by Liam Heneghan

No one warned me that after my children finally left home when I secured the doors at night I would, in effect, be locking them out.

People deal with the mild trauma of being an “empty nester” in different ways, I suppose. Some handle it with quiet grace, some move cocktail hour to the early afternoon, some repurpose the bedrooms into a karaoke lounge, a discotheque and so on. I took the quieter route and reread all their childhood books—from nursery rhymes to the Hunger Games series and other novels for young adults.

I was first struck by the prevalence of animals themes in these books. For example, in Eric Kincaid’s superb collection of Nursery Rhymes (1990)—a favourite of our two boys—over forty percent of rhymes concern animals. However, a word search of a book I subsequently wrote on the topic of nature in children’s books called Beasts at Bedtime (2018) showed that I might just as well have called it “Trees at Bedtime.” In addition to the innumerable references to “beasts”, there are almost 200 references to trees in the book.

Trees are represented in these stories in all their remarkable forms: magical trees in fairy tales to trees like JK Rowling’s compellingly violent Whomping Willow at Hogwarts.

It is clear that many writers of children’s stories—especially the so-called classic writers—did not accidentally stumble onto such themes. Beatrix Potter, JRR Tolkien, Ursula LeGuin and many others, had a keen eye for nature, and often had an acute awareness of its devastation. The destruction of trees was a point of moderate obsession for Tolkien who famously wrote, “I take the part of trees as against all their enemies.”

What, I wonder, should we make of this veritable forest of arboreal allusions in children’s stories? Read more »

by Max Sirak

This month, in the midst of my grief and loss, I decided to self-medicate.

No, not like that. I didn’t go on some sort of drug-fueled bender.  Nor did I delve the depths of the bottle. Instead, I took some of my own medicine.

What I mean is, throughout my life, whenever a person I cared about was down in the dumps, my go-to move was to make them a mixtape. In high school this was because a friend was going through a breakup. Until last week, the most recent mix I made for a friend was over the loss of a pregnancy.

However, a handful of days ago, I decided to do for myself what I’d always done for others. Meet “It’s Gonna Be A Good Day,” the music-baby I made for me. 

It’s 53% hip hop.

There’s some language that may offend.   

But, should you happen to find yourself with an open mind and the desire to have a good day, I encourage you to give it a spin. Who knows? You might like it. And it might work.

It did for me. Read more »

by Christopher Bacas

In the Municipal building on Livingston Street, two floors are reserved for Housing cases. In each court, dozens of people work and wait, a Bosch tableau with an international cast. HPD lawyers work the perimeter. They bring Respondents to the bench, confer with them in the hallway and negotiate with Petitioners on their behalf. HPD attorneys also lunch with landlord’s counsel. There is little ethical or proximate difference between Officers of the Court, save who signs their checks and the pay scales. To a person, they distribute a crushing weight, balancing malfeasance and negligence, plunder and systemic rot. The lasting effect of a day in Housing court isn’t the stipulation Management makes for repairs, nor the tenant’s payment (sometimes, less an abatement), it is feeling that force haul you down and watching others already borne off by it.

We arrived by scuffling shoes and creaking doors, then slid into crowded pews, all the grim mugs on a subway car faced in the same direction. The docket was packed; twenty or more cases in a six-hour work day. Some would resolve in a few minutes, others stretch to an hour or more. The judge cuts off ramblers and ranters. While you wait, you rehearse your statement.

The electrical system in our building was nearly 90 years old. Its central node, a rectangular graphite board the size of a medicine cabinet. Protruding from it, six paired brass claws held six shotgun shell 60-amp fuses, no covering nor shielding. To replace fuses, small plastic pliers hung on a hook nearby. Current flowed to smaller boxes with smaller fuses in each unit’s kitchen. Air conditioners, particularly older models, can continuously pull 20-30 amps. Entertainment and communications: flickering modems, cable boxes, charging stations and flat-screens add to the load. Multiply by twenty-five units… Read more »

by Abigail Akavia

A few years ago I taught an undergraduate seminar on Euripides’ tragedy Iphigenia in Aulis and late 20th century adaptations of the play. Halfway through the quarter, a student confided in me that she was a sexual assault survivor, and that the content we were dealing with in class was bringing the traumatic experience back to her. I was caught off guard. I do not wish here to get into the fraught questions of whether or not trigger warnings are appropriate in higher education, or of whether or how instructors should attend to students’ emotional needs when dealing with potentially triggering subject-matters; this was not the point of the conversation with my student, nor was she trying to excuse herself from any assignment or to modify her participation in the seminar. (Indeed, she was one of the students whose contribution to class was most consistent and significant.) Our conversation was and still is momentous for me because I had not realized until then that a statement like “this play evokes rape” is an appropriate preface to a discussion of Iphigenia in Aulis.

This conversation was pivotal for my understanding of Euripides’ play; it changed the way I see my role as a teacher in general and a teacher of classical texts in particular. So focused was I on the ancient version of Iphigenia’s story, even when reading its reformulations in contemporary texts, that I failed to acknowledge the centrality of gender-based violence to this story. This, despite the obvious importance of the topic in one of the modern adaptations of Iphigenia we read, Caridad Svich’s 2004 Iphigenia Crash Land Falls on the Neon Shell that was Once her Heart. Something about my experience and my training allowed me to go on thinking that Euripides’ play is not really about assault; after all, Iphigenia is not raped in any conventional sense of the term (some might say: nor in any sense of the term). But once I had met that student–truly met her–it became clear to me that Euripides’ play is, indeed, “about” sexual violence against women. The next realization, following close on its heels, was a gestalt switch, at once radically transformative and absolutely obvious. Of course it is about sexual violence against women: isn’t most of Greek tragedy and classical myth about that? Read more »

by Samia Altaf

“This girl will never be able to find a husband,” declared Baiji, big mother, my maternal grandmother, soon after she took her first look at me.

“Hai hai,” she almost beat her chest, “look at her, just look.” She points at me holding herself back as if from a contaminant, appealing to the women — assorted aunts and cousins milling around, who hid their faces in their chadors and shook their heads — “her nose is too big, her eyes too small, she is bald.”

“And worst of all, hai hai,” — here Baiji’s voice drops ominously and a trembling hand goes to cover her mouth at the horror of it — “her color! It is not… not…not fair. It is… quite dark.”

She looks pityingly at my mother standing beside her in all her Kashmiri “fairness” and youthful glory — my mother of the fairest, luminous, skin that she took intact and unlined to her grave seven decades later — and puts a loving hand on her head. “My poor daughter… what a fate for you, hai hai. Well, at least these genes have not come from your side of the family.” (One of the aunts present at the occasion swears Baiji said germs and not genes.)

Baiji might as well have added, while on the roll, that the girl is also toothless and incontinent for I was all of a year old. Read more »

by Thomas R. Wells

The main job of ‘culture’ in a modern society seems to be shielding people from the demands of morality. In its intellectual role it justifies inequality between citizens. In its national history role it gives citizens a delusional sense of their country’s significance and entitlement, followed by a dangerous sense of grievance when this isn’t sufficiently recognised by the rest of the world. In its identitarian role it deflects demands for justification into mere proclamations of fact: ‘Why do we do this or that awful thing?… Because shut up. It is who we are.’

None of these ideas of culture is worth keeping. We should throw them all out and focus on a different idea of culture as integration in a social world, and of a cultured person as one who can hear and speak to many worlds.

I

First there is there is the idea of culture as a moral hierarchy between citizens. Individuals are supposed to strive to become better, more civilised people. Which turns out to mean, not better at being good people; not better at making and living up to ethical judgements, such as our obligations to the less fortunate. Rather, it means becoming a connoisseur of certain arcane and unpopular art forms.

Familiarity with opera, for instance, largely functions as a compass for orienting the socio-economic class structure between the civilised and the rest. Most people who attend opera performances do so as a performance of their class identity, not for genuine aesthetic delight. They have at best a superficial aesthetic appreciation of what is going on. This can be seen in their reliance on a handful of classic brands which substitute for independent taste or judgement. See for example the dominance of the odious Wagner, the Manchester United of opera. The best explanation of the popularity of opera among the upper classes is that it happens to be absurdly expensive and difficult to enjoy and therefore functions as a good – difficult to fake – signal of who is in the club. Read more »

by Brooks Riley

by Emrys Westacott

On July 5 The Nation published a 14 line poem by Anders Carlson-Wee entitled “How-To.” The speaker in the poem is giving advice on how to beg. The poem begins:

If you got hiv, say aids. If you a girl,

say you’re pregnant–nobody gonna lower

themselves to listen for the kick.

The speaker exhibits a fairly sophisticated understanding of how the sensibilities of potential givers can be manipulated:

If you’re crippled don’t

flaunt it. Let ‘em think they’re good enough

Christians to notice.

The outlook of the speaker can reasonably be described as cynical, both regarding acceptable strategies to use when begging, and regarding the motives of the people targeted, who are taken to be moved not so much by compassion as by a desire to uphold a certain self-image. The poem concludes:

Don’t say you pray,

say you sin. It’s about who they believe

they is. You hardly even there.

The poem provoked fierce criticism on social media. People objected to Carlson-Wee using black vernacular speech patterns, to his making the speaker black, and to his inclusion of the word “crippled,” which some viewed as “ableist. The criticism prompted the editors at The Nation to issue an apology in which they wrote:

We are sorry for the pain we have caused to many communities affected by this poem….When we read the poem we took it as a profane, over-the-top attack on the ways in which members of many groups are asked, or required, to perform the work of marginalization. We can no longer read it that way.

Anders Carlson-Wee also offered an apology on Twitter, writing:

I am sorry for the pain I have caused, and I take responsibility for that. I intended the poem to address the invisibility of homelessness, and clearly it doesn’t work. Treading anywhere close to blackface is horrifying to me and I am profoundly regretful.

One of the downsides to social media is that controversies can easily reduce to a few verbal missiles–brief assertions, sharp put-downs, expressions of incredulity or outrage–tossed back and forth. For example, essayist Roxanne Gay, condemning Carlson-Wee (who is white) for using black vernacular locutions, offered all writers this advice: “Know your lane.” Katha Pollitt, who writes regularly for the nation, opined that the magazine’s apology “looks like a letter from a re-education camp.” What is needed, though, is a more careful reflection on the theoretical issues involved. Read more »

by Carl Pierer

Socialism is in crisis. Until a few years ago, this mantra kept being repeated and a terminally ill sickness was constantly diagnosed for the once powerful idea. And still, after the impressive Sanders campaign of 2016, the electoral success of Jeremy Corbyn in the 2017 general election, as well as the – for many – surprising victory of Alexandria Ocasio-Cortez in the democratic primary in New York, writers continue to assure us that the idea is, if not dead, having serious problems. In any case, the idea of socialism seemed until recently a relic of the industrial past with little to say about contemporary society.

In his brief book “The Idea of Socialism: Towards a Renewal”, which first appeared in its German version in 2015 and then again in 2017, appended with 2 talks given during award ceremonies, Axel Honneth attempts to update socialist ideas for the 21^st century. Honneth observes that what once was an idea to inspire enormous popular movements and demanded to be taken seriously even by its most ardent detractors, has lost almost all of its force. The formulation of socialist utopias, if it has not ceased to exist entirely, has become rarer and their attraction diminished. To cite Jameson: “(…) it is easier to imagine the end of the world than to imagine the end of capitalism”[i]. Honneth, a current descendent of the Frankfurt School and drawing inspiration from Hegel, Dewey, and Habermas, thus raises the question of why the idea of socialism has lost its ability to unveil the reification of the status quo. Read more »

by Gerald Dworkin

We (the readers of 3QD; I know there are many people who disagree) can take it as given that Alex Jones is a thoroughly evil person. Someone who spreads false statements that the parents of the children killed in the Sandy Hook shooting staged the whole thing deserves lots of bad things happening to him, e.g. lose all the money he has made from the web in a defamation suit that the parents have filed, have people boycott his dietary supplement hoax.

The question I want to discuss here is whether he should not be allowed to use the various social-media platforms, e.g. Facebook, YouTube, Apple, Spotify, which have recently denied him access. I begin with five problematic arguments for censoring Jones. I then consider some possibly better ones.

1. Facebook removal does not violate the first  amendment

The premise is correct . There  can be no violation of that amendment by Facebook since the amendment states clearly that “Congress shall make no law…abridging the freedom of speech…”  Courts have interpreted this to mean that the Federal Government shall not so so. Further they have interpreted the Due Process clause of the Fourteenth amendment to extend this impermissibility to state governments.  This is why the University of California is bound by the First Amendment and Harvard is not.

But the mere fact that banning Jones is consistent with the First Amendment merely shows such a ban is not unconstitutional. It does not advance any positive reason for censorship. It only shows that one argument against censorship fails. Read more »

by Robert Fay

The great Mexican writer Sergio Pitol died in April. He was 85, a recipient of the Cervantes Award—the highest honor for works in the Spanish language—and in his The Art of Flight trilogy, he writes of his 20 years living and working in Europe, “the thread that ties those years together, I’ve always known, is literature…for many years, my experience traveling, reading, writing merged into a single experience.” The particular life he lead as “a man of letters,” is now unrepeatable, even by today’s best writers. And it’s not a lack of talent or courageousness, but of the inevitable consequence of cultural indifference. Literature must be respected or at least feared to have relevance, and the resulting electricity from this attention is the crucial spark for great lives, competitive coteries, great books, and perhaps most critical of all, a savvy reading public who awaits genius, demands it, and who lives for the spirit of the logos.

The Art of Flight, written in Pitol’s final years, demonstrates a freedom of form that many writes yearn to explore, but find they have neither the courage nor the savoire faire to take on. The trilogy is a pastiche of memoir, travel reportage, literary criticism, dream diaries and stolen glances from Pitol’s working notebooks. In 1960 after scattered work as a translator, Pitol joined the Mexican Foreign Service as a cultural attaché and served for over 20 years at a number of posts, including Moscow, Barcelona, Belgrade and Rome. His career afforded him the privilege to meet an enviable array of international writers, artists, academics and diplomats, an opportunity well beyond what Mexico City and its regional, Spanish-language literary milieu could have provided. Read more »

by Anitra Pavlico

In April, the U.S. Senate Judiciary Committee voted favorably on a bill aimed at protecting Special Counsel Robert Mueller from being fired by the President without good cause. Some Republican senators doubted the legality of the bill, based on a one-judge dissent in a U.S. Supreme Court case decided in 1988, Morrison v. Olson. One senator even considered himself “bound” by Justice Scalia’s dissent in that case. A dissent in a case in Supreme Court, or any court, is the losing argument and cannot bind anyone to follow its reasoning. Was Scalia’s opinion correct and the rest of the Supreme Court justices made a terrible mistake? Maybe shooting down the bill is what the framers of the Constitution–because this is in fact a constitutional question–would have wanted? Well, no. As constitutional scholar Victoria Nourse writes, “Cloaking themselves in Scalia’s lonely and incorrect dissenting opining, senators opposing the Integrity Act are attempting to upend the Constitution by embracing a dangerous constitutional argument contrived to render the President immune from scrutiny.”

The so-called unitary executive theory animates critics’ claims that the bill impermissibly curtails the President’s authority. Under this theory, any attempt to limit the President’s control over the executive branch is seen as unconstitutional. You may recall it rearing its head during George W. Bush’s presidency, as its adherents relied on it to justify the infamous “torture memo” drafted by White House counsel John Yoo, who argued, “The historical record demonstrates that the power to initiate military hostilities, particularly in response to the threat of an armed attack, rests exclusively with the President. [. . .] Congress’s support for the President’s power suggests no limits on the Executive’s judgment whether to use military force in response to the national emergency.” Carried to its extreme, the unitary executive theory could potentially undermine a democracy. Read more »