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Nasal augmentation, also known as rhinoplasty, is a surgical procedure that enhances the shape and size of the nose. It is a popular cosmetic surgery that can improve the appearance of the face and boost self-confidence. Nasal augmentation can also improve the function of the nose by correcting breathing problems caused by structural defects.

There are two types of nasal augmentation procedures: open and closed. Open rhinoplasty involves making an incision in the columella, the tissue that separates the nostrils. This allows the surgeon to lift the skin and tissue of the nose, giving them a better view of the nasal structure. Closed rhinoplasty involves making incisions inside the nostrils, making it a less invasive procedure. Both techniques have their own benefits and risks, and the choice of technique depends on the individual's needs.

The surgeon will typically use either autologous tissue, synthetic material, or a combination of both to augment the nose. Autologous tissue, such as cartilage from the septum or ear, provides a natural-looking and long-lasting result. Synthetic material, such as silicone implants or Gore-Tex, can also provide a satisfactory result but carries a higher risk of complications such as infection and extrusion.

Recovery from nasal augmentation typically takes one to two weeks. Patients may experience bruising, swelling, and discomfort, but these symptoms can be managed with pain medication and ice packs. Patients should avoid strenuous activity and wearing glasses or sunglasses for at least six weeks after surgery. The final result of the surgery may not be fully visible for several months as the swelling subsides and the tissues settle.

In conclusion, nasal augmentation is a safe and effective procedure that can improve the appearance and function of the nose. It is important to choose a skilled and experienced surgeon to ensure the best possible outcome. Patients should also have realistic expectations and understand the risks and benefits of the procedure before undergoing surgery.

Love songs are everywhere. But does anyone have a definition of love, which — people claim — makes the world go around? Sure, it’s easy to tell when you’re in love with someone. [The heart pounds and you act like an idiot.] But it’s much harder to say if you actually love someone.

Enter the mind of Harry Jenkins, as he is about to make love to Natasha,

And then he laughed at himself as he sank beneath the covers. No sane man would question such free and voluptuous pleasure, as if it could only be valued through thought. Only an idiot or a fool would try to analyze love and passion

Nonetheless, like the fool, I seek a definition. Perhaps it is the lawyer in me. On the subject of love, Carl Jung, the Swiss psychiatrist, is a sobering read. All of us, supposedly, carry within us, an animus [if you’re female] and an anima [if you’re male], which is the idealized image of the person you love. And so, when you are in love you are projecting this idealized image on a real, live person who might be naturally quite entitled to be different.

After the honeymoon, those annoying little cracks in the image appear, which could certainly explain the high divorce rate. When you find the real person doesn’t exactly match your superimposed ideal, what do you do?

All of these thoughts led me to explore people’s ideas of all kinds of love, not just the romantic variety, in Final Paradox, the second in The Osgoode Trilogy.

Harry Jenkins is the lawyer protagonist throughout the trilogy, which contain storylines of murder and fraud. He is in the thrall of the beautiful Natasha. His aging father, who abandoned him as a child, has just asked his forgiveness. Harry can’t seem to find that in his heart. Natasha asks him—

What do you think love is?
He shrugged. “I don’t know. It’s about wanting someone as part of your life. Wanting them always with you.” He looked into her eyes. “Why? What do you think?”

“I think it’s about getting outside yourself and seeing another person’s life from their point of view. At least that’s a start,” Natasha replied.

Harry heard his father’s words. It’s all about you, is it? Would he always be the kid, he wondered?

Another character musing about love is Norma Dinnick — an elderly client of Harry’s who trips back and forth between lucidity and madness. She recollects her stew of feelings for various men.

Going back to her hotel, Norma tried to understand. She knew about affection and caring for Arthur, her husband, who kept her safe from the emptiness. But she did not understand this business of love, which David talked about. She did know that such emotions gave her a sense of power. The sheer lust she experienced in the presence of George made her feel weak and vulnerable.

Norma simply doesn’t understand about love and neither does Bronwyn — another character. An embittered soul, she has married a gay man and on her honeymoon – She wandered the narrow beach of sand and stone where the boats ferried back and forth to the grottos. No Peter. But then she saw him at a distance on the beach walking slowly with a younger man she did not know. Where had they come from? Right from the start, she had known. Of course, the bargain was unspoken but well understood. For money and security, Bronwyn had sacrificed any chance for love.

But in the end, Harry does begin to get it. In bed with the lovely Natasha, he was

…transported outside his own body, he was overcome with the desire to know the dreams, fantasies, and mysteries she held within. He would enter her world with love and understanding and never leave. The awe he felt in her closeness made his breathing slow and deepen in rhythm with hers. He watched his hand reach out of the shadows to smooth the sheet. She was at last in his bed and, fearing a mirage, he dared not wake her. In the past two weeks, his world had been shaken. His mind had become a jumble of colliding, conflicting events and consequences. Now he felt her power to draw his life together. A still peace gently settled over him like a silken web of meaning.

Tennis requires cat-like reflexes with short bursts of strength. These short movements do not allow the muscles to extend their full length. When muscles are strenuously worked they become tight and can lose their elasticity unless properly stretched. Yoga exercises can increase the body’s range of motion. The lack of movement because of inflexibility binds the joints. Without the elasticity of the muscles, I think an athlete can be a prisoner of his own body.

Using yoga techniques makes it possible to retrain the muscles. Most tennis athletes play in a constant state of muscle tension. Yoga trains the body to relax muscle tension. Learning to begin your game in a relaxed state could mean gaining an extra step on the ball.

When in ready position muscles are contracted and ready for action. To move, muscles must be relaxed and then contracted again to spring in any direction. By retraining the muscles you begin from a relaxed position, giving a quickened reaction time.

Yoga breathing exercises can help improve endurance and stamina. When exerting in sports or exercise we often hold the breath as a way to create strength. Yoga trains the body to create strength through breathing control. Holding the breath at points of exertion takes a great deal of energy that could be used during long sets or matches.

Learning the correct way while doing a yoga pose is simple. Exhale during the execution of a pose until you feel the muscles’ full length of the stretch (maximum resistance). Never hold your breath. Breathe normally and listen to the body. Hold for 30 seconds, then release the pose slowly. By constant practice of yoga poses you’ll soon apply breathing techniques in everyday routines.

A simple spine twist is excellent for rotational sports. It can help increase the needed flexibility of the shoulders and back and hips. Remember to apply the breathing technique to this pose.

Begin the spine twist by sitting on the floor with both legs straight out in front of you. Keeping the spine straight, bend the left leg placing the left foot on the outside of the right knee. Now, place the left hand on the floor behind you with your arm straight and the right elbow bent. Positioned on the outside of the left thigh place the right hand on the left hip.

Slowly exhale while turning the head and upper body to the left, looking over the left shoulder. Pressure from the right arm should keep the left leg stationary while pressure from the left arm and torso gives you the twist. Stronger use of both arms increases the twist. Hold this pose for 30 seconds and repeat twist on the opposite side.

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