Christenna Fryar in The Guardian:
If there is one thing that all historians must make peace with, it is that it is hard, often impossible, to know how people in the past felt. Historical fiction has the upper hand in its ability to render the complex yet plausible emotions and motivations of historical figures. Categorised by the publisher as creative nonfiction, Ekow Eshun’s The Strangers is foremost a work of imagination that sits somewhere between history and fiction. In lyrical prose, it presents the lives of five Black men: Ira Aldridge, 19th-century actor and playwright; Matthew Henson, polar explorer; Frantz Fanon, psychiatrist and political philosopher; footballer Justin Fashanu; and Malcolm X. Through them, the book moves from the early-19th century to the late-20th. More connects these men than race. Eshun selects moments when each one is in an exile of some kind, geographically and emotionally far away from what they once knew, questioning their place in the world, estranged in some way from their previous life.
More here.
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For a while there in the late nineties, it seemed to me like every other book of poetry that I flipped open in the bookstore was prefaced by an austere epigraph from the writings of Ludwig Wittgenstein. Plato, Rousseau, Nietzsche, Sartre, and Wittgenstein—for all their many differences—enjoy a special status as “poets’ philosophers” in the annals of literary history. Other lofty thinkers fly under poets’ collective radar; I have yet to come across a volume of verse prefaced by a quotation from David Hume. What makes some philosophers, and not others, into poets’ philosophers remains a mystery to me. But I’ve never really thought of Hannah Arendt as one of them.
If a change of style is a change of subject, as Wallace Stevens averred, then a change of syntax is a change of meaning. Word order is, if not all, then nine tenths. I exaggerate, but I do so advisedly, as a corrective to the overemphasis on word choice, the unjust rule of the mot juste (recall here the old saying about the difference between lightning and a lightning bug) that dominates, to the detriment of other concerns, contemporary literature and creative writing. At times, this passion for the right—or the unusual—word reaps dividends; at others, it merely produces an uncalled-for flood of verbed nouns, portmanteaus, adjectives wrenched out of joint.
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The key structure of the doctrine of nuclear deterrence is audible in the September 4, 2024, speech by U.S. Deputy Under Secretary of Defense Cara Abercrombie: “Any nuclear attack by the DPRK against the United States or its allies and partners is unacceptable and will result in the end of that regime.” The doctrine, which the United States has embraced since the Cold War, aims to prevent an adversary from launching a nuclear weapon by assuring that any first strike will be followed by a retaliatory second strike, whose effects will equal or exceed the original damage and may eliminate the adversary altogether. This annihilating reflex of deterrence is equally audible in the quiet words of the Department of Defense in its web page on “America’s Nuclear Triad,” its sea-based, land-based, and air-based delivery platforms: “The triad, along with assigned forces, provide 24/7 deterrence to prevent catastrophic actions from our adversaries and they stand ready, if necessary, to deliver a decisive response, anywhere, anytime.”
Difficult relationships between fathers and sons have been fodder for writers for millennia. Sometimes these relationships are simply power struggles, as in so many
The early days of the pandemic were a complicated time for a lot of couples.
A 25-year-old woman with type 1 diabetes started producing her own insulin less than three months after receiving a transplant of reprogrammed stem cells
George Parkin Grant, who died in 1988 at the age of 69, was world-famous in Canada—at least, that was the jest frequently made at the philosopher’s expense. The joke reflected his status as a public intellectual who made frequent appearances on Canadian Broadcast Corporation radio programs but never attracted much attention south of the 49th parallel. There are many reasons for his obscurity outside his home country, but one cause was surely his intense Canadian nationalism, coupled with his outspoken criticism of the form of liberalism he saw embodied in the hegemon to the south.