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Brega Oil Marketing Company confirmed the availability of fuel in sufficient quantities for the Greater Tripoli regions, in conjunction with the entry of tankers carrying fuel, in addition to the readiness of the Zawiya refinery tanks to supply the city with the necessary of it.

In a publication, the company attributed the reason for the congestion at the gas stations to the inability of two fuel tankers loaded with gasoline to enter the port of Zawiya and dock on the quay due to the poor sea condition, coinciding with the unpreparedness of the quantities of fuel that were programmed for transfer from local sources, which resulted in a sharp decline in fuel consumption. The balance of the Zawiya oil depot, which affected the level of the balance of the Tripoli oil depot.

The company said that fuel is currently available in a total of more than 128 million liters, represented by the entry of a fuel tanker on Saturday loaded with “40 million liters” in addition to another tanker at the anchor with “40 million liters” on board, in addition to the readiness of the tanks of the Zawiya refinery with an amount of up to “30 million liters.” One million liters” and the continued supply of fuel from the tanker in the port of Tripoli, which is loaded with “18 million liters.”

The company also announced the resumption of supply and the transfer of programmed quantities to raise pumping rates through pipelines to the tanks of the Tripoli warehouse to compensate for losses, in addition to the continuation of supply from the tanker “Anwar Africa” in the port of Tripoli, which did not completely stop supplying the stations.

The company renewed the call for the “Golden Sharara” and “Highway Services” companies to give priority to the public interest and go to supply directly from the company’s warehouses, noting that working hours will be around the clock until the end of the crisis within 48 hours, according to the statement.

Source: Brega Oil Marketing Company

09:01 PM

Sunday, March 26, 2023

I wrote – Dina Khaled:

Sameh Al-Sayed, head of the Poultry Wealth Division at the Giza Chamber of Commerce, told Masrawy that the price of a kilo of live poultry witnessed a decline during the last week by regarding 10 pounds at the farm.

Al-Sayed attributed the decrease in prices to the increase in the supply of poultry following the production of new breeding cycles came out, and the pumping of Brazilian poultry in the markets, in addition to the decline in demand following families finished purchasing their poultry needs before Ramadan.

Prices of poultry and its parts in the markets

The price of a kilo of live poultry: 75 pounds (down by 10 pounds in a week).

The price of a kilo of Albania: between 140 and 160 pounds (down by 20 pounds in a week).

The price of a kilo of hips: between 80 and 85 pounds.

Price per kilo of wings: 50 pounds.

Poultry prices have witnessed significant increases in the local market during the last period, as the price per kilo jumped to 90 pounds at the farm, and the price of a kilo of dairy reached 180 pounds.

A crisis of feed shortage appeared in the market during the last period, due to the problem of the accumulation of goods in the ports with the shortage of the dollar and the application of the documentary credits system, which prompted some poultry farms to cull quantities of chicks, which sparked widespread controversy prompting the government to seek quick solutions to the crisis.

Importers and manufacturers suffered during the last period from a crisis of lack of production requirements due to the delay in opening documentary credits, and the slowness in managing currency by banks, according to importers and manufacturers who spoke earlier to Masrawy, but Dr. to nature.

Last February, the Central Bank issued a decision to stop dealing with collection documents in all import operations and to work with documentary credits instead, before returning to cancel this decision at the end of last year.

Egypt produces regarding 1.6 billion birds annually, and this production achieves self-sufficiency by regarding 95%, and the gap between production and consumption does not exceed 5%, according to data from the Poultry Division previously.

The fact that Latvian (and, of course, not only Latvian) poets write prose and prose writers – poetry, should no longer be a surprise to anyone. However, there always comes a moment when the question arises: how is there more in the creative handwriting of one author – prose or poetry. Naturally, this question concerns only those for whom the classification of the personality in certain parameters is important, and yet, reading the information in the press that the poet Inga Gaile has already published her sixth full-length prose work, it is clear that the proportion of prose and poetry in the biography of the author is actually in balance.

This factor would have only biographical significance, unless the presence of poetry in Inga Gaile’s prose was so important that this fact simply had to be mentioned. Author’s historical novels Glasses and Beautifulas well as in the work dedicated to Ivande Kaija The writer it is the lyrical (not lyrical) footnote that keeps the texts dedicated to dramatic historical events as well as to a whole stormy life within the enjoyable limits of expressiveness. But with the new novel Cutie pie Inga Gaile seems to be returning to that prose territory, which she already playfully poked (as a swimmer pokes the water with her foot before jumping) in a detective novel the invisible ones, in which the classical formulas of the genre were cleverly played, placing so much crime as a solution within the boundaries of space-time and cultural environment that are well known to many Latvian readers.

A novel Cutie pie takes a big step further in the direction of openness – and it is no wonder that in interviews the author is asked questions regarding the possible autobiographical nature of the text, which the writer herself denies. But the reader will draw unconscious parallels anyway. And, though Cutie pie is not an autobiography, it is definitely a very personal text.

Latvia’s first feminist

The center of the novel is the forty-year-old Sarma (“Only thirty-nine!” she herself would remind) – a woman with talent, self-confidence, but also, from the outside, a very unenviable fate. Left alone with two children, the youngest of whom is still very small and nursing, we meet Sarma right in the middle of a long and unpleasant divorce process. Chapters of the novel, all named following Sarma and some thing or phenomenon attributed to a woman (Frost and man, Frost and madness, Frost and piano), harshly candid and bitterly self-ironic tells a story that seems to have been heard so often – regarding how the self-fulfillment abilities of a woman who longs for independence are unfortunately tied up by domestic issues, the need to juggle work and payments, buying food and taking care of children at the same time as with a swarm of countless balls , daily coordination and the desire to create fully.

Sarma is a multi-artist who simultaneously writes (she has published several novels, like the author), translates, and creates the first women’s billboard in Latvia (like the author), and yet, even though the woman seems to be running with all her might, she only manages to stay put with effort, like Lewis Carroll’s Alice. Longing for a relationship with a man, she gets involved in an affair, which is not destined to last long, because, as Sarma bitterly concludes, a man always has the opportunity to jump in the car and drive away, slam the door behind him, not be able to, and not want to take responsibility, including for his own children , whereas a woman does not have such an opportunity. And being called Latvia’s first feminist, Sarma is both aware of how unequal the desired equality is made by the division of biological sex roles accepted in society, and is able to laugh at it – that’s why references to stand-up performances with Sarma’s participation are essential in the text.

The women in the hall laugh not at “bearded” anecdotes, but at Sherpa’s apt and sometimes bone-piercingly accurate formulations of Sarma, what it means to be a woman today – in a developed, prosperous country – and what price we pay for being born with a certain set of chromosomes . It seems that this resonates most vividly in Sarma’s reflections from the stage regarding why social network advertisements on the Internet constantly offer her all kinds of opportunities to lose weight. “Why is it that all women want is to be thin? And why was it necessary to tell them that they will be more beautiful that way? Fragile and airy. That’s because then they are easier to rape.” It is this level of breath-taking openness that masks something unimaginably heavy with a joke, the poet’s ability to hit the solar plexus with the means of language is Cuteness the real trump card.

Sarma chooses not to pose

The writer, as they say, explodes, doing without flowers and pictures and calling everything by its proper name. Yes, also sexuality. Yes, violence too. Yes, failure and failure too. And the circle of readers, who are most likely well-acquainted with the modern phenomenon – the tendency of women (but of course not only them) to show their ideal life in all social roles on social networks, gets the idea that Inga Gaile is tearing away the false idealized images with rough sandpaper glitz and glamour.

No, the role of a mother is not just bright pictures with neatly dressed babies by the Christmas tree. Yes, women crave tenderness, which can also be annoying, hypocritical, fake, stolen. Yes, women also want to make love – often and a lot! Yes, shame, insecurity regarding your decisions, fear and anger, anger, ANGER! regarding the ongoing injustice are real. Yes, sometimes everything is too much for women too and they want to get out. Poses can be endlessly aesthetic, but Sarma deliberately chooses not to pose. And that’s exactly what captivates, keeps, deliberately shocks, takes the reader by the nose, because it’s real. As real as a shirt soaked in breast milk, the breath of men who have been drunk for three days on the bus, the hot steam of boiled potatoes once morest laryngitis, blue blooming flowers in the graves.

Sarma is not alone in her thoughts and actions. The author herself points out that the text often overflows from the field of realism into a kind of magical realism space, and there Sarma is accompanied by the almost always present Jaukumiņš – not quite an alter ego, but a split part of her personality, an observer, neither identical to Sarma nor completely different. It is possible that Jaukumiņš illustrates one of the feminist theorists quoted in the novel, John Berger: “To be born as a woman, one must be born in a closed and limited space, which is kept under the auspices of men. The social presence of women in this space has developed thanks to their ingenuity and ability to survive under such auspices in such a limited space. However, as a result of this situation, the woman’s “I” – the woman’s essence – has split into two parts. A woman has to watch herself all the time. She is almost constantly accompanied by her own image.”

Expanding this magical space, which Sarma calls the Gentle Land, we meet other characters from both history and literature – Anna Karenina and Madame Bovary, the medieval mystic Hildegard von Bingen, the outstanding feminist theorist Simone de Beauvoir and others, including… bears . Why bears? What are the characters from the most famous lullaby in Latvia doing there, which Sarma is forced to sing to her youngest daughter no less than twenty times, before little Lība is willing to fall asleep? But maybe they are not the friendly bears of folklore that carry a honey pot and a bunch of berries “for a peaceful sleep”, but others – dangerous predators? The author does not completely decipher this metaphor, and it’s good that she is.

One of the companions of Sarma’s spirit (but maybe none, maybe several), moreover, constantly supplements the text with footnotes that are at times informative, at times coyly commenting, the number of which is two hundred and seventy-three in the entire novel and which expand the idea of ​​a woman’s internal division – whatever it may be, who comments on Sarma’s actions, such commenting does take place, and thus – the thought is at least dual.

An arsenal of expressions

Sarma’s relationship with God is also peculiarly dual – at the same time, the woman rages once morest the patriarchal version of the Bible regarding the Creator and the male Savior, regarding the norms of the Old Testament, which still so often echoes the gospel of love, but elsewhere, as if in comfortingly warm sand, she sinks into the realization that in fact we only know the masculine narrative of theology, but true he-ness and trans-being might be much broader, more inclusive, more loving categories. And this is also a confirmation of what both Sarma and the feminist message of several generations sigh regarding – how difficult it is to communicate regarding the world of women in a language created by men. The arsenal of expression is insufficient. Inevitably, something will be left unsaid.

Although, as already mentioned, the author denies complete autobiography in the text, it can be found both in the form of real, well-known cultural figures in Latvia and, as it seems, in an absolutely documentary diary, the fragments of which conclude the narrative. Whether Sarma’s story has a resolution is up to the reader to decide for himself. A proper “rogue” novel would have the solution, but it seems that we have already agreed that this is no rouge novel. Thanks to the existence of such texts, the time of docile and obedient women seems to have passed, at least for the moment, thank God.

Rolling Fork (United States) (AFP) – The brick house was pulverized. All that remains of her is the floor littered with personal belongings, a pink backpack, a miraculously standing shampoo bottle. After the violent tornado that devastated Rolling Fork, Mississippi, the inhabitants took the measure of the upheaval of their lives.

On this hot and sunny Sunday, under a sky still blue before possible new storms, they began to arrive in the morning in the middle of gutted houses and deformed trees. To assess the damage and salvage belongings, and also because this debris represents all that remains of their lives before Friday night, when the tornado hit, killing at least 25 people in Mississippi, including 13 here.

“Twenty years of my life gone,” says Shirley Stamps, 58, in front of her bed covered in dust and bits of wood.

“But God be praised, God be praised,” she adds fervently. “We are here, we are alive”.

– Hell –

That evening, she told AFP, she had just finished dinner with her family and was regarding to put on her nightgown when a disturbing wind was heard. The noise swells, the threat becomes more precise. Her granddaughter taking a bath, Shirley Stamps begins to knock on her door for the family to take refuge in the bathroom, which is considered solid.

“We all got into it and got on the ground,” she says. Sunday, with the exception of part of the facade, the bathroom was the only room in the house still standing.

On the other side of the street, Shakeria Brown, looking somber, inspects her car, crushed by a tree. Her house almost collapsed.

“I was sitting on the sofa with my eight-month-old daughter when the windows started shaking,” the 26-year-old said. Then “they exploded”, “the roof gave way above me and it started to rain”.

She then covers her head with a blanket to try to shelter herself with her baby somehow, until a neighbor comes to get her out of this hell.

What will she do now? For now, she is staying with friends. But she will have to find a solution, because “it will take forever” to clear, clean.

Besides, she says, “the owner is not going to rebuild”.

– “Nothing” –

The latter, who owns several houses in this predominantly black and low-income neighborhood, confirms.

“What can we do?” says the African-American man who prefers to remain anonymous, observing the devastation with a stoic air. Insurance will not give enough to rebuild in this region, “one of the poorest in the United States”, he says.

Unless the federal state intervenes, “it will be cleaned up and then it will remain empty,” he concludes.

Kimberly Berry, 46, works in a catfish processing plant and lives between Rolling Fork and Silver City, another town devastated by the tornado.

His house was flattened by the storm, which washed away the walls and the roof, leaving only the wooden floor, a chest of drawers, a tub lying on its side, various personal belongings strewn regarding.

The tornado was selective. For long kilometres, large areas are untouched. Next door is devastation.

The insurance won’t cover anything, she told AFP, because she built on flood-prone land. So she plans to buy a mobile home.

Along with her sisters, sitting under an umbrella while someone distributes water bottles and sandwiches, they all want to send a message to the federal government.

“Send us help. We need help,” said Dorthy Berry, 65.

But “don’t be sorry, darling” launches this teacher to a journalist who barely had time to take refuge in a church before the disaster.

“I am full of gratitude. We are still alive, that’s all that matters,” she insists.