by Brooks Riley

by Sarah Firisen

30 years ago I moved from the UK to New York City and I gave up my car. I had mixed feelings about doing so at the time – I was only 21 and driving was still a novelty and an expression of independence. When I moved out of New York City to upstate 13 years later, I again became a car owner and regular driver. After my divorce, when I moved back to New York City, I once again gave up my car, this time happily. I would honestly be thrilled if I never had to get behind the wheel of a car again. I don’t enjoy driving, I’m not the most confident driver (I cannot reverse to save my life even after over 30 years of driving) and I generally would prefer to be driven. My transportation needs are now taken care of by a combination of public transport, ride sharing services and a boyfriend with a car who is very good about driving me around. And thanks to online shopping, the retail convenience of a car ownership has almost totally disappeared. As far as I’m concerned, this is a perfect state of affairs.

And it turns out, I’m not the only person who feels this way. While there is debate about just how strong a trend it is, and even exactly why it’s happening, there does seem to be a clear trend that millennials also don’t want to own cars.

Ever since Professor Clayton Christensen of Harvard University first coined the phrase Disruptive Innovation almost 25 years ago, companies have talked a lot about trying to head off disruption from entrants into their industry, and some have even taken strong action, with mixed results.  But sometimes, no effort is enough, “Consider that 18 months after the introduction of the Google Maps Navigation app for smartphones in 2009, as much as 85% of the market capitalization of the top makers of stand-alone GPS devices had evaporated.” Read more »

by Evert Cilliers

The freer the market, the more people suffer.

Look what happened after Bill Clinton signed the two bills that deregulated Wall Street with the repeal of Glass-Steagall (the firewall between regular and speculative banking) and the removal of derivatives from all oversight: Wall Street tanked the world.

And who got bailed out? The crooks of Wall Street, not their victims.

Socialism for the rich, and capitalism for the rest of us (as MLK put it).

The free market means freedom for the rich, and oppression for everyone else.

1. Taxes

Consider taxes:

At the end of WW2, for every buck in taxes collected on individuals, Washington collected $1.50 on business profits. Today, for every buck collected on individuals, Washington gets 25 cents from business profits.

Remember that one. Sear it into your brain. Staple it on your cerebellum. Since Reagan, the tax burden has been neatly shifted from business to individual people, from GE (who never seems to pay ANY taxes in any given year) to you and me.

Then add this: the marginal tax rate on the richest individuals went from 91% after WW2 to 35% today, and is actually, for hedge fund billionaires, 15%, and for the second richest American, Warren Buffett, 17% (as he never tires from pointing out, “my secretary pays a higher tax rate than me”). Read more »

by Tamuira Reid

In the picture her hair is wet and stuck to her face. Her eyes struggle to stay open in the terrible wind and she’s clenching her teeth around a big rubber mouthpiece. One of her bathing suit straps has gone slightly askew, and a splash of sun-freckles cover her chest in constellation form.

In the picture her hair is wet and stuck to her face. Her eyes struggle to stay open in the terrible wind and she’s clenching her teeth around a big rubber mouthpiece. One of her bathing suit straps has gone slightly askew, and a splash of sun-freckles cover her chest in constellation form.

I don’t have a shot of her going in, how she scooted her butt to the very edge of the speedboat and lowered her finned-feet into the water. She didn’t want to do it. I had to push her.

In the picture she looks like a sea monster. She hates snorkeling. She did it for me.

In Hawaii it’s the thing to do. In Hawaii people swim underwater with the fish.

Our hotel room was on the twelfth floor and had wrap around decks and panoramic views of the island. Tourists laid in rows on the sand like strips of jerky, their bodies red and beaten by the sun.

Everything is beautiful in Hawaii. You expect the island to somehow break open at any minute, the illusion ending, ugly guts exposed. Read more »

by Misha Lepetic

“The piano ain’t got no wrong notes.”
 ~ Thelonious Monk

It’s with a certain pleasure that I can recall the exact moment I was seduced by the musical avant-garde. It was in the fourth grade, in a public elementary school somewhere in New Jersey. Our music teacher, Mrs. Jones, would visit the classroom several times a week, accompanied by an ancient record player and a stack of LPs. You could always tell when she was coming down the hall because the wheels of the cart had a particularly squeak-squeak-wheeze pattern. However, such a Cageian sensibility was not the occasion of my epiphany. I’m also not sure if fourth-graders are allowed to have epiphanies, or, which is likelier, if they are not having them on a daily basis.

Rather, it was a record that she cued up for us one day: Henry Cowell’s ‘The Banshee’, originally composed in 1925. Originating in Irish folklore, the banshee is a female spirit whose keening announces the imminent death of a family member. Cowell sought to evoke the supernatural terror such an encounter might elicit by creating a composition for piano where no keys are actually depressed – instead, the performer plucks and rakes the strings of the piano directly. With the damper pedal pressed down, the tones so generated are freely sustained, and the adjoining wires ring out in consonant vibration, creating a rich set of overtone resonances that add to the unearthly textures that hang in the air. My fourth-grade self was transfixed, and although I can’t remember anything else we did in Mrs. Jones’s class, that occasion remains in my memory with an almost crystalline clarity. Read more »

by Shadab Zeest Hashmi

My earliest encounter with English poetry drew a subliminal connection with the Irish poets, a connection I could not easily pinpoint as a student of literature in Lahore, Pakistan, but one that re-emerged with striking clarity on my first visit to Ireland. Seeing fragments of poetry adorning hotel walls, ceilings of pubs and elevators in Dublin, I was reminded of verses of Urdu poetry on the television screen, and verses, (often sentimental or humorous ones) painted on trucks and rickshaws back when I was growing up in Pakistan. Poetry in Urdu as well as the other (“provincial”) languages— written, recited, repeated as part of ordinary speech— is a dominant part of Pakistani culture as it is of Ireland, though Pakistan has yet to produce a Nobel laureate in Literature, as opposed to Ireland whose literary laurels, both in quantity and level of prestige, are an embarrassment of riches.

While in Dublin, I came across references to the Irish movement of Independence multiple times a day; reminders of freedom from British rule punctuate the city as landmarks and shapes its psyche. The historical moment of gaining sovereignty is key not only as a constantly (and proudly) visited chapter in mainstream culture, but also as a moment that hearkens back to the nation’s great literary figures who played a pivotal role in achieving independence— a scenario all too familiar to someone from Pakistan, a country whose nationhood was first suggested by a poet. The timeline of the struggle for independence from British rule is the same (late 19^th—early 20th century) for the Indo-Pak subcontinent and Ireland, as is the fact that the movement included a milieu of writers among the leaders. It is the partition of Pakistan from India and the defining and defending of a new identity that Pakistan has in common with Ireland, the “anti-partition” camp in the larger political conversation notwithstanding.

David Aberbach, in his analysis of some of the most influential poets who wrote against British Imperialism, says: “The British empire set off an explosion of poetry, in English and native languages, particularly in India, Africa and the Middle East. This poetry – largely neglected in the scholarship on nationalism – was often revolutionary both aesthetically and politically, expressing a spirit of cultural independence. Attacks on England and the empire are common not just in native colonial poetry but also in poetry of the British isles.” Some of the poets included in this work are: Tagore of India, Yeats of Ireland, and Iqbal of Pakistan. Read more »

by Brooks Riley

Editor’s Note: Mohammed Hanif published a review of this film in Urdu at the BBC. A translation into English by Zahra Sabri is published below with Mr. Hanif’s permission. The film is the definitive story of Abdus Salam, the first Pakistani to win the Nobel prize. It captures in vivid detail his life’s journey—from a small village in Pakistan to worldwide scientific acclaim—and his fraught relationship with his homeland, where he faced rejection for being a member of the “heretical” Ahmadiyya movement.

by Mohammed Hanif, translated by Zahra Sabri

Dr Abdus Salam had once said, “It became quite clear to me that either I must leave my country or leave physics. And with great anguish, I chose to leave my country.”

I heard these words in what is probably the first documentary film ever to be made on the life of the Nobel prize-winning Pakistani physicist Abdus Salam. The producers of the film are two young men from Pakistan, Omar Vandal and Zakir Thaver. I’ve been hearing these young men go on about Salam since some ten years. They have been labouring over the film for more than a decade.

I had suspected that these two men might lose interest in this topic similar to the way that the whole nation of Pakistan has washed their hands of Salam, having labelled him a kafir. However, their efforts have borne fruit and the film Salam: The First ***** Nobel Laureate is ready for screening.

The asterisks in the title stand in for the space where the word ‘Muslim’ should have been, but since this word has been expunged from the inscription above his grave in the town of Rabwah, the filmmakers have used asterisks to describe Salam so as to evade the possibility of a fatwa. Read more »

by Ashutosh Jogalekar

A new theory seldom comes into the world like a fully formed, beautiful infant, ready to be coddled and embraced by its parents, grandparents and relatives. Rather, most new theories make their mark kicking and screaming while their fathers and grandfathers try to disown, ignore or sometimes even hurt them before accepting them as equivalent to their own creations. Ranging from Darwin’s theory of evolution by natural selection to Wegener’s theory of continental drift, new ideas in science have faced scientific, political and religious resistance. There are few better examples of this jagged, haphazard, bruised birth of a new theory as the scientific renaissance that burst forth in a mountain resort during the spring of 1948.

April 2, 1948. Twenty-eight of the country’s top physicists met at the Pocono Manor Hotel near the Delaware Water Gap in Pennsylvania. Kept apart from their first love of fundamental research in physics by the war, they were eager to regroup and rethink the problems which had plagued the heights of their profession before they were called away for war duty to Los Alamos, Cambridge and Chicago.

The listing of participants provides a rare snapshot of one of those hallowed transitions in the history of science, a passing of the torch. Both the old and the new guards were there. The old guard was represented, among others, by Niels Bohr, Paul Dirac and Eugene Wigner – the men who had formulated and then shaped the material world in its quantum mechanical image during the 1920s and 30s. The new guard was represented by Richard Feynman, John Wheeler and Julian Schwinger – the swashbuckling young theorists who wanted to take quantum theory to new heights, even if it meant challenging the old wisdom. J. Robert Oppenheimer who led the conference represented a prophet of the middle ground; a guide joining old hands with new. In retrospect, a clash of worldviews seems almost inevitable. Read more »

Derek Parfit. Untitled (Thundercloud), c1980s .

C type digital print.

More here and here.

Current show “The Mind’s Eye”  at Narrative Projects, London, organized by Owen Laub with Samuel Sokolsky-Tifft. (Thanks, Sam).

by Gabrielle C. Durham

“Griselda was fighting against the patriarchy the only way she knew – through her unquenchable lust for venison.”

A romance or porn writer I am not, but what should strike you, other than the inappropriate sexualization of wild game, is the utterly superfluous preposition “against.” Why can’t Griselda simply fight the patriarchy? Why fight against? You got me, but the overprepositioning of English is driving me batty.

Why does this bother me? The short answer: Because it’s filler. Overprepositioning is the equivalent of “um, like, you know” without the obvious signposts of verbal dimness. If someone adds prepositions without regard to verbs, with no consideration of whether such appendages are required, then you are in the unsure-footed presence of a mediocre bullshitter. This is a writer who does not care about conventions such as transitive or intransitive verbs, dog-word-piling, or even the linguistic niceties that lubricate our written conventions. No, this writer is a cliché-spewing toad who only warrants pity for being ignored by a merciless editor.

If we were all native Turkish speakers, this would make so much more sense. Turkish is agglutinative, so prepositions are built into all the action. My Turkish friend who speaks English beautifully visibly falters with some predicate constructions. His tendency is to pile on the prepositions. Using prepositions feels so alien to him that he adds them scattershot to sentences. He becomes that hammer who sees every direct object as a nail. Read more »

by Brooks Riley

by Max Sirak

For the better part of a year I’ve been working with a behavioral and family play therapist.

No. Not like that.

I’ve been helping her write her book. Because, it turns out, for writers undaunted by long term projects, ghostwriting is a fairly lucrative freelance option. At least, as far as keeping food on a table and a roof overhead go.

My favorite part of ghostwriting is the learning. It’s my job to absorb my client’s wisdom, gained from their years of experience, distill it, and use my words to make it fit for general consumption. The process itself all but guarantees I’ll encounter new ideas to sip, swill, and savor.

Having just finished ghostwriting a chapter on the therapeutic power of board games and averaging at least one game night a week with my friends, I’ve had games on the brain lately.  And, because of it, I’ve stumbled upon some interesting connections I’d like to share. To explore them, we’ll answer three questions: Why do people play games? How does a person’s reason for playing affect the way they view other players? And finally, what traits and behaviors are being nurtured by the way a person plays? Read more »