Sughra Raza. The People, They Speak. Graffiti, Valparaiso, Chile, November, 2017.

Digital photograph.

by Ruchira Paul

“In New York City there lived a Nickel Boy who went by the name of Elwood Curtis…

When they found the secret graveyard, he knew he’d have to return. The clutch of cedars over the TV reporter’s shoulder brought back the heat on his skin, the screech of dry flies. It wasn’t far off at all. Never will be.”

Colson Whitehead won his second Pulitzer Prize for The Nickel Boys in 2020, joining the ranks of three other writers recognized for the rare honor. His first was for another historical fiction The Underground Railroad in 2017. What are the odds of winning the Pulitzer for two books that deal with the same subject – the troubled race relations in America? Pretty good, I would say, if your second book is as brilliant as The Nickel Boys.

The Nickel Boys is a searing account of life in a boys’ reform school, the Nickel Academy, in Jim Crow era Florida where the book’s protagonist Elwood Curtis spent some time in the early 1960s. Based on a real life institution, the Dozier School for Boys (now closed) where an unmarked graveyard was unearthed in 2012, the book begins with a reference to that gruesome discovery. The skeletons and bone fragments of young adolescent boys that emerged pointed to violent deaths due to broken bones, caved in skulls, bullet wounds and severe malnutrition. Whitehead’s novel takes us on a journey beginning with Elwood’s early days of a mostly happy, placid and hardscrabble life under his grandmother’s watchful loving care. (His parents had abandoned him when they decided to escape the oppressive racism of Florida to seek a brighter future in California). A bookish, earnest and ambitious boy, he spent his days studying diligently in school and his spare time reading whatever books, magazines and newspapers he could lay his hands on. As a teenager he eschewed the pranks and pastimes of his peers and held down a part time job in a cigar shop owned by a kindly Italian American man whom he impressed with his meticulous work ethics.

When he was not reading, working or doing household chores, Elwood listened to a scratched up LP of MLK Jr’s speeches – “Martin Luther King At Zion Hill,” whose contents both inspired and mesmerized.  Around him the great ferment of the civil rights movement was unfolding and he hoped to be a part of it. Read more »

by Abigail Akavia

“I was surprised you didn’t start with Philoctetes,” my advisor tells me after my dissertation defense. In our institution, in the crowning moment of a student’s academic career, she is expected not only to publicly display sufficient knowledge in her research field, but also to narrate the ‘making of’ the dissertation topic. Indeed, Sophocles’ Philoctetes could be considered the play that brought me to graduate school to begin with. The dynamics of compassion, suffering, and language in this play are paradigmatic to the questions that shaped my research; a few years out of school, I still can’t (nor want to) get away from this play (and I even wrote about it here once before).

And yet, when presenting the retrospectively made-up timeline of how my research came together, the point where I claimed “it all started” was not Philoctetes, but Sophocles’ most famous play, Oedipus Tyrannus. I did so because I had the opportunity, while in grad school, to direct the play (we’ll call it OT henceforth), an experience that was quite unlike anything else I did as a student, and which was crucial for shaping my academic project. I knew I was interested in the Sophoclean chorus, but only through having to solve for myself the dramaturgical and choreographic ‘problem’ of putting a bunch of seemingly extra bodies onstage who lament Oedipus’ fate did I truly realize how dramatically pregnant this community of vocal witness-bearers is. Working on transforming the script into a performance was a turning point in my engagement with Sophocles, coalescing what I’d learned about his plays and my own interests and hunches about them into a tangible, clear perspective. I came to view the exploration of people’s (in)capacity to be with another person’s pain—or, in other terms, the community’s involvement and reaction to an individual’s tragedy—as one of the driving forces of Sophoclean drama. Read more »

by Brooks Riley

by Joseph Shieber

Recently I was reading one of Scott Alexander’s posts about fake news and conspiracist thinking. In that post he introduces what he dubs the “North Dakota Constant”.

Alexander references a survey conducted by researchers at Chapman University, and mentioned a “control question” that the researchers included in the survey.

Here’s how the pollsters at Chapman describe that question and the responses it prompted:

Perhaps most indicative of the conspiratorial nature of Americans is the …one which, to our knowledge, we created.

Respondents to the Chapman University Survey of American Fears were asked if “The government is concealing what they know about…the North Dakota crash.” A third of Americans (33%) think the government is concealing information about this invented event.

Were the North Dakota crash added to the ranked list of conspiracies (see above), this invention would rank as number six, just under plans for a one world government.

What Alexander concludes from this is that there is a large minority of the country — the 33% willing to buy in to a conspiracy about a “North Dakota crash” that never existed — who are disposed to believe in ANY conspiracy.

Alexander suggests that the existence of the “North Dakota Constant” should make us more cautious in overemphasizing the role of “fake news” in causing conspiracist thinking. His idea is that if there is a floor of over 30% of the population disposed to believe in a made-up conspiracy, the fact that 30% of the public believe that President Obama wasn’t born in the United States is not in fact evidence of a very strong “fake news” effect. That is because, if the “North Dakota Constant” is compelling, we would expect around 30% of the public to believe ANY conspiracy about which pollsters questioned them. Read more »

by Mindy Clegg

The main thing that I learned about conspiracy theory is that conspiracy theorists actually believe in a conspiracy because that is more comforting. The truth of the world is that it is chaotic. The truth is, that it is not the Jewish banking conspiracy or the grey aliens or the 12 foot reptiloids from another dimension that are in control. The truth is more frightening, nobody is in control. The world is rudderless. (Alan Moore in The Mindscape of Alan Moore 2003)

The point of modern propaganda isn’t only to misinform or push an agenda. It is to exhaust your critical thinking, to annihilate truth. (See Garry Kasparov tweet.)

In 2001, filmmaker Richard Linklater released a dreamy follow up to his 1990 film Slacker. Waking Life followed a similar format to Slacker, disconnected vignettes but with an animated overlay. In one scene, Alex Jones makes an appearance. At the time, Jones was not the nationally known influence on a President he is today. He began his career on Austin public access TV, but has since become a popular figure on the far right. At the time, Linklater just saw him as an entertaining and harmless political ranter and gave him two minutes in his meandering film. Read more »

Dianthus in a pot on a table on my balcony in May of 2020. A friend commented that it looks like a PR firm’s attempt at a rebranding of coronavirus but, I assure you, it is just flowers. 🙂

by Katie Poore

It feels impossible this week not to talk about George Floyd, and yet it feels as if talk has become egregiously cheap, less a mechanism for change than a means of resting in paralyses of complacency, disbelief, or comfort. When rage, grief, frustration, and loss take over communities, states, and entire countries as they have this week, words feel at once like our most important tool and a frantic means of filling what could otherwise be a devastating silence. How do we address a racism so deeply ingrained in society that it feels woven into every fiber of our country’s foundation—and, indeed, was there at the United States’ genesis, when black bodies bolstered a white economy at the expense of their lives, health, and humanity, and in the process built what we so misguidedly call the land of the free, the world’s first great democracy?

The United States is a country built on the willful acceptance of and blindness toward the paradoxes and hypocrisies that constitute our beginnings, a society rife with beautiful buzzwords that serve more as ornamentation than gospel: Justice. Equality. Freedom. Opportunity. The People. Life, liberty, and the pursuit of happiness.

Deaths like George Floyd’s—unprovoked, delivered by a police officer with his knee on a defenseless man’s neck and his hands in his pockets—fly in the face of this American mythology. We are not a country of justice if black people fear always for their lives, and if black words go largely ignored, disregarded, rendered impotent in the face of white disbelief, or white denial. We are not a country of equality if some lives matter more than others. We are not a country of opportunity if opportunity’s promise only applies to those who have grown up with a wealth of it already. We are not a country run by and for the People until all people can walk safely down a sidewalk, can feel heard by and advocated for by their political leaders and communities. Read more »

by Eric Miller

My father had an immensely fat friend whom I often glimpsed filling a plate alone at the buffet table of the King Eddie’s restaurant as I walked past that grand hotel. This man himself had a father even then in those days a nonagenarian, whom he saw daily, devotedly, taking him to the pool for a swim. It turned out that, obesity or no obesity, the friend would outlive my own father by twenty years. Because I liked the man very much, his longevity does not strike me as an injustice. He had a snuffling voice, small but piercing eyes, a gigantic nose and a fund of forgiving affection, the kind dispensed even in the awareness that what was being forgiven might have been awful. He preferred not to know, though his ignorance was (if I may venture a paradox) well informed. My mother played matchmaker for decades in his behalf, possibly because she found him appealing. Her stratagems did not avail. His marvellous acquitting heart remained unpaired.

He was a developer though quite what he developed I never learned, except, I think, in the case of an undistinguished mall that replaced something approximately as without distinction. He partook of the spirit of Toronto, bulldozing the forgettable in order to raise aloft the unmemorable. He might have knocked down the old himself—never very old—just by walking forward with his characteristic look of merciless mercifulness. I praise him because of his energy. The moment in which I see him most vital is when he stands in the lot, in the wind-raked interval between demolition and construction. Lord of the pit and of the mullein that flowers for a time in the gash. Sometimes—despite his size and his wobbly ankles and his nice shoes—he would go on hikes with my father and my siblings out to the end of the Outer Harbour, this in the days before the spit was subject to manicuring and division among interested parties, the boaters and the sports enthusiasts and the rest, all eager to spoil what agreed with us, a total wasteland, entire dereliction. It may have pleased him to fancy that the debris of his excavations had contributed to the desert spaces where we all plodded in a wind that prevented conversation by grabbing words and dashing them out of reach like a shovel. Trucks may have tipped some of the rubbish of his enterprises into Lake Ontario, which would have stepped back in ambivalent recoil from the heavy donor, his heavier gift. Here was perpetuated on a colossal scale the pause after the jaws of the machinery have had their fill and before the logistics of raising a scaffold or pouring a foundation. All southwestern Ontario’s rejects, quisquiliae, scraps, reached into the midst of drastic cold waves that darkened by the winter minute. Read more »

by Rafaël Newman

Morgan Meis, The Drunken Silenus: On Gods, Goats, and the Cracks in Reality (Slant Books, 2020)

Reviewing a new translation of the Iliad, the military historian Edward Luttwak speculates about the enduring popularity of the ancient epic:

Why are our contemporaries so keen on buying and presumably reading the Iliad’s Iron Age reminiscence of Bronze Age combat? Publishers certainly view it as a paying proposition: at least twenty new English-language translations have been published since 1950, not counting ones from private presses. In Greece, as in Italy for students of the liceo classico, it is a compulsory school text (several modern Greek versions also serve as cribs), but why are the passengers at Terminal 2 in San Francisco buying the English versions? Uniformed and desert-booted soldiers are a common sight in US airports – the uniform secures lounge access and early boarding – and it is a fair surmise that warriors and would-be warriors, these days more often college-educated, are war-book buyers, of which the Iliad is the echt and ur. Some of course – nasty fellows – would widen the explanation by seeing Americans as a whole as war-lovers, hence war-book addicts, hence Iliad buyers. That’s lame to begin with, for there are countless ways of getting that fix much more easily than by reading 15,693 lines of hieratic verse bound to offend military history buffs, because of … the extreme, pervasive emotionalism – all the weeping wives of other war books are outdone by the floods of tears of Homer’s greatest warriors…

For the ancient heroes in Homer’s epic – Achilles, Agamemnon, Odysseus – are indeed often to be found weeping, whether in conventionally lachrymose settings, such as over the death of a comrade in battle or at a funeral, or when enraged and frustrated at the indignities visited on them, or, signally, when recalling their own brilliant past and lamenting their impending mortality, and subsequent obscurity. Read more »

by Ram Manikkalingam

It was December 1999. Two years before the attacks on the Twin Towers by Al Qaeda. I landed at Geneva airport and checked into my hotel. I was on my way to Colombo. I had stopped in Geneva to meet David Petrasek. I had never met him before. But I knew that he was working on a project on the human rights violations of armed groups. Human rights activists in Sri Lanka were struggling with the violations of the Tamil Tigers. The Tigers controlled territory and ran a de facto state in the North. While people on the ground in these areas were dealing with the oppressive rule of the Tigers through small scale resistance or highlighting their violations, there was no coherent international framework in human rights to confront the violations of armed groups, other than the laws of war. But these dealt with fighting and its impact on civilians and soldiers, not with the behaviour of non-state armed groups in other situations.

States were wary of conceding that these groups controlled territory and managed quasi-governmental functions. Doing so would be an admission of weakness on their part. An admission that they did not control all of their sovereign territory. And many international human rights organisations, not to mention legal instruments laid primary, if not sole responsibility, for violations on the state. This was a legacy of the struggle against one party dictatorships in Eastern Europe and military dictatorships Latin America. But this was a far cry from reality. The lived experience of people in large swathes of Latin America, Asia and Africa was different. Many armed groups were not necessarily seen as freedom fighters struggling against oppression, but often as oppressive violators of human rights, themselves.

At that time, I was working at the Rockefeller Foundation in New York. I was looking for innovative and interesting initiatives that connected local challenges to international efforts in the area of peace, security and human rights. I heard about David’s initiative and decided to meet with him on my way home to Colombo. David looked at the silences in human rights work – what were policy makers, human rights activists and scholars not talking about – either because of political bias, academic fashion or political correctness. David could not have predicted that two years later, on September 11^th, 2001, the issue of armed groups, their funding, and their actions, not to mention, their impact on world politics literally exploded on the international security and human rights scene. But David was already prepared as a thinker and an activist. Read more »

by Eric J. Weiner

In the wake of the pandemic, many people sense an opportunity to reimagine and rewrite public education so that it aligns with their particular political agendas. Progressives sense an opportunity to reassert the critical capacities of a democratic education. From the religious right, there is an attempt to blur the lines between secular and religious goals and needs. Neoliberals sense an opportunity to further privatize public education and align learning to the needs of capital. Democratic socialists sense an opportunity to recreate a system that can equitably distribute opportunity across race, class and gender. Technologists see the potential to create a techno-utopia of learning that is no longer constrained by terrestrial notions of time and space. Neoconservatives want to reclaim public education as the engine of white nationalism and free-market capitalism through the curricular standardization of “core” knowledge. What they all can agree on is the essential political nature of public education; it has always been a mirror that reflects the best and worst impulses of our nation. If you want to get a sense of a nation’s health, just look at its public education system. From the good and the bad to the downright ugly, our schools have always represented who we have been, who we are, and who we hope to be.

As the pandemic continues to rip back the curtain on economic and political inequality in the United States, it also has highlighted the nation’s failure to provide meaningful and equitable educational opportunities to all of our school-age children. With this in mind, I’ve provided a very brief and admittedly incomplete blueprint that might help at a foundational level guide all of those people–some more qualified than others–who are now sensing an opportunity to reimagine public education. Read more »

Sughra Raza. Neon Lichen Expressionism, 2015.

Digital photograph.

by Akim Reinhardt

I’ve taught shittily these last two months. That’s nothing a teacher ever wants to admit and normally has no excuse for, but these are not normal times.

I work at a public university in Maryland. There are multiple layers of bureaucracy, not all of it always terribly efficient. Maryland is a border state, and a senior colleague once described these university administrative processes as Northern bureaucracy meets Southern efficiency.

So you just knew that figuring out what to do about coronavirus was going to take a while. In all, there were two false starts before the final reckoning.

First they told us school was closed for the three days leading into Spring Break, but we would be back after that. Then, shortly before we were to return from the break, they told us the first two weeks back would not actually be “back”; instead, we would be teaching online. Some time thereafter, the third and final edict came down: we would be online for the rest of the semester.

I had spent my Spring Break planning to adapt my three different courses for two weeks of online teaching. I dove into it, coming up with the best plan I could for a limited disruption. Then, with not much time to adapt, I had to extend that two weeks into seven and a half. What to do? Read more »

by Timothy Don

The current economic crisis is crushing artists, museums, and galleries everywhere. In the San Francisco Bay Area, where I live, an exorbitant rental market made maintaining a practice difficult before this crisis hit. It’s even harder now. With 3QD’s permission, I’m going to use this column to talk about the work of some of the artists and art professionals I have met in the Bay Area. I ask you to support artists wherever you find them and however you can.

An explosion has occurred; a cave at the mouth of a prospecting site has been blown apart. Surfaces and shards of color and rock float in undefined space. Lonely, fragmented, incoherent, they seem to be searching for an order in which to gather, a language that would speak their place and purpose in creation. Guided by forces unseen, they look for hinges, sympathies, and affinities. Everything is present, yet nothing makes sense—until a coalescence transpires. Rhythm and energy emerge. With almost gravitational intention, shapes find their place, nestle together, and are transfigured, returning to themselves and becoming once more glowing rock, moving stream, dark cave. The entire experience transpires in a mere four minutes.

Astrophysicists tell us that at the moment of creation, when the universe gave birth to itself with explosive and ever-expanding energy, everything that exists now was present then in an infinitely dense point. A singularity. A black hole. A primordial cave. Breach, which records the image of a cave being blasted apart and then reassembling itself back into a cave, suggests that the universe is best imagined as a kind of cosmic cavern. The universe gave birth to itself from a cave, and as it cools and condenses, it becomes a cave. Read more »

by Brooks Riley