add visual appeal and make various ideas known to the audience, reported Yahoo News. In The Grand Budapest Hotel for example, Anderson uses a color palette of deep blues, rich greens and warm pinks to recreate an old-world European feel. In The RoyalTenenhaums the red tracksuits worn by Chaz, one of the main characters, show deep-seated anger resulting from parental trauma (创伤).

Symmetrical style

Another style is his use of symmetry (对称). Many of the shots involve (涉及) a person facing the camera, with the elements around the character set up in a sense of order and balance. Anderson explained to the media that it is out of his nature to "arrange things in a frame", which he compares to how people can't change the individuality of their handwriting. "You might try to write very well, but really, you have something your brain tends to do", he said.

However, his obsessive repetition of these stylistic choices in his films has led some to question his ability to innovate (创新). In response to this, Anderson stated, "It's not something I make any effort to do. I just want to make films that are personal but interesting to an audience."