[76286] in Daily_Rumour
Drop High Blood Pressure Below 120/80 - TODAY!
daemon@ATHENA.MIT.EDU (Blood Pressure Update)
Wed Sep 27 11:52:46 2023
Date: Wed, 27 Sep 2023 10:52:45 -0500
From: "Blood Pressure Update" <bloodpressurefix@triveal.today>
Reply-To: "Blood Pressure Update" <bloodpressurefix@triveal.today>
To: <rumour-mtg@bloom-picayune.mit.edu>
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<div style="">Clicking the link below, you'll learn three easy exercises so effective that even if you have suffered from life-threatening hypertension for years, you can bring it down to 120/80 – as soon as TODAY!<br />
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<b><a href="http://triveal.today/na0BYelJ4KEg9J74-e6mhiduzHJpY0npZEH_dV6VlJC0wRg">Plus, they take very little time - just 9 minutes.</a></b><br />
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Lowering high blood pressure helps prevent...<br />
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- stroke<br />
- heart attack<br />
- kidney failure<br />
- impotence
<p align="center"><a href="http://triveal.today/na0BYelJ4KEg9J74-e6mhiduzHJpY0npZEH_dV6VlJC0wRg"><img src="http://triveal.today/9f5696922b79859a78.jpg" /></a></p>
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...just to name a few conditions – caused by high blood pressure – you will avoid using these exercises!<br />
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Bringing your blood pressure below 120/80 eliminates any need for blood pressure medications – so you’ll never have to suffer the horrendous side effects again.<br />
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Every single brand of blood pressure drug creates serious side effects. The sad fact is, so do herbal medications. And the cost of buying pills these days is horrendous.<br />
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The Solution Is Simple!<br />
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Try these easy exercises now and naturally drop your blood pressure as soon as today.<br />
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There are NO side effects and NO extra medical costs.<br />
<br />
<b><a href="http://triveal.today/na0BYelJ4KEg9J74-e6mhiduzHJpY0npZEH_dV6VlJC0wRg">To learn more and test the exercises for yourself, click here...</a></b></div>
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<span style="font-size:15px;">that the novel did not die, but its total place in our lives changed, and Huckleberry Finn is the most widely shared souvenir of its earlier place. Back around 1850, when Nathaniel Hawthorne, Herman Melville, and Harriet Beecher Stowe wrote their great novels, the novel as a form was culturally emer- gent; nowadays, it is culturally residual. Jonathan Franzen, whose novel Freedom (2010) was the biggest literary news in the United States of 2010–11, acknowledged in an interview that he writes novels for the limited number of people who like to read novels. It’s just a niche. By contrast, in 1899, William Dean Howells, as America’s most prolific and respected literary critic, a major novelist, and also one of Mark Twain’s very closest friends, crafted a lecture on “Novel-Writing and Novel- Reading,” which he took on tour to over fifty venues that year. Howells asserted: “Fiction is the great intellectual stimulus of our time. It is ninety-nine chances out of a hundred that the book which at any given moment is making the world talk, and making the world think, is a novel. Within the last generation, I can remember only one book making the impression that a dozen of novels have each made.” From a different perspective, Henry James found a similar dominance. James was Howells’s close friend and greatly admired fellow-novelist and critic, while Twain and James were not friends and did not care for each other’s work. James wrote in his 1900 essay on “The Future of the Novel”: “he place occupied in the world by the prolonged prose fable has become, in our time, among the incidents of litera- ture, the most surprising example to be named of swift and extravagant growth, a development beyond the measure of every early appearance. The flood at present swells and swells, threatening the whole field of letters. The book, in the Anglo- Saxon world, is almost everywhere, and it is in the form of the voluminous prose fable that we see it penetrate easiest and farthest.” James emphasizes not the novel’s intellectual clout but rather its place within mass consumption, as part of a newly widespread literacy. Howells seems to be saying, “Good for the novel,” while James, although himself even more committed to novel- writing than Howells was, expresses some alarm. But both concur on the centrality and dominance of the novel. This dominance may be seen in the extent to which even Twain—so much more at home in short or accumulative, unplotted forms, such as in Innocents Abroad (1869) and Roughing It (1872)—was drawn into the orbit of the novel, so that by the middle of the twentieth century Huckleberry Finn, a novel, had become the hyper-canonical work in Twain’s corpus, not only the best known but also the most greatly admired, so much as almost to squeeze out anything else. Unlike James and Howells, Twain did not devote much of his writing to liter- ary criticism, but his most famous judgments on literature concerned the novel, specifically in his critique of the works most valued in literary culture at the time he was born. In Life on the Mississippi (1883) Twain passed severe judgment on what he considered the cultural power that had doomed the South to prefer empty pag- eantry to solid progress and clear thinking. The villain was the British novelist Sir Walter Scott. Twain concludes, “A curious exemplification of the power of a single </span><br />
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