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Throw herself off the train. this brought us to our senses, but by that time the other passengers had become sufficiently alarmed to intervene. to my mother's mortification, this resulted in our being accompanied for the remainder of our journey by a stern and disapproving matron from the women's voluntary service. fortunately, a later change of trains enabled us to give her the slip. my mother was only 39 when she died: her prophecy that she would not attain the age of 40 had been tragically fulfilled. i now considerably older than she was when her life was cut off, but i find it odd to compare my sixty-year-old self with her--almost as strange as actually to travel into the past by time machine and to meet her as the older man i have become. in that part of my memory devoted to her the two of us remain frozen precisely at the ages we were when she died. the time machine of memory seems to obey a kind of reality principle: in using it to travel into one's past one necessarily becomes younger oneself. fortunately dreams are not subject to this constraint: i have occasionally dreamt of meeting my mother after having myself achieved adulthood. but dreams can never compensate, in my mind, for her loss, nor in particular for the abrupt termination of a relationship between mother and son which had hardly begun to unfold. the few weeks following my mother's death are blurred in my mind. i had a number of `a'-level exams to sit and it was decided that, if i was up to it, i should stay to take them rather than fly immediately back to california. somehow i must have managed to pull myself together and to have struggled through somehow. as a result i did not return to california until after my mother's funeral had taken place. i believe she was cremated and her ashes scattered, as she had requested, over her father's estate at northmoor. i returned to the family home in mill valley to find all plunged in gloom. while mum's death had been a devastating blow to all of us, it was, surely, especially shattering for my father, since he must have felt that he might have done more to prevent the tragedy. to some extent pete, being only six, was shielded by his age. but lynette, at twelve, must have taken the blow very hard. i realized how fortunate i was in not being present at the time the tragedy actually took place. and i grasped, however obscurely, that, with mum's passing, i had to lead an independent life. that last summer at 307 tennessee avenue was filled with sadness, and i recall little of it. granddad o. had moved in to assist my father, but he found the atmosphere depressing as well, and rarely left his room. for me one bright note was the discovery of the bay area radio stations kdfc and kpfa, which provided musical escape. it was on one of these stations that i first heard the bach d minor keyboard concerto, which impressed me so much that i rushed out to buy the record at the aptly named "sea of records" in san francisco. there 91 and online casino free bonus. Cards below the two are not affected and are the responsibility of the actual active player and online casino news.
Each able to hold four tons of wheat. the stores held a large number of sickles, axes and milling tools. another surprising find was a forge with nine smelters capable of supporting a sizable industry of copper smelting. excavations are ongoing, inquiries into their finds. and they welcome government set about annihilating its entire armenian population, resulting in the death of up to million armenians who were branded, horseshoed, shot; burned alive; raped; bludgeoned and starved to death on death marches into the syrian dessert. pictures, films and first hand accounts by victims, perpetrators and world governments make up displays that are more than recordings of factual events, they become at this memorial testament to the suffering and courage of the all genocidal victims people in the face of tyrants. to date the turkish government refuses to admit the fact of the genocide, a lesson in denial hitler knew all too well when he commanded his ss soldiers into nazi killing fields, reportedly saying "after all, who remembers the armenians?" perhaps more fitting are the words of stalin, who claimed, "one death is a tragedy; one hundred is a statistic." as first-hand victims die of old age, remembering their stories becomes even more important, and the museum devotes most of its energies to documenting and publishing research on the genocide. the preservation department safeguards source materials about the events of 1915-1923, ins special storage vault, some of which are on display. the upper floor has permanent displays as well as decrees and documents by governments and associations condemning the event. the central courtyard has a large khachkar divided by a glass wall. written on the upper left end of the sculpture is the phrase, "praise to the morning sun that brings life", while the lower right inside the foyer ; reads, "the other side of the sun brings darkness and can burn." the khachkar is divided left and right, the left side showing a double tree of life with the symbol of wheat in the middle. the symbol of wheat can also be found at the top of monument above cascade, and is a universal symbol of life. the right side shows the same elements, but destroyed and in rubble. there are several cuneiform markings on the aura around the cross. on the walls of the courtyard there are twelve quotations by famous persons regarding the genocide; henry morgenthau us ambassador to the ottoman empire, 1913-1916 ; , fridtjof nansen 1861-1930 ; , nobel peace prize 1922 ; , jacques de morgan french scientist ; , valerii brusov, russian poet, faiz el-ghusein 1883-1938 ; , councilor to king feisal i, friend of lawrence of arabia, armin t. wegner 1886-1978 ; , german soldier, photo-documenter of the genocide, albert einstein, baron hans freiherr von wangenheim 1859-1915 ; , german diplomat, vladimir gordlevski, joseph , jacques anatole francois thibault anatole france ; 1844-1924 ; , french poet, critic, novelist and playwright, and arnold j. toynbee 1889-1975 ; , british historian. the upper floors main floor ; of the museum presents a permanent exhibition of documentation of the genocide, something sadly needed to defend against turkish denials of the murders, which has taken some absurd turns lately the accompanying web site to the museum is under constant attack by turkish hackers bent on closing any web site that does not agree with their revisionist views ; . the first gallery shows key areas of western armenia oriental anatolia ; and ottoman census figures from before the genocide, then those remaining afterwards. in total approximately two million some say three million ; armenians lived in ottoman turkey at the beginning of 1915, from which 100, 000 remained in 1918. up to two million armenians were murdered between 1894 and 1918 by ottoman turks, kurds and circassians cherkes ; , and one million became refugees. the second, main gallery is in a dim circular hall with displays showing first hand documentation, witness accounts and photographs of the genocide itself, as well as initial reactions by the international community almost all of whom condemned it during wwi, only to renege on their words immediately after ; . britain and france were especially outraged at the genocide, reversing in the post-war treaty conference to secure additional colonial territory. britain bears particular blame for encouraging ottoman armenians and then deserting them to turkish pan-nationalists in 1918, some of which is detailed in this gallery. an art exhibit in the central passage has some disturbing images, but none are as horrific as the photos of actual events and victims in the main exhibit. one poignant display is at the end of the hall, a large poster with photos of some of the last survivors of the genocide. many have now died, leaving but a handful who can describe events first hand. the exhibit would benefit greatly by displaying some of the original film footage of the genocide, as well as playing oral histories that have been taken of the survivors. the last gallery has additional statistics, a series of columns topped by vases filled with dirt from cities emptied of armenians in the genocide, photos and artifacts of victims, and a series of cases showing proclamations by world bodies and governments in recognizing the genocide. one prominent case is empty; when i asked why, i was told by a docent it was "waiting for america's" proclamation officially recognizing the genocide. more likely it simply waits a new exhibition. the museum is under new directorship and there are plans to refresh the exhibition space with additional displays and updated information with more first hand accounts of the events of the genocide, to counter increasing efforts by turkey to deny its responsibility. hopefully their rich bank of oral histories will be made available to visitors; the voices and pictures of survivors telling how loved ones were murdered, sisters and mothers raped or stolen for brothels, mothers begging strangers to take their children so they might survive the slaughter, starving in the wilderness, suddenly orphaned and living off insects and bloody water--the personal tragedies are made all the more chilling for who remembers--sweet faced 90 and 100-somethings who should be living the rest of their lives their lives in quiet comfort, not tearfully recounting the murders and rapes of their loved ones; not as victims whose only mistake was to be born an armenian in ottoman turkey. the lower levels of the museum are reserved for the genocide institute, with a library, document storage rooms, a conference hall and a scholarly research center of the history of the armenian genocide. the institute collaborates with other institutes and participates in campaigns against worldwide genocides, the most recent being the ongoing genocide against the victims of darfur, in western sudan and find online casino. 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