PUB: Summer Literary Seminars 2012 Contest

Summer Literary Seminars is excited to announce that our annual unified (Montreal, Lithuania and Kenya) literary contest has expanded! It will be held again this year in affiliation with The Walrus and Black Warrior Review. Joining us will be the dynamic online magazines Joyland, Branch, and DIAGRAM; We are also thrilled to announce two exciting new prizes, sponsored by the Center for Fiction and SLS creative partner Graywolf Press.  Judging the contest are award-winning writers Mary Gaitskill (fiction), Tony Hoagland (poetry), and Ander Monson (non fiction).

 


PRIZES

Contest winners in the categories of fiction and poetry will have their work published in print in the Black Warrior Review, and online in The Walrus. Additionally, they will have the choice of attending (airfare, tuition, and housing included) any one of the SLS-2012 programs – in Montreal, Quebec (June 17 - 30); Vilnius, Lithuania (August 4 - 18); or Nairobi-Lamu, Kenya (December). 

Second-place winners will receive a full tuition waiver for the program of their choice, and publication in online magazine Joyland (fiction) or Branch (poetry). Second-place fiction winner, and third-place winners will receive a 50% tuition discount and publication in Joyland (fiction) or Branch (poetry).

The contest winner in the category of non fiction will be published in DIAGRAM, and will have the choice of attending (airfare, tuition, and housing included) any one of the SLS-2012 programs. 

Two additional prizes will be given as a part of the 2012 contest. The winner of The Center for Fiction Prize for excellence in short story writing will receive full tuition for any 2012 SLS Program, as well as $500 towards travel and publication in The Center for Fiction's online journal, The Literarian.

The winner of the Graywolf Prize for the best novel excerpt of an emerging writer* will receive full tuition for any 2012 SLS Program, as well as $500 towards travel and publication on the Graywolf website.

A number of select contest participants, based on the overall strength of their work, will be offered tuition scholarships, as well, applicable to the SLS-2012 programs.

*See guidelines


CONTEST JUDGES

 

Gaitskill

Fiction Judge: Mary Gaitskill is the author of the novels Two Girls, Fat and Thin, and Veronica, which was nominated for the 2005 National Book Award, National Critic’s Circle Award, and L.A. Times Book Award. She is the author of the story collections Bad Behavior and Because They Wanted To, which was nominated for the PEN/Faulkner in 1998. Her newest collection of stories is titled Don’t Cry (2009). Her story “Secretary” was the basis for the feature film of the same name starring Maggie Gyllenhaal and James Spader. The film received the Special Jury Prize, and was nominated for the Grand Jury Prize at the Sundance Film Festival. Gaitskill’s stories and essays have appeared in The New Yorker, Harper’s, Esquire, Best American Short Stories and The O. Henry Prize Stories. In 2002 she was awarded a Guggenheim Fellowship for fiction. She has taught at U-C Berkeley, the University of Houston, New York University, Brown and Syracuse University. Mary Gaitskill was born in 1954 in Lexington, Kentucky. In 1981 Gaitskill graduated from the University of Michigan, where she won an award for her collection of short fiction The Woman Who Knew Judo and Other Stories.


Hoagland

Poetry Judge: Tony Hoagland's latest book of poems, Unincorporated Persons In The Late Honda Dynasty, was published by Graywolf Press in 2010. His recognitions include the Jackson Poetry Prize, the O.B. Hardisson Award, and the Mark Twain Award, for humor in American Poetry. His previous collection, What Narcissism Means To Me, was a finalist for the National Book Critics Award in poetry in 2004. In 2005 his book of essays about poetry and craft, called Real Sofistakashun, was published by Graywolf. He teaches in the writing program at the University of Houston and in the Warren Wilson low residency MFA program.

 

Non Fiction Judge: Ander Monson is the author of a number of paraphernalia including a website, a decoder wheel, several chapbooks, as well as five books, most recently Vanishing Point: Not a Memoir (Graywolf Press, 2010) and The Available World (Sarabande Books, 2010). He lives in Tucson where he teaches at the University of Arizona and edits the journal DIAGRAM <thediagram.com> and the New Michigan Press.

 

 

 


GUIDELINES

The complete guidelines for the 2012 contest are as follows

 

• Deadline: February 28 2012

 
• All entries should be in a standard type face and 12pt font and, if emailed, attached in .doc or .rtf format.

 

• For fiction: One short story or novel excerpt, maximum 25 pages per entry. NOTE: To qualify for the Graywolf Prize, you must have published no more than two novels.

 

• For non fiction: One piece of non fiction, maximum 10 pages. Essay may include multimedia such as sound, image, video, hyperlinking, etc.

 

•For poetry: No more than three poems per entry.

 

• Entrants may submit to any or all categories more than once; however, each entry must be accompanied by its own entry fee.

 

• Only previously unpublished work can be submitted.

 

• In your subject line, please include your name and type of submission (short story, novel excerpt, poetry) eg. Jane Smith - Poetry

 

• Include your complete contact information (address, telephone, email address) on the manuscript. Entries are not judged blind. 

 

• All entrants will be notified of the winners in the spring by email. 

 

• Cover letters are not required. 

 

• Previous First-Place winners may not re-enter.


Entries can be submitted electronically, to: sls.contest@gmail.com (NOTE: Please do not send payments to this address - we request that if you pay online you use the Paypal button below.)

A $15 US reading fee must accompany each entry. Multiple entries are permissible, as long as they are accompanied by separate reading fees.

Fees can paid paid online, via Paypal, or to the address below, by cheque.

 

 

NOTE: Online submissions and payments are preferred, but if you would rather submit the hard copy and pay by cheque, the address is below:

Summer Literary Seminars  
Unified Literary Contest
English Department 
Concordia University 
1455 de Maisonneuve Blvd. W. 
Montreal, Quebec H3G 1M8 Canada

These are the complete contest guidelines.

Do not hesitate to contact SLS with any questions, by e-mail: sls@sumlitsem.org, orann@sumlitsem.org – or by telephone: (514) 848-2424x4632. 

We wish each and every one of you the best of luck with the contest!

 

PUB: 3 Omnidawn Poetry Contests: Chapbook Jan-Feb 2012

Three Omnidawn Poetry Competitions:

        Chapbook Competition (Jan-Feb, 2012)

        1st/2nd Book Competition (May-Jun, 2012)

        Open Book Poetry Competition (Nov-Dec, 2012)

The winner of each of the three Omnidawn poetry book competitions wins either a $1,000 or a $3,000 cash prize, publication of the book with a full color cover by Omnidawn, 100 free copies of the winning book, and extensive display advertising and publicity, including prominent display ads in American Poetry Review, Poets & Writers Magazine, Rain Taxi Review of Books and other publications. All three Omnidawn poetry book contests have very similar eligibility requirements, guidelines, and submission procedures, as completely described on this web page. Postal and online poetry contest submissions accepted. The only differences are the contest dates, the judge, the dollar amount of the prize, the reading fee, the manuscript page limit, an optional Omnidawn book offer, and for one contest only, the First/Second Book Poetry Contest, a limit on the number of previously published full-size books by a submitting poet. These differences are described immediately below, under the "Current Poetry Competition" and "Upcoming Poetry Competitions" headings.

Current Poetry Competition

2012 Chapbook Contest ($1,000 & Publication)    

January 1–February 29, 2012           

Judge: Joseph Lease

Open to writers with no limitations on the amount of poetry a writer has published. Submissions should be 20–40 pages of poetry, not including front and back matter (so that this will fit in a 5.5 x 7 inch published chapbook of approximately 50 pages or less). The judge is Joseph Lease. Postal and online poetry contest submissions accepted. (For international poetry contest entries, online submissions will automatically allow your credit card to convert other currencies to U.S. dollars based on the current exchange rate.) Reading fee is $15 for the poetry chapbook contest. For $2 extra to cover shipping cost, entrants who provide a U.S. mailing address may choose to receive any Omnidawn chapbook or this chapbook competitions winning chapbook. The poetry chapbook contests winner will be announced to our email list and on this web page in July 2012, and we expect to publish the winning chapbook in December of 2012.

 

If you have never entered an Omnidawn poetry contest OR simply prefer fully detailed easy instructions you can:

         Click here for full details.

OR, if you have previously entered and are familiar with Omnidawn poetry contests, OR simply want short, concise instructions, you can either:

         Go to the POSTAL submission procedure by clicking here.

         OR

         Go to the ONLINE submission web page and its concise procedures by clicking here, or paste the following link into your browser:     www.omnidawn.net

 

Upcoming Poetry Competitions

2012 First/Second Book ($3,000 & Publication)    

May 1–June 30, 2012                         

Judge: Brenda Hillman

First/Second Book poetry contest open to writers who have either never published a full-length book of poetry, or who have published only one full-length book of poetry, so that the winning book would become a poet's first or second published book of poetry. Writers who have published two or more full length books of poetry are NOT eligible. (Chapbooks do not count.) The manuscript page limit is 140 pages for this poetry book contest. (Most manuscripts we receive are 40-70 pages long.) The judge is Brenda Hillman. Postal and online poetry contest submissions accepted. (For international poetry contest entries, online submissions will automatically allow your credit card to convert other currencies to U.S. dollars based on the current exchange rate.) Reading fee is $25. For $3 extra to cover shipping cost, entrants who provide a U.S. mailing address may choose to receive any Omnidawn book (including 4 PEN USA winning books) or this poetry book contest's winning book. The winner will be announced to our email list and on this web page in November 2012, and we expect to publish the winning book in the fall of 2013. Click here for full details.

2012 Open Book ($3,000 & Publication)                   

November 1–December 31, 2012     

Judge: Cole Swensen

Open poetry book competition for writers with no limitations on the amount of poetry a writer has published. The manuscript page limit is 140 pages for this poetry book contest. (Most manuscripts we receive are 40-80 pages long.) The judge is Cole Swenson. Postal and online poetry contests submissions accepted. (For international poetry contest entries, online submissions will automatically allow your credit card to convert other currencies to U.S. dollars based on the current exchange rate.) Reading fee is $25. For $3 extra to cover shipping cost, entrants who provide a U.S. mailing address may choose to receive any Omnidawn book (including 4 PEN USA winning books) or this poetry competitions winning book. The winner will be announced to our email list and on this web page in May 2013, and we expect to publish the winning book in the spring of 2014. Click here for full details.

 

VIDEO: ‘The Couple,’ A Hilarious New Web Series About Relationships > Clutch Magazine

Must See:

‘The Couple,’

A Hilarious New Web Series

About Relationships

Friday Jan 6, 2012 – by

We all know that major networks don’t care about Black people and that the web is exploding with amazing content for us, by us.

Last week I featured 5 web shows to add to your play list, and this week I’m back to share yet another good one, “The Couple.”

From the creators of Black & Sexy TV (and the film “A Good Day to Be Black and Sexy”), “The Couple” takes a look the “idiosyncrasies of dating and living together.”

Recently, I had the opportunity to talk to two of the show’s creators, Dennis Dortch and Numa Perrier, about why they created “The Couple” for the web.

They explained: “It was a natural progression from the film A Good Day to be Black and Sexy.  Being online extended the Black&Sexy brand and reaches the audience directly and immediately which we really like. We had these fun ideas that we thought would work well on the web.  We also use the web as an incubator/testing ground for our ideas to grow into other mediums.  We are cross platform (Web TV and Film) and we want to continue along that path.  It’s a new creative beast to conquer the web and we really enjoy it.”

Although the web is booming with shows geared toward black audiences, networks continue to ignore us, especially when it comes to images of black folks in love. Because of this, Numa Perrier says they decided to tackle this issue.

“Dennis, myself, and our other creative partner, Jeanine Daniels all gravitate towards this type of content based on personal experience. The Couple was Jeanine’s inspiration based on her previous relationships and it has now expanded into some of the day-to-day situations Dennis and I experience as a real life couple. We all experience relationships so not only is it relatable but it drives us as human beings.”

“The Couple” will premiere on Valentine’s Day, but while we wait, Black&Sexy TV has dropped several mini-episodes.

Check out the first three mini-episodes of “The Couple”  and the first episode of Black&Sexy TV’s other webseries: “The Number.”

The Number

 

INTERVIEW: Teju Cole | The voice of the mind > livemint.com

Teju Cole
| The voice of the mind
The celebrated Nigerian-American novelist on art, race, and the politics of his acclaimed novel ‘Open City’

By Supriya Nair

 

 

 

Reading the city: Novelist, art historian and photographer Teju Cole.

Teju Cole’s Open City has been widely praised as one of 2011’s best novels, and deservedly so. It is a reflection on the experimental modernism of the early 20th century as well as a sharply political and contemporary novel. Cole’s erudition and intellectual curiosity are characteristic of all his writing, whether in the long-form Open City or the short, absurd “Small Fates” snippets from Nigerian life he posts regularly to his Twitter account (@tejucole).

Cole grew up in Lagos and is a resident of Brooklyn, New York, where he teaches at Bard College and works as an art historian and photographer. He was at the Goa Arts and Literary Festival last week to talk about several of his wide-ranging and closely followed interests in art, urbanism, music and literature. Edited excerpts from his conversation with Lounge:

 

When did you start to think about writing and literature?

I haven’t always been a writer of fiction. Sometime in my mid-20s, 10 years ago, I realized that my desire to put experience into words was best matched by a very specific approach; trying to find the most layered and complicated thoughts and put them in the clearest language I could manage.

Earlier on, under the influence of people like  James Joyce , people like  Wole Soyinka  and generally this idea of the shock of the new, my concept had been to be pyrotechnic, like  Garcia Marquez  and  Salman Rushdie —make it new by making it noisy and furious. Clearly, there are people who can do that well. But In my mid-20s I realized that I needed to go back to (George) Orwell, (Ernest) Hemingway, (V.S.) Naipaul;  Virginia Woolf , who’s a wonderful writer of the English sentence. A little bit of  Henry James , not in the length of the sentences, but in the effort to be complex by being complicated without being needlessly loud.

Once that discovery was made I started to write. I did quite a bit of writing online: blogs, essays, writing to friends, writing for friends. If I travelled somewhere I would write about it, and a kind of voice started to emerge, and I started to write better and better sentences.

 

Tell us about your first book.

About six years ago, I went to Nigeria. I wrote a fictionalized memoir of my experiences of going back after a long time, which was published as Every Day Is for the Thief.

And so it started. It was never, “I have to be a writer.” Never that. I had a stark and pragmatic attitude to literary success.

 

We’re talking about success after publishing.

That’s right, not about success on the page. I suspected that would be within my reach or that it was worth fighting for. But the way the industry is set up, I’m not going to write what they want, and they’re not going to like me. I know: I’m an African, I’m in America, I’m supposed to write a multigenerational family epic. I wanted to write about resolutely contemporary experience.

 

What did studying art bring you as a writer?

Because you’re looking at a single painting and you are expected to be able to write 20 pages about it, it means intense looking, very patient description. And I found that patient description did not bore me; quite the contrary, it was evidence of mind.

 

Do you find all forms of cultural production would benefit from that kind of contemplation?

I certainly enjoy it.

 

Do you enjoy reading that sort of novel, which you would never write yourself?

I need work that focuses on mind rather than on narrative, if you can make that distinction. I am interested in high modernism, and in exploration of consciousness. The exceptions are astonishing. Think of Halldor Laxness, the Icelandic novelist. I’m happy to read him because he’s just so good at this. Garcia Marquez is so masterful that even inside the historical multigenerational epic, the mind is in every sentence.

Narrative does interest me, but these days I’m drawn to short forms, short narratives. Short novels. I love Penelope Fitzgerald’s novels. I love  Alice Munro ’s short stories. I love microfiction, which is narrative-driven. Taking something like the story of a wife (who) bursts in on her husband and his mistress and shoots them both: There’s clearly something over there on the three-sentences level that, when expanded to 500 pages, would not interest me quite as much.

 

Who were the writers you liked to read as a child?

The first book I remember reading is  Mark Twain ’s (The Adventures of)  Tom Sawyer in an abridged version when I was very young.

 

This was in Lagos.

Yes. So before I was 10, I remember Tales from Shakespeare by Charles Lamb; Things Fall Apart by Chinua Achebe, which in a funny kind of way gave me a view of a Nigeria I did not know. I was a city boy. I became a more avid reader in my pre-teen and early teen years, when there was a lot of Enid Blyton, a lot of Hardy Boys and Nancy Drew. That led me over to Agatha Christie—you just go with a completist attitude towards that kind of thing.

And then between the ages of 14-15, and 19-20, I was not much of a reader at all. At the age of 20 I found myself doing an internship in Boston. I had a long train ride and these people I was living with had American books I had no access to because I was not a student of literature at any point. From their shelves I plucked, oddly enough, The Catcher in the Rye. I plucked out The Old Man and the Sea, and A Portrait of the Artist as a Young Man.

This was the beginning of close reading for me. I became an avid but very slow reader. From that time on, I read every book very slowly, trying to understand how it was doing what it was doing.

 

What did you like about modernists like Woolf and Joyce?

On the sentence level, they got into me psychologically. I was amazed that they could bring me into their minds and writing a hundred years before me could be so persuasive. That amazed me.

 

Do you also like high modernism in art?

As far as my writing goes, when I say high modernism, I’m talking about literature. I do like high modernism in art, but it falls within a large swathe of appreciations for me. When I think about the visual arts that have influenced me, I think of films, usually from the 1960s, 1970s and 1980s, not American, that influence me. There was Satyajit Ray. (Federico) Fellini was important. I privately think to myself of Open City as a response to 81/2, which is weird. But it is episodic, it is concerned with structures of consciousness and I think it is immaculately curated. That is what I was going for: the curation of incident that to a careless observer seems like randomness. So also La Dolce Vita, which is a man’s journey through various episodes of his life—a callow and somewhat callous man, who is confronted with desire and loneliness and aestheticism and death and ambiguous relationships with pleasure: an essentially conscientious hedonist.


New York street scene shot by Cole

 

 

 

 

 

 

 

New York street scene shot by Cole

 

Classical music plays a big role in ‘Open City’. Did composers likeGustav Mahler influence its writing too?

Music is very important to me. I love classical music, I’m fanatical about jazz, hip hop is very important to me, I listen to a lot of Bollywood, stuff I love—it’s very wide tastes.

 

Mahler is important to Julius because Mahler is, sort of, melancholy and grandiose and epic, in the shape of Julius’ mourning. But for me, structuring the book, (Jean) Sibelius was more important because he’s structurally more subtle. Mahler is immensely subtle as well, but Sibelius doesn’t get as loud, doesn’t get as bombastic. Sibelius, for example, had this habit of doing highly intricately worked synmphonies that in the last movement would get loud, and unaccountably soft in the final minute.

And there’s this idea of having a theme on the piccolos and then the same theme on the flutes and then the same theme at half-speed on the tubas and double basses and the same theme with just a fragment of it on the violin. Building that up was exactly what I was trying to do in this book, where in one section someone is talking about terrorists and in another someone is talking about bedbugs.

 

It sounds like a book which was read out loud as it was being written.

It’s a voiced book. For some other people, the way to slow things down is to write long-hand. I write on the computer. But I’ve developed a sense of cadence in my head, so not everything has to be read out loud. I know when something’s getting too unvoiceable and change it.


 

 








I want to ask you about developing Julius as a character. How did he come into being? And how did you develop an experience for him which would tend away from—or not draw the reader’s attention to—the autobiographical?

That was an interesting challenge to work through, particularly since Julius has a lot in common with me superficially. There is a struggle, not just for some readers who want to impose a biographical reading on Julius vis-a-vis his author but also for me because I’m writing in the first person. I could not write about Mahler in that way if I did not have an interest in Mahler. Julius probably knows more about Mahler than I do (laughs). But he knows a lot less about jazz and hip hop than I do. So he’s not me.

What it entailed was that I give him a lot of time to develop to give his self plenty of time to percolate and become Julius, distinct from me. That was psychologically difficult. Life goes on; I was not mourning the way that Julius was, and he’s mourning all through the book. So it means in 2008-09, sitting down to write the book, I had to enter into Julius’ mind in 2006.

 

The September 2001 attacks are obliquely at the centre of the book. Were you in New York at the time?

I was. The book was for me a response to those attacks because I felt that 11 September needed to be written about in an indirect way. The responses I had read were far too direct. Open City is a kind of shell-shocked response to the enormity of the event, to say that there is a catalogue of grief.

 

You’ve said that you felt people moved on too fast from the disaster. But how can you recover from disaster, except incrementally and through habit?

I don’t know how people recover from disaster and I don’t know how they’re supposed to. I think there’s an appropriate space for stunned silence. I think there’s an appropriate space for academic work. I think there’s an appropriate space for tangential responses such as Open City or (Joseph O’Neill’s novel) Netherland, or the works of (W.G.) Sebald. And I actually believe that there’s also a space for irony and tragicomedy.

 

But in the context of New York you thought the move on was too quick.

In the context of New York, yes, because it wasn’t just a disaster but a pretext for war and heroism.

New York street scene shot by Cole

 

 

 

 

 

 

 

New York street scene shot by Cole

 

You think heroism was co-opted into the political narrative?

 

It was co-opted. There was real, amazing heroism. Hundreds of firefighters died. That is a shocking fact. We used that then to go and kill a few hundred thousand people in Iraq, which was disgusting. It was the absolute opposite of what mourning should be. Mourning should be about becoming aware that others have suffered. I think the shock of it was so great that it made Americans callous.

 

How would you respond to the criticism that a narrative like ‘Open City’, with its determinedly solitary narrator, makes solipsism seem heroic?

Julius is engaged and knowledgeable without being active. I think it might be harsh on Julius to call him solipsistic. I don’t think it’s quite so simple, because there is Julius’ own positionality as a black man living in the US. I don’t believe you can be black in the US and evade politics. You embody politics.

Now whether you decide to participate in party politics and carry placards is a different matter. But the moment you walk into a room as a person of colour, your accent, your place of origin, politics will be imposed on you.

I think that, like many people I know, Julius’ politics are layered and complicated. Open City arguably has several projects but one of them is certainly that he is not your Everyman narrator. He is not only involved, not only implicated, but also among the oppressed. It might seem weird to say it, because he’s highly educated and in control of his mind and his faculties, but he is. Even the President of the US right now is oppressed, because there will always be someone who can get up in Congress and treat you as if you are a slave that has not been released yet. Just like every woman who lives in that country now can still have someone say or do something aggravated and violent to them, that they would not be able to do to a man.

 

Tell us a little about your connection with Goa, and India.

This is my third time in India. I come here often because I’m married to a woman from Goa, who grew up in Goa. I’ve been to Mumbai, Delhi, Cochin (Kochi), the Kerala backwaters.

If I go back, being a Nigerian in the States, young Indians were kind of like a natural ally for a foreign Anglophone student trying to find a place in American society because there were many more Indians than Nigerians—I don’t think there were any Nigerians at my school. Indians had the kind of parents who thought like my parents. Indian students had to live this sort of double life, where your home life is very different from your school life, and you had to deal with the assumptions of one about the other, like this push to go into lucrative professions. And at the same time there was this seriousness about learning. It was a negotiation that said, here we are, fully immersed in Western culture; we have to make it our own but it’s not our own. We’re not outsiders but we’re outsiders.

supriya.n@livemint.com

 

POV: U.S. Savage Imperialism by Noam Chomsky > ZMagazine Article

U.S. Savage Imperialism

The U.S. Empire, the Mideast, and the world, part I




From a talk by Noam Chomsky, June 2010


It's tempting to go back to the beginning. The beginning goes pretty far back, but it is useful to think about some aspects of American history that bear directly on current U.S. policy in the Middle East. The U.S. is a pretty unusual country in many ways. It's maybe the only country in the world that was founded as an empire. It was an infant empire—as George Washington called it—and the founding fathers had broad aspirations. The most libertarian of them, Thomas Jefferson, thought that this infant empire should spread and become what he called the "nest" from which the entire continent would be colonized. That would get rid of the "Red," the Indians as they'd be driven away or exterminated. The Blacks would be sent back to Africa when we don't need them anymore and the Latins will be eliminated by a superior race.

 

Conquest of the National Territory

 

It was a very racist country all the way through its history, not just anti-black. That was Jefferson's image and the others more or less agreed with it. So it's a settler colonialist society. Settler colonialism is far and away the worst kind of imperialism, the most savage kind because it requires eliminating the indigenous population. That's not unrelated, I think, to the kind of reflexive U.S. support for Israel—which is also a settler colonial society. Its policies resonate with a sense of American history. It's kind of reliving it. It goes beyond that because the early settlers in the U.S. were religious fundamentalists who regarded themselves as the children of Israel, following the divine commandment to settle the promised land and slaughter the Amalekites and so on and so forth. That's right around here, the early settlers in Massachusetts.

 

All this was done with the utmost benevolence. So, for example, Massachusetts (the Mayflower and all that business) was given its Charter by the King of England in 1629. The Charter commissioned the settlers to save the native population from the misery of paganism. And, in fact, if you look at the great seal of the Bay Colony of Massachusetts, it depicts an Indian holding an arrow pointed down in a sign of peace. And out of his mouth is a scroll on which is written: "Come over and help us." That's one of the first examples of what's called humanitarian intervention today. And it's typical of other cases up to the present. The Indians were pleading with the colonists to come over and help them and the colonists were benevolently following the divine command to come over and help them. It turned out we were helping by exterminating them.

 

That was considered rather puzzling. Around the 1820s, one Supreme Court justice wrote about it. He says it's kind of strange that, despite all our benevolence and love for the Indians, they are withering and dispersing like the "leaves of autumn." And how could this be? He said, the divine will of providence is "beyond human comprehension." It's just God's will. We can't hope to understand it. This conception—it's called Providentialism—that we are always following God's will goes right up to the present moment. Whatever we're doing, we're following God's will. It's an extremely religious country, off the spectrum in religious belief. A very large percentage of the population—I don't remember the numbers, but it's quite high—believes in the literal word of the Bible and part of that means supporting everything that Israel does because God promised the promised land to Israel. So we have to support them.

 

These same people—a substantial core of solid support for anything Israel does—also happen to be the most extreme anti-Semites in the world. They make Hitler look pretty mild. They are looking forward to the near total annihilation of the Jews after Armageddon. There's a whole long story about this, which is believed, literally, in high places—probably people like Reagan, George W. Bush, and others. It ties in with the kind of settler colonial history of Christian Zionism—which long preceded Jewish Zionism and is much stronger. It provides a solid base of reflexive support for whatever Israel happens to be doing.

 

The conquest of the national territory was a pretty ugly affair. It was recognized by some of the more honest figures like John Quincy Adams who was the great grand strategist of expansionism—the theorist of Manifest Destiny and so on. In his later years, long after his own horrifying crimes were in the past, he did lament what he called the fate of that "hapless race of native Americans, which we are exterminating with such merciless and perfidious cruelty." He said that's one of the sins that the Lord is going to punish us for. Still waiting for that.

 

His doctrines are highly praised right to the present. There's a major scholarly book by John Lewis Gaddis, a leading American historian, on the roots of the Bush doctrine. Gaddis correctly, plausibly, describes the Bush doctrine as a direct descendent of John Quincy Adams's grand strategy. He says, it's a concept that runs right through American history. He praises it; thinks it's the right conception—that we have to protect our security, that expansion is the path to security and that you can't really have security until you control everything. So we have to expand, not just over the hemisphere, but over the world. That's the Bush doctrine.

 

By WWII, without going into the details, though the U.S. had long been by far the richest country in the world, it was playing a kind of secondary role in world affairs. The main actor in world affairs was the British—even the French had a more global reach. WWII changed all that. American planners during WWII, Roosevelt's planners, understood very well from the beginning of the war that it was going to end with the U.S. in a position of overwhelming power.

 

As the war went on and the Russians ground down the Germans and pretty much won the European war, it was understood that the U.S. would be even more dominant. And they laid careful plans for what the post-war world would look like. The United States would have total control over a region that would include the Western Hemisphere, the Far East, the former British Empire, and as much of Eurasia as possible, including, crucially, its commercial and industrial core—Western Europe. That's the minimum. The maximum was the whole world and, of course, we need that for security. Within this region, the U.S. would have unquestioned control and would limit any effort at sovereignty by others.

 

The U.S. ended the war in a position of dominance and security that had no remote counterpart in history. It had half the world's wealth, it controlled the whole hemisphere, the opposite sides of both oceans. It wasn't total. The Russians were there and some things were still not under control, but it was remarkably expansive. Right at the center of it was the Middle East.

 

One of President Roosevelt's long-time, high-level advisers, Adolf A. Berle, a leading liberal, pointed out that control of Middle East oil would yield substantial control of the world—and that doctrine remains. It's a doctrine that's operative right at this moment and that remains a leading theme of policy.

 

After World War II

 

For a long time during the Cold War years, policies were invariably justified by the threat of the Russians. It was mostly an invented threat. The Russians ran their own smaller empire with a similar pretext, threat of the Americans. These clouds were lifted after the collapse of the Soviet Union. For those who want to understand American foreign policy, an obvious place to look is what happened after the Soviet Union disappeared. That's the natural place to look and it follows almost automatically that nobody looks at it. It's scarcely discussed in the scholarly literature though it's obviously where you'd look to find out what the Cold War was about. In fact, if you actually do look, you get very clear answers. The president at the time was George Bush I. Immediately after the collapse of the Berlin Wall, there was a new National Security Strategy, a defense budget, and so on. They make very interesting reading. The basic message is: nothing is going to change except pretexts. So we still need, they said, a huge military force, not to defend ourselves against the Russian hordes because they're gone, but because of what they called the "technological sophistication" of third world powers. Now, if you're a well trained, educated person who came from Harvard and so on, you're not supposed to laugh when you hear that. And nobody laughed. In fact, I don't think anybody ever reported it. So, they said, we have to protect ourselves from the technological sophistication of third world powers and we have to maintain what they called the "defense industrial base"—a euphemism for high tech industry, which mostly came out of the state sector (computers, the Internet, and so on), under the pretext of defense.

 

With regard to the Middle East, they said, we must maintain our intervention forces, most of them aimed at the Middle East. Then comes an interesting phrase. We have to maintain the intervention forces aimed at the Middle East where the major threats to our interests "could not be laid at the Kremlin's door." In other words, sorry folks, we've been lying to you for 50 years, but now that pretext is gone, we'll tell you the truth. The problem in the Middle East is and has been what's called radical nationalism. Radical just means independent. It's a term that means "doesn't follow orders." The radical nationalism can be of any kind. Iran's a good case.

 

The Threat of Radical Nationalism

 

So in 1953, the Iranian threat was secular nationalism. After 1978, it's religious nationalism. In 1953, it was taken care of by overthrowing the parliamentary regime and installing a dictator who was highly praised. It wasn't a secret. The New York Times, for example, had an editorial praising the overthrow of the government as an "object lesson" to small countries that "go berserk" with radical nationalism and seek to control their own resources. This will be an object lesson to them: don't try any of that nonsense, certainly not in an area we need for control of the world. That was 1953.

 

Since the overthrow of the U.S.-imposed tyrant in 1979, Iran has been constantly under U.S. attack—without a stop. First, Carter tried to reverse the overthrow of the Shah immediately by trying to instigate a military coup. That didn't work. The Israelis—in effect the ambassador, as there'd been close relations between Israel and Iran under the Shah, although theoretically no formal relations—advised that if we could find military officers who were willing to shoot down 10,000 people in the streets, we could restore the Shah. Zbigniew Brzezinski, Carter's National Security advisor, had pretty much the same advice. That didn't quite work. Right away, the U.S. turned for support to Saddam Hussein in his invasion of Iran—which was no small affair. Hundreds of thousands of Iranians were slaughtered. The people who are now running the country are veterans of that war and deep in their consciousness is the understanding that the whole world is against them—the Russians, the Americans were all supporting Saddam Hussein and the effort to overthrow the new Islamic state.

 

It was no small thing. The U.S. support for Saddam Hussein was extreme. Saddam's crimes—like the Anfal genocide, the massacre of the Kurds—were just denied. The Reagan administration denied them or blamed them on Iran. Iraq was even given a very rare privilege. It's the only country other than Israel which has been granted the privilege of attacking a U.S. naval vessel and getting away with complete impunity. In the Israeli case, it was the Liberty in 1967. In Iraq's case it was the USS Stark in1987—a naval vessel which was part of the U.S. fleet protecting Iraqi shipments from Iran during the war. They attacked the ship using French missiles, killed a few dozen sailors, and got a slight tap on the wrist, but nothing beyond that.

 

U.S. support was so strong that they basically won the war for Iraq. After the war was over, U.S. support for Iraq continued. In 1989, George Bush I invited Iraqi nuclear engineers to the U.S. for advanced training in nuclear weapons development. It's one of those little things that gets hushed up because a couple of months later Saddam became a bad boy. He disobeyed orders. Right after that came harsh sanctions and so on, right up till today.

 

The Iranian Threat

 

Coming up to today, in the foreign policy literature and general commentary what you commonly read is that the major policy problem for the U.S. has been and remains the threat of Iran. What exactly is the threat of Iran? Actually, we have an authoritative answer to that. It came out a couple of months ago in submissions to Congress by the DOD and US intelligence. They report to Congress every year on the global security situation. The latest reports, in April, of course have a section on Iran—the major threat. It's important reading. What they say is, whatever the Iranian threat is, it's not a military threat. They say that Iranian military spending is quite low, even by regional standards, and as compared with the U.S., of course, it's invisible—probably less than 2 percent of our military spending. Furthermore, they say that Iranian military doctrine is geared toward defense of the national territory, designed to slow down an invasion sufficiently so it will be possible for diplomacy to begin to operate. That's their military doctrine. They say it's possible that Iran is thinking about nuclear weapons. They don't go beyond that, but they say, if they were to develop nuclear weapons, it would be as part of Iran's deterrence strategy in an effort to prevent an attack, which is not a remote contingency. The most massive military power in history—namely us—which has been extremely hostile to them, is occupying two countries on their borders and is openly threatening them with attack, as is its Israeli client.

 

That's the military side of the Iranian threat as reported in Military Balance. Nevertheless, they say, Iran's a major threat because it's attempting to expand its influence in neighboring countries. It's called destabilization. They're carrying out destabilization in neighboring countries by trying to expand their influence and that's a problem for the U.S. because the U.S. is trying to bring about stability. When the U.S. invades another country, it's to bring about stability—a technical term in the international relations literature that means obedience to U.S. orders. So when we invade Iraq and Afghanistan, that's to create stability. If the Iranians try to extend their influence, at least to neighboring countries, that's destabilizing. This is built in to scholarly and other doctrine. It's even possible to say without ridicule, as was done by the liberal commentator and former editor of Foreign Affairs, James Chase, that the U.S. had to destabilize Chile under Allende to bring about stability, namely obedience to U.S. orders.

 

What's Terrorism?

 

The second threat of Iran is its support for terrorism. What's terrorism? Two examples of Iran's support for terrorism are offered. One is its support for Hezbollah in Lebanon, the other its support for Hamas in Palestine. Whatever you think of Hezbollah and Hamas—maybe you think they're the worst thing in the world—what exactly is considered their terrorism? Well, the "terrorism" of Hezbollah is actually celebrated in Lebanon every year on May 25, Lebanon's national holiday commemorating the expulsion of Israeli invaders from Lebanese territory in 2000. Hezbollah resistance and guerilla warfare finally forced Israel to withdraw from Southern Lebanon, which Israel had been occupying for 22 years in violation of Security Council orders, with plenty of terror and violence and torture.

 

So Israel finally left and that's Lebanese Liberation Day. That's what's considered the main core of Hezbollah terrorism. It's the way it's described. Actually, in Israel it's even described as aggression. You can read the Israeli press these days where high level figures now argue that it was a mistake to withdraw from South Lebanon because that permits Iran to pursue its "aggression" against Israel, which it had been carrying out until 2000 by supporting the resistance to Israeli occupation. That's considered aggression against Israel. They follow U.S. principles, as we say the same thing. That's Hezbollah. There are other acts you could criticize, but that's the core of Hezbollah terrorism.

 

Another Hezbollah crime is that the Hezbollah-based coalition handily won the latest parliamentary vote, though because of the sectarian system of assigning seats, they did not receive the majority. That led Thomas Friedman to shed tears of joy, as he explained, over the marvels of free elections, in which U.S. President Obama defeated Iranian President Ahmadinejad in Lebanon. Others joined in this celebration. The actual voting record was never reported, to my knowledge.

 

What about Hamas? Hamas became a serious threat—a serious terrorist organization—in January 2006 when Palestinians committed a really serious crime. That was the date of the first free election in any country in the Arab world and the Palestinians voted the wrong way. That's unacceptable to the U.S. Immediately, without a blink of an eye, the U.S. and Israel turned very publically towards punishing the Palestinians for that crime. You can read in the New York Times, in parallel columns, right afterwards—one of them talking about our love for democracy and so on and right alongside it, our plans to punish the Palestinians for the way they voted in the January election. No sense of conflict.

 

There'd been plenty of punishment of the Palestinians before the election, but it escalated afterwards—Israel went so far as to cut off the flow of water to the arid Gaza Strip. By June, Israel had fired about 7,700 rockets at Gaza and all sorts of other things. All of that's called defense against terrorism. Then, the U.S. and Israel, with cooperation from the Palestinian Authority, tried to carry out a military coup to overthrow the elected government. They were beaten back and Hamas took control. After that, Hamas became one of the world's leading terrorist forces. There's plenty of criticisms you can make of them—the way they treat their own population, for example—but Hamas terrorism is a little hard to establish. The current claim is that their terrorism consists of rockets from Gaza that hit Israel's border cities. That was the justification given for Operation Cast Lead (the U.S./Israeli invasion of December 2008) and also for the Israeli attack on the flotilla last June in international waters where nine people were murdered.

 

It's only in a deeply indoctrinated country that you can hear that and not laugh in ridicule. Putting aside the comparison between Qassam rockets and the terrorism that the U.S. and Israel are constantly carrying out, the argument has absolutely no credibility for a simple reason: Israel and the U.S. know exactly how to stop the rockets—by peaceful means. In June 2008, Israel agreed to a ceasefire with Hamas. Israel didn't really live up to it—they were supposed to open the borders and they didn't—but Hamas did live up to it. You can look it up on the official Israeli website or listen to their official spokesperson, Mark Regev, and they agree that during the ceasefire there wasn't a single Hamas rocket fired.

 

Israel broke the ceasefire in November 2008 when it invaded Gaza and killed half a dozen Hamas activists. Then there was some rocket fire and far greater attacks from Israel. A number of people were killed—all Palestinians. Hamas offered to renew the ceasefire. The Israeli cabinet considered it and rejected it, preferring to use violence. A couple of days later came the U.S./Israel attack on Gaza.

 

In the U.S. and the West generally, it is taken for granted, even by human rights groups and the Goldstone report, that Israel had the right to force and self-defense. There were criticisms that the attack was disproportionate, but they're a secondary matter as Israel had absolutely no right to use force in the first place. You have no justification for the use of force unless you've exhausted peaceful means. In this case, the U.S. and Israel had not just not exhausted them, they had refused even to try peaceful means, which they had every reason to believe would succeed. The concession that Israel had a right to attack is just an amazing gift.

 

In any case, according to the DOD and U.S. intelligence, Iran's efforts to extend its influence, as well as its support for Hezbollah and Hamas, are what constitute, for the U.S. and its allies, the Iranian threat.

Z 


Noam Chomsky is Professor of Linguistics (Emeritus) at MIT and author of dozens of books on U.S. foreign policy.

 

>via: http://www.zcommunications.org/u-s-savage-imperialism-by-noam-chomsky#

 

ISRAEL: Report: Being Black in Israel > AFRO-EUROPE

Report:

Being Black in Israel

 


I visited Israel en Palestine during the Christmas holidays and saw many things I didn’t expect to see. One of these things is the striking presence of black people in urban Israel. They represent a diverse people of whom most are Ethiopian Jews who made aliya (i.e. the migration of the jewish diaspora back to Israel) and settled in Israel in the 80’s and early 90’s. Besides this Israeli group it is striking to see many immigrant workers from Africa and Asia, among them West-Africans, Sudanese and Ethiopians.

The Ethiopian Jews are commonly known by the slightly derogatory term Falasha but the name they chose for themselves is Beta Israel (Hebrew for The House of Israel). They are today virtually no Ethiopian Jews anymore in Ethiopia. Israel organized mass migrations in the late 80’s (Operation Moses). If you want to know more about Operation Moses read this.



Many Ethiopian Jews converted to Christianity at the end of the 19th century and beginning of the 20th century. They faced discrimination and hardship and chose to become Christians in a predominantly Christian country to make their lives easier. However, today many of the descendants of these converts feel they are still Jews and should also have the right for aliya, i.e. to ‘return’ to Israel. These people are named Falash Mura and after many discussions the Israeli government made them eligible for migration although with many restrictions and limitations. More on this phenomenon here.

An excellent movie on this situation is the 2005 Israeli-French film "Go, Live, and Become" , directed by Romanian-born Radu Mihăileanu. The film tells the story of an Ethiopian Christian child whose mother has him pass as Jewish so he can emigrate to Israel and escape the famine looming in Ethiopia. The film was awarded the 2005 Best Film Award at the Copenhagen International Film Festival. See trailer below:

While Ethiopian Jews face discrimination and had a difficult time integrating in Israeli society things are changing. Through the compulsory military service (3 years for men, 2 years for women) they become more and more part of Israeli society, many today prefer to speak Hebrew than the language of their parents. I saw many blacks in the army forces (the Israeli army is omnipresent in Israel and the Palestinian territories, there are many security checkpoints on the West Bank) and I dare to say that 1 out of 20 soldiers I saw, was black.

Still, black Israeli face discrimination (nearly half of all Israeli employers would rather not hire an Ethiopian Jew) and I saw that all dirty jobs in Israel are done by black people. Virtually all janitors I saw looked like Ethiopians, of course I couldn’t tell if they were black Israeli rather than Ethiopian immigrant workers.

Israel wants to protect its Jewish character. So while a Jew can be blond with blue eyes, a brown skinned South Asian, an Arab looking person or even a black African, if you are not Jewish you can actually not migrate to Israel. The Knesset (the Israeli parliament) recently voted a law limiting the years that an immigrant worker can actually reside in Israel to 5 years. Exceptions are made for diplomats’ personal and for non Jewish spouses of Israeli citizens.

Conversion to Judaism is also possible but extremely difficult as you actually have to study the Jewish Holy Scriptures thoroughly, follow the kosher rules strictly and have an orthodox Jewish lifestyle. During this process you are followed by a Rabbi, who will eventually decide if you are a Jew are not. Of course men have to be circumcised and all have to make the ritual immersion in a bath (mikveh). However, there are also Reformist views on conversion that do not expect converts to do as much, wanting ot be a Jew is often enough. However the State of Israel leans upon the Chief Rabbinate of Israel and the supreme religious court for these matters. These institutions are mostly dominated by orthodox rabbis. But it is a complicated issue, very alive in Israeli society. For more info read this.

Blacks in Israel are also African Hebrew Israelites also known as Black Hebrews, who settled in Israel in 1969. They are of black American ancestry and were therefore not recognized as Jews. But after decades they have been granted permanent residency status in 2004 and became eligible for military service since then. In 2006, Eddie Butler, a Black Hebrew, was chosen by the Israeli public to represent Israel in the Eurovision Song Contest. They mainly live in the Negev town of Dimona were they form a community of 3000 people, but other families live in other towns too.

Some famous black Israeli of Ethiopian descent are Hagit Yaso (singer), Shlomo Molla (politican) and Abatte Barihun (jazz musician).

Below a video telling the story of the Ethiopian Jews and their exodus to Israel:

 

 

JAMAICA: Better Done Come! - New PM Portia Simpson-Miller Speaks Out for LGBT Rights, Says Gays Welcome in Her Cabinet: VIDEO > Gay Blog Towleroad

Jamaica's New PM

Portia Simpson-Miller

Speaks Out for LGBT Rights,

Says Gays Welcome in

Her Cabinet: VIDEO

Simpson-miller

Jamaica's new Prime Minister Portia Simpson-Miller is being sworn in today, and has made her support for LGBT rights very clear. Here's what she said in a debate in December:

"Our administration believes in protecting the human rights of all Jamaicans. No one should be discriminated against because of their sexual orientation. Government should provide the protection...."

Simpson-Miller says she would allow gay people to serve in her cabinet: "I certainly do not pry or do I have any intention of prying in the private business of anyone. I would appoint anyone with the ability, the capacity, and the capability to manage, in my cabinet."

(clip via think progress lgbt)

 

__________________________

 

 

 

Jamaica to break links

with Queen, says

Prime Minister Simpson Miller

Jamaican Prime Minister Portia Simpson Miller making her inaugural address in Kingston
Prime Minister Portia Simpson Miller says it's time for Jamaica to have complete independence

 

Jamaica's new Prime Minister, Portia Simpson Miller, has said she intends to make the island a republic, removing Queen Elizabeth as the head of state.

In her inaugural address, Ms Simpson Miller said the time had come for Jamaica to break with the British monarchy and have its own president.

The announcement comes ahead of celebrations to mark 50 years of Jamaican independence from Britain.

The Queen's grandson, Prince Harry, is due to the visit the island this year.

'Time come'

"I love the Queen, she is a beautiful lady, and apart from being a beautiful lady she is a wise lady and a wonderful lady," Ms Simpson Miller said after swearing the oath of office.

"But I think time come".

"As we celebrate our achievements as an independent nation, we now need to complete the circle of independence," the prime minister added.

In response, a Buckingham Palace spokesman said "the issue of the Jamaican head of state was entirely a matter for the Jamaican government and people".

Queen Elizabeth and the Duke of Edinburgh greeted by school children in Jamaica in 1953Jamaica was still a British colony when the Queen visited in 1953, shortly after her coronation

Ms Simpson Miller, 66, became prime minister for the second time after her People's National Party won a big election victory on 29 December.

Her inaugural address mostly focused on her plans to revive Jamaica's economy.

The Caribbean island has widespread poverty, high unemployment and huge debts.

Ms Simpson Miller is not the first Jamaican leader to promise to move towards a republic.

In the early 1990s, then-Prime Minister PJ Patterson also said it was time for the island to have its own head of state, and set 2007 as the deadline.

>via: http://www.bbc.co.uk/news/world-latin-america-16449969

 

 

 

 

 

VIDEO: The Boxing Day Special - YouTube

A few videos, shot in our living room, from our Boxing Day Special EP. Find the rest of the album here: http://music.just-a-band.com
Karun of Camp Mulla and Harry Kimani with their version of "O Holy Night" as part of the Just A Band Boxing Day Special (available at http://bit.ly/t9neg8). Original music and lyrics by Adolphe Adam (1847). This arrangement by Harry Kimani. Lead vocals by Karun. Background vocals and guitar Harry Kimani.

Blinky Bill performing "Hey!" from the Scratch to Reveal (2008) album as part of the Just A Band Boxing Day Special (available at http://bit.ly/t9neg8). Music and lyrics by Just A Band. Lead vocals by Bill "Blinky" Sellanga. Backing vocals by Bill "Blinky" Sellanga and Jim Chuchu.

"Oh Happy Day" as sung by Sarah Miraru accompanied by the Forever Shining Choir as part of the Just A Band Boxing Day Special (available athttp://bit.ly/t9neg8). Original music and lyrics by Edwin Hawkins (1967) based on an 18th century hymn. This arrangement by Just A Band. Lead vocals by Sara Mitaru. Backing vocals by the Forever Shining Choir (Blinky Bill, Diana Nduba, Jim Chuchu and Njoki Ngumi). 

Blinky Bill performing "Migingo Express" from the 82 album (2009) as part of the Just A Band Boxing Day Special (available at http://bit.ly/t9neg8). Music by Just A Band. Lead and backing vocals, harmonica by Blinky Bill.

Diana Nduba performing "Have You Seen Her?" from Just A Band's "Scratch To Reveal" album (2008) as part of the Just A Band Boxing Day Special (available at http://bit.ly/t9neg8). Music by Just A Band. Lyrics by Diana Nduba, Sara Mitaru and Just A Band. Lead vocals by Diana Nduba. Backing vocals by Diana Nduba. Additional vocals by Bill "Blinky" Sellanga and Jim Chuchu. 

Find out more about Just A Band at http://www.just-a-band.com


 

PUB: Fourth Genre: Explorations in Nonfiction

We invite you to experience Fourth Genre: Explorations in Nonfiction, a journal devoted to publishing notable, innovative work in nonfiction. Given the genre's flexibility and expansiveness, we welcome a variety of works ranging from personal essays and memoirs to literary journalism and personal criticism. The editors invite works that are lyrical, self-interrogative, meditative, and reflective, as well as expository, analytical, exploratory, or whimsical. In short, we encourage submissions across the full spectrum of the genre. The journal encourages a writer-to-reader conversation, one that explores the markers and boundaries of literary/creative nonfiction.

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2012 Fourth Genre Michael Steinberg Prize for Nonfiction

 

·         A prize of $1,000 and publication in Fourth Genre is given annually for an essay.

 

·         All finalists are considered for publication.

 

·         Submit an essay of up to 6,000 words with a $20 entry fee between January 1 and February 28. 

 

·         Marcia Aldrich will judge 2012 contest.

 

Send submissions to: 
Fourth Genre Michael Steinberg Essay Prize 
235 Bessey Hall 
Dept. of Writing, Rhetoric & American Cultures 
Michigan State University 
East Lansing, MI 48824-1033 

 

 

 

 

For more information, or to view past winners, visit the Fourth Genre Michael Steinberg Essay Prize page.

 


 

Fourth Genre would like to thank outgoing senior editor Marcia Aldrich for her extraordinary contributions to the journal, to the work of nonfiction, and to the field. Her support of writers and her unflagging commitment to the very highest quality of writing are unequaled.

 



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