by R. Passov

In 2010, the company for which I was then Treasurer was invited to send me to China. The purpose of the trip was to meet with senior members of the National Development and Reform Commission (NDRC) as well as the Shanghai stock exchange as a prelude to becoming the first US company to issue bonds to be traded on the Shanghai exchange.
Before discovering that there were numerous companies in line to be ‘first’ I met with a senior official of the NDRC. Along with my travel companion, a Chinese national who had relocated to New Jersey and worked on my team, I arrived at a palatial office exactly at the right time, only to wait perhaps as along as 45 minutes, maybe longer.
Eventually my companion and I were escorted into a cavernous conference room, in the center of which was an impossibly long table surrounded by as many as 40 high-backed, elaborately upholstered chairs. We were instructed to take seats away from the table against a far wall. After more waiting, a senior official entered the room followed by two assistants and proceeded to a chair at the very center of the table.
After the official was comfortably seated we were instructed by his assistants to move to the table and occupy the two seats directly across. One of the assistants left and our host began the meeting.
Introductions were short. The NDRC official knew who we were, and perhaps a lot more. I only knew that he was a Vice Chairman and according to my colleague ‘very, very senior.’ The Vice Chairman was politely condescending and direct: When, he wanted to know, would my company be able to commit to a securities offering. Read more »





Sughra Raza. Shredder Self-portrait, NYC, August 2023.


Harry Frankfurt, who died of congestive heart failure this July, was a rare academic philosopher whose work managed to shape popular discourse. During the Trump years, his explication of bullshit became a much used lens through which to view Trump’s post-truth political rhetoric, eventually becoming deeply associated with liberal politics.
Aesthetic properties in art works are peculiar. They appear to be based on objective features of an object. Yet, we typically use the way a work of art makes us feel to identify the aesthetic properties that characterize it. However, dispassionate observer cases show that even when the feelings are absent, the aesthetic properties can still be recognized as such. Feelings seem both necessary yet unnecessary for appreciation of the work.
ed to be protected from blasphemy, I must have overheard someone say
The other day, over cigarettes and beer, my friend M. told me the story of the Ghost Cop of Rowan Oak. She was speaking from authority, as she had just encountered it a few days before. Her boyfriend P. was there—both at Rowan Oak and on my front porch with the cigarettes and the beer—and it was nice to watch them swing on the swing and finish each other’s sentences.




