by Tamuira Reid
Go to where the trees are.
This is what the voice was saying. My voice. My real voice. Not the borrowed ones, the kind I try on for size when I can’t find my own, voices I can hide behind. Not those. My real voice likes to shoot from the gut, likes to tell me exactly what the fuck needs to happen and how it will go down. And it was telling me to go to the trees.
I find my son buried in a book in our living room, body sprawled out over the rug. I don’t say anything when I give him the backpack, not the one for school with OLLIE scribbled on the side in sharpie, the one I just found out he’ll no longer need, but the one with a roomier body and hidden pockets inside. The one that he asked for when he was four years old, the “pack-pack” that made him feel like a big boy. He didn’t want Thomas the Train that year; he wanted luggage. Something he could haul around the airport while I got us from point A to B.
I give him the backpack and watch him go to work. Just the essentials, only what you really need, although all he’s ever really needed is me. His nine year-old hands sift through shoeboxes of Legos and Hot Wheels, drawing pencils with chewed-up erasers, key chains with no keys. He begins to make decisions. Sort. Choose. Three big Ziplocs worth of toys because four is pushing it. Because if he packs too much shit he won’t have room for his snacks.
This is number twenty. The twentieth apartment we’ve lived in since he was a baby. In the city, out in the boroughs, across the country and sometimes over the ocean. Subletting, housesitting, visiting, cat-feeding. Staying afloat on adrenaline, on single-mom scrappiness. I want you to see the world, even if it means we don’t always have a place to come back to. There’s a storage locker somewhere in the Bronx full of my stuff, and it’s been sitting there, rotting, for over a decade. We’ve traded furniture for a Target purple suitcase that is duct-taped at the seams.
So when it’s time to pack, he doesn’t ask a lot of questions. He just gets busy. I think we both know when it’s time to leave. Read more »




In contrast with other genres in literature, in crime fiction, which mainly started in the mid-19th century, women writers (and even women sleuths) became active around the same time as male writers and sleuths in their stories. By some accounts around the middle of 1860’s, both the first modern detective novels (by female as well as male writers in US, UK and France) and the first professional female detectives in them (one Mrs. G— in one case, Mrs. Paschal in another, both working for the British police) appeared. Most of us, of course, are more familiar with characters in the Golden Age of crime fiction of the 1920’s and the 1930’s, particularly, Agatha Christie’s Miss Jane Marple and Dorothy Sayers’ Harriet Vane. The number of female writers and sleuths has proliferated in recent decades. It goes without saying that not all of the female crime novelists come out as feminists, and that some male writers can do feminist crime novels quite well.

Sughra Raza. Untitled; Arnold Arboretum, Boston, March, 2020.
The “Consequence Argument” is a powerful argument for the conclusion that, if determinism is true, then we have no control over what we do or will do. The argument is straightforward and simple (as given in the Stanford Encyclopedia of Philosophy):
What can I make of these decisions emerging out of the blue, which I appear to act upon “freely?” What are the consequences of how I choose to react to them? Although these are vague philosophical musings, let’s look instead at the science of it all. I’m a layman, neither scientist nor philosopher, but as we are rediscovering, scientists are a less fuzzy lot than philosophers. I’m more likely to ask the woman with the medical degree about the true meaning of my dry cough than to ask philosopher 

For the same reason as large parts of the world, I spend even more time indoors these days than I already would. One thing I have been doing is rereading the Harry Potter books – or paying Stephen Fry to read them to me.
In the memoir, Running Toward Mystery: The Adventure of an Unconventional Life, the Venerable Tenzin Priyadarshi chooses to become a monk at the peak of his youthful potential. He rejects the spiritual path as a mere life enhancer and encourages readers to embark on a more totalizing journey of self-actualization. By embracing mystery, as opposed to cultural explanations, we can arrive at deeper questions. This wish bookends this carefully written memoir, which is co-authored by Zara Houshmand. Despite an already crowded landscape of books depicting religious quests and spiritual advice- both classics and new works – this book is bound to be widely read if for no other reason than Priyadarshi’s current role as a thought leader while serving as the first Buddhist chaplain at Massachusetts Institute of Technology (MIT).


Among other things Covid-19 is a moral crisis. It requires suspending the usual rules about who deserves what, firstly because it is impossible for many of us to pay what we owe in these conditions, and secondly because of the priority of the humanitarian duty to save as many lives as possible. Nevertheless we must not forget about justice. In particular we must make sure that the costs of this crisis are not born disproportionately by the poor, those least able to afford the burden but also least able to escape it.