New iPhone sales will rest entirely in the next quarter this time.

We're about to dive into the world of parasitology, taking a close look at one of the most common parasitic worms infecting humans: Ascaris lumbricoides. This large roundworm is responsible for a type of intestinal nematode infection that affects millions of people worldwide, especially in areas with poor sanitation.

It's rare that you'll find discounts on Apple products through the company's own retail channels, but other storefronts are often happy to slash prices on such wares. You can find early Black Friday deals on a bunch of Apple products, including MacBooks. The M3 MacBook Air with 16GB of RAM has dropped to its lowest price to date at Amazon. The laptop will run you $899, which is $200 off the list price.

This is a 13-inch MacBook Air with 256GB of storage. Other configurations with more storage space are on sale too. One with 8GB of RAM and a 512GB SSD is $300 off at $999, though we'd recommend having at least 16GB of memory. It's not possible to upgrade the RAM in an Apple Silicon MacBook, but you can always add external storage if need be.

To that end, you can snag a 13-inch M3 MBA with 16GB of RAM and 512GB of built-in storage for $1,099. If a model with 24GB and the same SSD is what you're looking for, you can snap one up for $1,299. Both are $200 off.

Apple just released its first M4-powered Macs, but it has yet to slot the latest chip into the MacBook Air. To that end, we reckon the 13-inch M3 MacBook Air is the best laptop for most people. It's our pick for the best laptop for college students too.

The 13-inch MBA's blend of power and portability makes it a potent choice and we gave it a score of 90 in our review. It delivers fast performance and has a killer display. The design is sleek and sturdy and it sounds great thanks to a quad-speaker array. We like the trackpad and keyboard as well, while the upgrade to Wi-Fi 6E connectivity is a definite plus. Our main quibble is that the USB-C ports are on the same side of the unit as the one for the charger — having even one USB-C on the right side would be handy. But that's a minor complaint about an otherwise excellent laptop.

Check out all of the latest Black Friday and Cyber Monday deals here.

This article originally appeared on Engadget at https://www.engadget.com/deals/the-m3-macbook-air-with-16gb-of-ram-is-on-sale-for-899-ahead-of-black-friday-154922025.html?src=rss

Megan Fox et son petit ami Machine Gun Kelly seront bientôt parents.

Indian and multinational pharma companies are leading the charge by investing in digital transformation and aligning Indian operations with global standards. Essentially, pharmaceutical water systems are

On October 8, 2024, Drug Channels Institute will release our 2024-25 Economic Report on Pharmaceutical Wholesalers and Specialty Distributors. This report—our fifteenth edition—remains the most comprehensive, fact-based tool for understanding and analyzing the large and growing U.S. pharmaceutical distribution industry.

9 chapters, 350+ pages, 178 exhibits, 750+ endnotes: There is nothing else available that comes close to this valuable resource.

We are providing you with the opportunity to preorder this thoroughly updated, revised, and expanded 2024-25 edition at special discounted prices. This means that you can be among the first to access our new report. Those who preorder will receive a download link before October 8.

• Review pricing/license options and place a preorder

• Download a free pre-publication report overview (including key industry trends, What's New in this edition, the Table of Contents, and a List of Exhibits)

You can pay online with all major credit cards (Visa, MasterCard, American Express, and Discover) or via PayPal. Click here to contact us if you would like to pay by corporate check or ACH.

Special preorder and launch pricing discounts will be valid through October 23, 2024.

Read on for more details.
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This week, I’m rerunning some popular posts while we put the finishing touches on DCI’s new 2024-25 Economic Report on Pharmaceutical Wholesalers and Specialty Distributors.

Click here to see the original post from June 2024.

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The 340B contract pharmacy market shows little sign of slowing down. Drug Channels Institute’s exclusive analysis of the 2024 market reveals that:Read more »

I am pleased to announce Drug Channels Institute's new 2024–25 Economic Report on Pharmaceutical Wholesalers and Specialty Distributors, available for purchase and immediate download.

• Download a free report overview (including key industry trends, the Table of Contents, and a List of Exhibits)

• Review pricing/license options and download the full 2024-25 report

We’re offering special discounted pricing if you order before October 23, 2024.

2024–25 Economic Report on Pharmaceutical Wholesalers and Specialty Distributors—our 15th edition--remains the most comprehensive, fact-based tool for understanding and analyzing the large and growing U.S. pharmaceutical distribution industry. This 2024-25 edition includes substantial new material—outlined on page vii of the report overview.

9 chapters, 380+ pages, 178 exhibits, more than 750 endnotes: There is nothing else available that comes close to this valuable resource.

You can pay online with all major credit cards (Visa, MasterCard, American Express, and Discover) or via PayPal. Click here to contact us if you would like to pay by corporate check or ACH.

Email Paula Fein (paula@drugchannels.net) if you’d like to bundle your report purchase with access to DCI’s video webinars.

If you preordered the report, you should have already received an email with download instructions last week. Please contact us if you did not receive your email.

Read on for some additional details.
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The Royal Pharmaceutical Society and the British Pharmaceutical Students’ Association have called for all overseas candidates to sit the March 2021 registration assessment in their home countries.

The government implied wholesalers had more personal protective equipment in stock than was the case during the first wave of the COVID-19 pandemic, the Healthcare Distribution Association has said.

The Pharmaceutical Services Negotiating Committee is in talks with the government over potential plans to distribute COVID-19 treatments in primary care.

Community pharmacies should be reimbursed for their additional costs during the COVID-19 pandemic “as soon as possible”, the prime minister has told The Pharmaceutical Journal.

Community pharmacies will receive an estimated 12 referrals from the Discharge Medicines Service per year.

Around half of Wales’ community pharmacies have expressed interest to health boards in providing COVID-19 vaccinations as part of the national programme.

Pharmacy negotiators have discussed proposals to take “a patient registration-based approach” to the community pharmacy contractual framework.

The Royal Pharmaceutical Society has expressed its sadness at the death of Joy Wingfield, honorary professor of Pharmacy Law and Ethics at the University of Nottingham.

By Haojing Rong and Aimee Raleigh, as part of the From The Trenches feature of LifeSciVC This blog post is the second in a series on key diligence concepts and questions. If you missed the intro blog post yesterday, click

The post Pharmacology: The Anchor for Nearly Every Diligence appeared first on LifeSciVC.

Top challenges impacting specialty pharmacy outcomes, and how health systems may achieve efficiencies and enhance performance for optimal outcomes.

The post An Integrated Approach to Optimizing Specialty Pharmacy and Accelerating Performance appeared first on MedCity News.

Modern innovation typically occurs one step-improvement at a time. Some clients initially question whether their new application of an existing technology is patentable. Usually, the answer is ‘yes.’ Under U.S. law (and most other jurisdictions), an innovation to an existing technology is patentable so long as at least one claim limitation is novel and non-obvious....… Continue Reading

Megan Fox is pregnant. The 38-year-old actress — who has Noah, 12, Bodhi, ten, and Journey, eight, with her ex-husband Brian Austin Green — has confirmed via social media that she's expecting her first child with Machine Gun Kelly.

Aug 1, 2023

Using the private journals of commission secretaries Henry Marie Brackenridge and Dr. William Baldwin, as well as Captain Sinclair, this chapter will explore the establishment of American naval identity through its diplomatic experiences in South America. It will also exhibit the role of the U.S. Navy in a proto framework of the Monroe Doctrine.

As many as 3.32 crore voters will cast their votes in 37,809 polling stations across State

May 31, 2023

Training the next generation of foreign policy practitioners is one of the key missions of the Future of Diplomacy (FDP) and the Project on Europe and the Transatlantic Relationship. 

Feb 29, 2024

Former U.S. Ambassador to Israel Ed Djerejian says Israeli Prime Minister Yitzak Rabin once told him, “There is no military solution to this conflict, only a political one.” Rabin was assassinated a few years later, and today bullets are flying, bombs are falling, and 1,200 Israelis are dead after the Hamas terrorist attacks of October 7 and nearly 30,000 Gazans have been killed in the Israeli response. Yet Djerejain still believes that a breakthrough is possible even in the current moment, as horrible as it is. Djerejian, a senior fellow at Harvard Kennedy School’s Belfer Center for Science and International Relations, says the crisis has shaken the regional status quo to the point where—if the United States pursues diplomacy that includes principled pragmatism, coalition-building, and good old-fashioned backbone—a breakthrough may finally be possible. But in a recent paper he argues that any breakthrough will have to be built around a two-state solution, which he says is the only path to peace and stability not only in Israel and Palestine, but the wider Middle East. Djerejian’s career as a diplomat spanned eight U.S. presidential administrations beginning with John F. Kennedy’s, and he also served as U.S. Ambassador to Syria and Assistant Secretary of State for Near Eastern Affairs.  

Jun 2, 2023

A spate of high-level diplomatic gatherings demonstrates that the Russian leadership remains keen to implement a strategy of expansion, rather than merely sustainment, of its relations with the rising Africa.

Conoce a la familia Méndez, pionera en la transformación extrema de camiones. Texas Trocas, nueva serie de Discovery en Español. Estreno 15 de septiembre a las 10PM E/P.

El avance de Habla Men

La segunda temporada de Texas Trocas llega a Discovery en Español con nuevas historias y transformaciones aún más extremas.

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West and HealthPrize are collaborating to provide an end to end connected health solution for pharmaceutical companies and the patients they serve.

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Today in my craft post, I'm going to talk about a straightforward skill… while referencing a book that's wonderfully un-straightforward.

H Is for Hawk is a memoir by Helen Macdonald that weaves together several threads, the three biggest of which are: her experience of training a northern goshawk; her analysis of T. H. White's memoir about training a northern goshawk; and her grief following the death of her father. In terms of balance and weaving, it's beautifully done. In terms of psychological insight, it feels searingly true. And in terms of the expression of emotion, it's stunning.

It's also an uncomfortable book at times, in ways that recommend it. And it's a fascinating memoir for a fiction writer to read while thinking about how to write character. H Is for Hawk left me with a lot of questions, for the book and for myself.

If you just want the straightforward writing lesson, which is on the topic of writing emotion, jump ahead to the *** below. If you're interested in a fiction writer's thoughts about memoir, read on.

I sat down to read H is for Hawk because a friend had described its structure and I was intrigued. I'm not a memoir writer; it's far too personal a style of writing for me. But I like to read books that differ greatly from my own writing, and I especially like to learn to write from them. After all, the more a book diverges from your own writing, the more it can stretch you into a broader perspective of what's possible. I was curious about what a memoir that weaves separate but related threads could teach me about writing a work of fiction that weaves separate but related threads; but I was also curious about what it could teach me that I didn't know about yet.

Here are some of the unexpected questions that arose for me while reading this book:

In terms of writing character (if one can use that word with a memoir, and I believe one can; more on that later), what are the differences between memoir and fiction?

For example, what advantages does the memoir writer have? Does a reader come to a memoir with a greater willingness to believe in a character than they bring to the reading of fiction? A fiction writer often has to go through a lot of contortions to keep a character believable while also fulfilling the necessities of the plot. Push the character's behavior too far outside the characterization you've so carefully established, and the behavior becomes unbelievable. The reader is left thinking, "I don't believe they would actually do that."

In contrast, in a memoir, a character is an actual person. They did what they did. The memoir writer reports what they did and we believe it, because it's a memoir. Any "unbelievable" behavior consequently brings power with it: amusement, surprise, shock value. (This is not to minimize the work it requires to make any character in any kind of book engaging. I don't mean to suggest that a memoir writer has an easy job creating character, only that they may have a believability advantage.)

Okay then, what advantages does the fiction writer have when writing character? Well, the fiction writer can make shit up; that's a pretty huge advantage. The fiction writer also generally doesn't have to worry about getting sued for defamation of character :o).

Another huge advantage: Though it's true that as a fiction writer I sometimes encounter readers who mistakenly assume I'm like my characters, for the most part, fiction readers remember that fiction is made up. This means that the fiction writer is unlikely to be accused of having done the things their characters did, or judged for that behavior. In contrast, a memoir writer writing about her own actions is opening herself to all kinds of very personal judgment. All writing requires courage and involves exposure… But this takes things to a whole other level! Fiction writers have some built-in emotional protections that I tend to take for granted, until I read a memoir and remember.

This leads me to another question that arose while reading this book: What is the place of the memoir reader when it comes to judging the people inside the memoir? For example, Helen Macdonald writes a compassionate but blistering exposé of T. H. White in this book. It's an exposé that T. H. White wrote first; anyone can learn from White's own memoir that he was heartbreakingly, sometimes sadistically abusive to the goshawk he trained. But Macdonald presents it anew, and she presents it with an analysis of White's psychology that shows us more about White than he ever meant us to know. She shows us the abuse, familial and societal, that brought White to this place. She shows us his heartbreak, failures, and shame. White feels like an integrated, complete person in this book.

But also, she shows us what she wants to show us — she shows us the parts of White that fit into her own book, about her own experiences. She's the writer, and this is her memoir. To be clear, I don't mean this as a condemnation — I'm not accusing her of leaving things out or misrepresenting White! This is a part of all book-writing. You include what matters to the rest of your book. Everything else ends up on the cutting room floor. As far as I know, Macdonald did a respectful and responsible job of incorporating T. H. White into her book, and I expect she worked very hard to do so. I believe in the T. H. White she showed us. But I think it's important to remember this part of the process when reading any memoir. Even when a writer is writing about themselves, their book has plot and themes, it has content requirements. There'll always be something specific the writer is trying to convey, about themselves or anyone else, and there'll always be stuff they leave out. No book can contain a whole person.

Personally, when I read memoir (and biography and autobiography), I consciously consider the people inside it to function as characters. It's hard to read H Is for Hawk and not come away with some pretty strong opinions about T. H. White. But I keep a permanent asterisk next to my opinions, because White was a real, living person, but I only know him as a character in this book. No matter how many books I read about him (or by him), I'll always be conscious of not knowing the whole person.

As a fiction writer, I find all of this fascinating. I think it's because I see connections between how hard it is to present a compelling character study of a real person and how hard it is to create a believable character in fiction. What are the differences between a memoir writer who's figuring out which part of the truth matters, and a fiction writer who's creating a fiction that's supposed to invoke truth? Also, I'm fascinated by how much all of this lines up with how hard it is to understand anyone in real life. How well can we ever know anyone? How much can we ever separate our own baggage from our judgments of other people? There's a third person getting in the way of my perfect understanding of T. H. White: me.

Next question: How does a writer (of memoir or fiction) make a character ring true to the reader? How does the writer make the character compelling and real?

A writer as skilled as Macdonald knows how to bring her characters, human or hawk, alive for the reader. One way she does this is by keeping her characterizations always in motion. White is many, many things — kind and cruel, sensitive and sadistic, abused and despotic. Macdonald's hawk, Mabel, is also constantly growing and changing. Mabel is a point of personal connection for Macdonald, but she's also always just out of reach. And of course, Macdonald herself is a character in the book. Macdonald lays bare her own successes, failures, oddities, cruelties, kindnesses, insights, ambivalences, and delights, and lets us decide. Personally, as I read, I felt that I was meeting a human of sensitivity and compassion; an anxious person whose need for both solitude and connection was starkly familiar to me; someone consciously composed of contradictions; a person of deep feeling who cares about what matters; a grieving daughter; a person I can relate to. Or should I say, a character I can relate to? Having read this book, I don't presume I know Helen Macdonald.

Here's something I do know about Helen Macdonald though: She's a damn good writer. In particular, as I read, I kept noticing one specific thing she does so well that it needs to be called out and shown to other writers.





All page references are to the 2014 paperback published by Grove Press.

Okay, writers. When it comes to writing a character's emotion, there's a certain skill at which Helen Macdonald excels. Namely, she conveys emotion via action.

Put differently: rather than describing an emotion in words, Macdonald shows us a behavior, one so meaningful that we readers feel the associated emotion immediately.

Here's an example. For context, Helen Macdonald's father died suddenly one March, throwing her into a deep and unexpected grief. Listen to this description of one of the things that happened next:

"In June I fell in love, predictably and devastatingly, with a man who ran a mile when he worked out how broken I was. His disappearance rendered me practically insensible. Though I can't even bring his face to mind now, and though I know not only why he ran, but know that in principle he could have been anyone, I still have a red dress that I will never wear again. That's how it goes." (17)

While there is some effective emotional description here — like when she's rendered practically insensible — the real punch in this passage is the red dress. Macdonald tells us that there's a red dress she'll never wear again, and immediately I get it. I get that the identity of the man is irrelevant; what's relevant is the passion she had for another person and how it connected to her grief, and I feel that passion and grief because there's a red dress she'll never wear again. I can see the dress, hidden away in the back of her closet. I don't have a dress like that, but I could. I get it.

Here's another moment. This one takes place at a much later point, when Macdonald has been grieving for a long time and is finally noticing that she's capable of happiness again:

"But watching television from the sofa later that evening I noticed tears running from my eyes and dropping into my mug of tea. Odd, I think. I put it down to tiredness. Perhaps I am getting a cold. Perhaps I am allergic to something. I wipe the tears away and go to make more tea in the kitchen" (125).

It's hard to write about tears in a way that doesn't feel like a cliché shorthand for sadness, grief, catharsis, whatever you're trying to get across in that moment. Macdonald succeeds here. This dispassionate report of tears conveys what Macdonald needs to convey: that grief is layered; that a person can have many feelings at once; that sometimes your body knows what's going on before the rest of you does; that when you're grieving, sometimes happiness brings with it a tidal wave of sadness. But imagine if Macdonald had listed all those things I just listed, instead of telling us about her tears dropping into her tea. Her way is so much better, and it conveys the same information!

Let me be clear, it's not bad to describe emotion. In fact, it's necessary in places. You need to give your reader an emotional baseline so that they'll know how to contextualize how plot points feel for the character. But if you can find a balance between emotional description and the thing Macdonald is doing here — using action to convey emotion — it will gives the emotion in your writing a freshness, an impact, a punch that you can't get from description alone. It will also give the reader more opportunities to engage their own feelings — to feel things all by themselves, rather than merely understanding what's being felt by the character.

It's hard to write emotion. It's especially hard to figure out non-cliché ways to explain how a character feels. Sometimes it's fine to use a known shorthand or a cliché. Sometimes it's fine to use emotional description. You want a mix of things. But Macdonald's book reminds me that whenever I can, I want to look for ways to use plot to convey feeling. Show what my character does in response to a stimulus. Let the reader glean the emotions from behavior. Your character is happy? Show us what they do with their body. How do they stand, how do they walk? Does it make them generous? Does it make them self-centered and oblivious? Remember that an "action" doesn't have to be something physically, boisterously active. If you're writing a non-demonstrative character, it's not going to ring true if they start flinging their arms around or singing while they walk down the street. But maybe instead of "feeling ecstatic," they sit still for a moment, reveling in what just happened. Maybe instead of "feeling jubilant," they listen to a song playing inside their own head. Internally or externally, show us what they do.

Here's Macdonald describing her childhood obsession with birds:

"When I was six I tried to sleep every night with my arms folded behind my back like wings. This didn't last long, because it is very hard to sleep with your arms folded behind your back like wings." (27)

I can feel the devotion to birds. She doesn't just love birds; she wants to be a bird.

Macdonald goes on to report that as a child, she learned everything she possibly could about falconry, then shared every word of it, no matter how boring, with anyone who would listen. Macdonald's mother was a writer for the local paper. Here's a description of her mother during the delivery of one of Macdonald's lectures:

"Lining up another yellow piece of copy paper, fiddling with the carbons so they didn't slip, she'd nod and agree, drag on her cigarette, and tell me how interesting it all was in tones that avoided dismissiveness with extraordinary facility." (29)

What an endearing depiction of a mother's love for her tedious child :o).

And here's a scene that takes place at a country fair, where Macdonald has agreed to display her goshawk, Mabel, to the public. Macdonald is sitting on a chair under a marquee roof. Mabel is positioned on a perch ten feet behind her. There are so many people at the fair, too many people for the likes of both Macdonald and Mabel:

"After twenty minutes Mabel raises one foot. It looks ridiculous. She is not relaxed enough to fluff out her feathers; she still resembles a wet and particoloured seal. But she makes this small concession to calmness, and she stands there like a man driving with one hand resting on the gear stick." (206)

Oh, Mabel. I get the sense that when it comes to the writer's need to convey emotion, Mabel is a challenging character. Macdonald does such a wonderful job creating a sense of the gulf between a human's reality and a hawk's reality, the differences in perception and priority. But she also gives us moments of connection with Mabel. Since Mabel is a bird, these moments of connection are almost always described through Mabel's behavior.

I wonder if Macdonald's intense connection with the non-human world, and with hawks in particular, is partly what makes her so good at noticing behaviors and gleaning their emotional significance? And then sharing it with us, the lucky readers.

That's it. That's my lesson: When you're trying to convey feelings, find places where an action or behavior will do the job.

And read H Is for Hawk if you want an admirable example of writing emotion! Also, Helen Macdonald has a new book, just released: Vesper Flights. I'm in.

Reading like a writer.

We recently launched a completely reimagined version of Machine Learning Crash Course.

Donald Trump has been reelected president of the United States. Ahead of Kamala Harris’s expected concession speech, we speak to professors Carol Anderson and Michele Goodwin to discuss Harris’s historic campaign — and historic loss. “The Confederacy won,” says Anderson, a professor of African American studies at Emory University. “It paints a picture of what Americans are willing to embrace,” says Goodwin, a professor of constitutional law at Georgetown and an expert on healthcare law, who warns of the public health dangers of a second Trump administration and discusses the election’s implications for reproductive rights.

Special on the design week in Milano...

The post RIMOWA and La Marzocco for a limited-edition espresso machine first appeared on peopleofdesign.

Welcome back to Cover Awe! Cover illustration by Syd Mills From Cleo: Just look at it! It’s gorgeous. And it fits the book perfectly – a moody, sexy Sapphic UF romance between an ex-demon hunter with angelic blood and the demon sent to seduce and destroy her. Sarah: jaw hanging open. Amanda: It gives me renaissance painting vibes. Cover art and design by Katie Anderson Sarah: Hits a LOT of the trends Amanda and I … Continue reading Cover Awe: Immaculate Vibes →

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The leaders' discussions also focused on the Middle East and the problems caused by migration in Europe.

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