If He Hollers Let Him Go - by Rachel Kaadzi Ghansah Discussed: Ohio’s Rolling Farmland, Hippies in Tie-Dye, Paul Laurence Dunbar, Kanye West, Oprah, A Simpler Way of Life, Seventy-Year-Old Comparative Literature Professors in Birkenstocks, Negritude,Thurgood Marshall, Black Activism, Patrice Lumumba, Stepin Fetchit, Richard Pryor, Dick Gregory, Mark Twain’s Pudd’nhead Wilson, Hemp Stores, Reuben Sandwiches, Dusk in Yellow Springs Although the city of Dayton is small and has been hit hard by the decline of industry, in Xenia and Yellow Springs the land is green, fecund, and alive, even in the relentless heat of summer. Xenia is three miles from where the first private black college, Wilberforce, opened, in 1856, to meet the educational needs of the growing population of freed blacks that crossed the Ohio River. Yellow Springs, a stop on the Underground Railroad, was initially established as a utopian community in 1825. In 1852, Horace Mann founded Antioch College and served as its president. Chappelle’s comedy found fans in many worlds.
Assange: Google Is Not What It Seems In June 2011, Julian Assange received an unusual visitor: the chairman of Google, Eric Schmidt, arrived from America at Ellingham Hall, the country house in Norfolk, England where Assange was living under house arrest. For several hours the besieged leader of the world’s most famous insurgent publishing organization and the billionaire head of the world’s largest information empire locked horns. The two men debated the political problems faced by society, and the technological solutions engendered by the global network—from the Arab Spring to Bitcoin. They outlined radically opposing perspectives: for Assange, the liberating power of the Internet is based on its freedom and statelessness. For Schmidt, emancipation is at one with U.S. foreign policy objectives and is driven by connecting non-Western countries to Western companies and markets. Newsweek Magazine is Back In Print In some ways the higher echelons of Google seemed more distant and obscure to me than the halls of Washington.
Hey Mama by Kiese Laymon A black mother and her son talk about language and love in the South. Image by Jennifer Packer, Mario II, 2012. Courtesy the artist Hey Mama, I’m feeling alone this morning. Hey Kie, I’m tired. Mama, you always say that. You hug yourself by not allowing haters to distract you and by believing in yourself. Oh, lord. Don’t say “ain’t got” Kie. Or what? Or nothing. Nah, I’m serious. It depends on the judges. Mama, how have we been having the same conversation about language for thirty years? You are a grown man, but you’re still a black boy from Mississippi to people that want to hurt you. I have pictures of the look on my grandma’s face the first time she held my first two books. Hiding won’t protect us. I’m not talking about hiding. I don’t even really do Twitter, Mama. My friends tell me you write crazy-talk on that Facebook, and that Twitter. Mama. They’re trying to fix black boys on the cheap, without reckoning with white supremacy. What have you been thinking? I’ve been thinking too much.
55 قصة رعب قصيرة جدًا .. ترجمة هشام فهمي | دوت مصر كتبت - شيرين ثابت: يقال إن الأديب الشهير إرنست همنجواي تحدى أصدقاءه أنه سيكتب قصة أدبية تتكون من 6 كلمات فقط، وقَبِل أصدقائه التحدي ودفع كلَّ واحدٍ منهم عشرة دولارات، وبعد دقائق سطر همنجواي، "For Sale: baby shoes, never worn"، أو بالعربية، "للبيع : حذاء طفل لم يلبس قط". وهي قصة قصيرة لم تتجاوز الـ 6 كلمات، ولها بداية ومنتصف ونهاية. "مايكرو فيكشن"، هو أحد طرق الكتابة، ظهرت مؤخرًا على صفحات الإنترنت لتقدم قصصًا وموضوعات في أقل عدد ممكن من العبارات، ككبسولة مركزة تقدم إلى القارئ لتقدم له معنى معيّن. ولكنها طريقة قديمة استخدمها كبار المؤلفين والأدباء لتقديم أفكارهم، من الصعب الوصول إلى مُنشئها الأصلي أو تحديد مخترعها. كان المترجم المصري هشام فهمي قد ساهم بطريقته في تلك التجربة، وترجم ونشر عددا من قصص الرعب القصيرة جدًا، نشرت منها الصحف 40 قصة رعب من مصادر مختلفة. يُذكر أن هشام فهمي هو مترجم من الإسكندرية، له العديد من الروايات المترجمة، والتي تتميز غالبيتها بالأجواء الأسطورية والفانتازيا والرعب، منها رواية "الهوبيت"، و"فرانكنشتاين "، و"1408". 55 قِصَّة رُعب قَصيرة جدًّا ترجمة: هشام فهمي. 1. 2.
Omniscient Gentlemen of The Atlantic | | Notebook Maureen Tkacik [from The Baffler No. 19, 2012] Shepherd, show me how to go O’er the hillside steep, How to gather, how to sow,— How to feed Thy sheep. –Mary Baker Eddy Not long before The Atlantic’s parent company announced its swing into a profit-making business model despite operating in the most moribund corner of a publishing industry, I sat in a glass-paneled press room next to a small auditorium on the second floor of the Washington Newseum and took in the incipient profitability. The din of younger colleagues tapping keyboards is never soothing, but sitting in the press room of the Ideas Forum felt like a human rights violation. [New York Times financial correspondent] rankles [Treasury Secretary] with questions such as “What do you think is the most important thing the team has gotten right?” Omniscience is the operating principle by which everyone understands everyone else in Washington, D.C. Quinn wore a light beige pantsuit with a pink blouse that conjured the seventies.
Mind Matters One Simple Idea: How Positive Thinking Reshaped Modern LifeBy Mitch HorowitzCrown Publishing, 2014352 pp.; $24 cloth George Orwell once wrote that you had to be a part of imperialism in order to hate it. A comparable sentiment drives author and editor Mitch Horowitz’s inquiry in One Simple Idea: How Positive Thinking Reshaped Modern Life. This temperament sets One Simple Idea apart from recent takedowns of the movement such as Bright-Sided: How Positive Thinking is Undermining America, social critic Barbara Ehrenreich’s bald rejection of the cult-like mandate to treat her breast cancer with a positive attitude, and journalist Oliver Burkeman’s exploration of a “negative path” to happiness in The Antidote: Happiness for People Who Can’t Stand Positive Thinking. And so it is that Horowitz, sans rose-colored glasses, attempts to record the lineage of the American positive thinking movement. More useful as part of these works would have been testimonials.
Rare 1959 Audio: Flannery O’Connor Reads ‘A Good Man is Hard to Find’ Flannery O'Connor was a Southern writer who, as Joyce Carol Oates once said, had less in common with Faulkner than with Kafka and Kierkegaard. Isolated by poor health and consumed by her fervent Catholic faith, O'Connor created works of moral fiction that, according to Oates, “were not refined New Yorker stories of the era in which nothing happens except inside the characters' minds, but stories in which something happens of irreversible magnitude, often death by violent means." In imagining those events of irreversible magnitude, O'Connor could sometimes seem outlandish--even cartoonish--but she strongly rejected the notion that her perceptions of 20th century life were distorted. In April of 1959--five years before her death at the age of 39 from lupus--O'Connor ventured away from her secluded family farm in Milledgeville, Georgia, to give a reading at Vanderbilt University. The grandmother didn't want to go to Florida. Related Content:
Aphra Behn Aphra Behn (/ˈæfrə bɛn/;[1] baptised 14 December 1640 – 16 April 1689) was a prolific dramatist of the English Restoration, one of the first English professional female literary writers.[2] Along with Delarivier Manley and Eliza Haywood, she is sometimes referred to as part of "The fair triumvirate of wit." Little is known for certain about Behn's life except for her work as an author and as a spy for the British crown. There is almost no documentary evidence of the details of her first 27 years. She possibly spent time in Surinam, although much of her fiction has become entwined with her apocryphal biography. The bawdy topics of many of her plays led to her oeuvre being ignored or dismissed since her death. Life and work[edit] Versions of her early life[edit] Title page of the first edition of Oroonoko (1668) Information regarding her life is scant, especially regarding her early years. Career[edit] A sketch of Aphra Behn by George Scharf from a portrait believed to be lost (1873)
Flâneur Paul Gavarni, Le Flâneur, 1842. Flâneur (pronounced: [flɑnœʁ]), from the French noun flâneur, means "stroller", "lounger", "saunterer", or "loafer". Flânerie refers to the act of strolling, with all of its accompanying associations. The flâneur was, first of all, a literary type from 19th century France, essential to any picture of the streets of Paris. Etymology[edit] Charles Baudelaire The terms of flânerie date to the 16th or 17th century, denoting strolling, idling, often with the connotation of wasting time. The flâneur was defined in a long article in Larousse’s Grand dictionnaire universel du XIXe siècle (in the 8th volume, from 1872). By then, the term had already developed a rich set of associations. In the 1860s, in the midst of the rebuilding of Paris under Napoleon III and the Baron Haussmann, Charles Baudelaire presented a memorable portrait of the flâneur as the artist-poet of the modern metropolis: The crowd is his element, as the air is that of birds and water of fishes.