Dance Nationals Quotes

Here is a lesson in creative writing. First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you've been to college. And I realize some of you may be having trouble deciding whether I am kidding or not. So from now on I will tell you when I'm kidding. For instance, join the National Guard or the Marines and teach democracy. I'm kidding. We are about to be attacked by Al Qaeda. Wave flags if you have them. That always seems to scare them away. I'm kidding. If you want to really hurt your parents, and you don't have the nerve to be gay, the least you can do is go into the arts. I'm not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You will have created something.

Most people write me off when they see me. They do not know my story. They say I am just an African. They judge me before they get to know me. What they do not know is The pride I have in the blood that runs through my veins; The pride I have in my rich culture and the history of my people; The pride I have in my strong family ties and the deep connection to my community; The pride I have in the African music, African art, and African dance; The pride I have in my name and the meaning behind it. Just as my name has meaning, I too will live my life with meaning. So you think I am nothing? Don’t worry about what I am now, For what I will be, I am gradually becoming. I will raise my head high wherever I go Because of my African pride, And nobody will take that away from me.

Madness is too glamorous a term to convey what happens to most people who are losing their minds. That word is too exciting, too literary, too interesting in its connotations, to convey the boredom, the slowness, the dreariness, the dampness of depression…depression is pure dullness, tedium straight up. Depression is, especially these days, an overused term to be sure, but never one associated with anything wild, anything about dancing all night with a lampshade on your head and then going home and killing yourself…The word madness allows its users to celebrate the pain of its sufferers, to forget that underneath all the acting-out and quests for fabulousness and fine poetry, there is a person in huge amounts of dull, ugly agony...Remember that when you’re at the point at which you’re doing something as desperate and violent as sticking your head in an oven, it is only because the life that preceded this act felt even worse. Think about living in depression from moment to moment, and know it is not worth any of the great art that comes as its by-product.

Because children grow up, we think a child's purpose is to grow up. But a child's purpose is to be a child. Nature doesn't disdain what lives only for a day. It pours the whole of itself into the each moment. We don't value the lily less for not being made of flint and built to last. Life's bounty is in its flow, later is too late. Where is the song when it's been sung? The dance when it's been danced? It's only we humans who want to own the future, too. We persuade ourselves that the universe is modestly employed in unfolding our destination. We note the haphazard chaos of history by the day, by the hour, but there is something wrong with the picture. Where is the unity, the meaning, of nature's highest creation? Surely those millions of little streams of accident and wilfulness have their correction in the vast underground river which, without a doubt, is carrying us to the place where we're expected! But there is no such place, that's why it's called utopia. The death of a child has no more meaning than the death of armies, of nations. Was the child happy while he lived? That is a proper question, the only question. If we can't arrange our own happiness, it's a conceit beyond vulgarity to arrange the happiness of those who come after us.

Why do anything-- why wash my hair, why read Moby Dick, why fall in love, why sit through six hours of Nicholas Nickleby, why care about American intervention in Central America, why spend time trying to get into the right schools, why dance to the music when all of us are just slouching toward the same inevitable conclusion? The shortness of life, I keep saying, makes everything seem pointless when I think about the longness of death.

Ooh. Top secret angel business, huh? What’re you going to do? Dance on a pinhead? Lobby for National Cute Puppy Day?

I place my fingers upon these keys typing 2,000 dreams per minute and naked of spirit dance forth my cosmic vortex upon this crucifix called language.

The fundamentalist seeks to bring down a great deal more than buildings. Such people are against, to offer just a brief list, freedom of speech, a multi-party political system, universal adult suffrage, accountable government, Jews, homosexuals, women's rights, pluralism, secularism, short skirts, dancing, beardlessness, evolution theory, sex. There are tyrants, not Muslims. United Nations Secretary-General Kofi Annan has said that we should now define ourselves not only by what we are for but by what we are against. I would reverse that proposition, because in the present instance what we are against is a no brainer. Suicidist assassins ram wide-bodied aircraft into the World Trade Center and Pentagon and kill thousands of people: um, I'm against that. But what are we for? What will we risk our lives to defend? Can we unanimously concur that all the items in the preceding list -- yes, even the short skirts and the dancing -- are worth dying for? The fundamentalist believes that we believe in nothing. In his world-view, he has his absolute certainties, while we are sunk in sybaritic indulgences. To prove him wrong, we must first know that he is wrong. We must agree on what matters: kissing in public places, bacon sandwiches, disagreement, cutting-edge fashion, literature, generosity, water, a more equitable distribution of the world's resources, movies, music, freedom of thought, beauty, love. These will be our weapons. Not by making war but by the unafraid way we choose to live shall we defeat them. How to defeat terrorism? Don't be terrorized. Don't let fear rule your life. Even if you are scared.

A significant number of people believe tribal people still live and dress as they did 300 years ago. During my tenure as principal chief of the Cherokee Nation, national news agencies requesting interviews sometimes asked if they could film a tribal dance or if I would wear traditional tribal clothing for the interview. I doubt they asked the president of the United States to dress like a pilgrim for an interview.

I have now seen sucrose beaches and water a very bright blue. I have seen an all-red leisure suit with flared lapels. I have smelled suntan lotion spread over 2,100 pounds of hot flesh. I have been addressed as "Mon" in three different nations. I have seen 500 upscale Americans dance the Electric Slide. I have seen sunsets that looked computer-enhanced. I have (very briefly) joined a conga line.

Yes, this is the logic of the Nation. And it will never heed the voice of truth and goodness. It will go on in its ring-dance of moral corruption, linking steel unto steel, and machine unto machine; trampling under its tread all the sweet flowers of simple faith and the living ideals of man.

The music of revelation announces itself to the reader in somber brooding tones or in melodies light as air and one is invited to dance with the most captivating of partners: poetry.

The dancing vortex of a sacred metaphor clashes horns and halos to make wounded music set to the tempo of a new era in brilliant labor.

When the lyrical muse sings the creative pen dances.

What man most passionately wants is his living wholeness and his living unison, not his own isolate salvation of his "soul." Man wants his physical fulfillment first and foremost, since now, once and once only, he is in the flesh and potent. For man, the vast marvel is to be alive. For man, as for flower and beast and bird, the supreme triumph is to be most vividly, most perfectly alive. Whatever the unborn and the dead may know, they cannot know the beauty, the marvel of being alive in the flesh. The dead may look after the afterwards. But the magnificent here and now of life in the flesh is ours, and ours alone, and ours only for a time. We ought to dance with rapture that we should be alive and in the flesh, and part of the living, incarnate cosmos. I am part of the sun as my eye is part of me. That I am part of the earth my feet know perfectly, and my blood is part of the sea. My soul knows that I am part of the human race, my soul is an organic part of the great human soul, as my spirit is part of my nation. In my own very self, I am part of my family. There is nothing of me that is alone and absolute except my mind, and we shall find that the mind has no existence by itself, it is only the glitter of the sun on the surface of the waters.

I have always been fascinated by the intricate dance of power, strategy, and decision-making that unfolds within the boardroom. It is a microcosm of human interaction, where the fate of companies, communities, and sometimes even nations, is shaped.

If it were not my purpose to combine barbarian things with things Hellenic, to traverse and civilize every continent, to search out the uttermost parts of land and sea, to push the bounds of Macedonia to the farthest Ocean, and to disseminate and shower the blessings of the Hellenic justice and peace over every nation, I should not be content to sit quietly in the luxury of idle power, but I should emulate the frugality of Diogenes. But as things are, forgive me Diogenes, that I imitate Herakles, and emulate Perseus, and follow in the footsteps of Dionysos, the divine author and progenitor of my family, and desire that victorious Hellenes should dance again in India and revive the memory of the Bacchic revels among the savage mountain tribes beyond the Kaukasos…

In Russia, as I sat there day after day wearing headphones, listening to the interpreter struggle to make our words relevant, I wondered if we could establish meaningful rapport with a nation that had never seen raisins dance in dark glasses on TV...never had a garage sale.

Sometimes, two people are made for each other. They may come from opposite ends of the earth. Their nations may be sworn to destroy one another. They may be avowed enemies from the very beginning. And it doesn't matter. They belong together.

Our national love of porn and pole dancing is not the byproduct of a free and easy society with an earthy acceptance of sex. It is a desperate stab at freewheeling eroticism in a time and place characterized by intense anxiety. What are we afraid of? Everything…which includes sexual freedom and real female power.

Neither the Pilgrims nor the Indians new what they had begun. The Pilgrims called the celebration a Harvest Feast. The Indians thought of it as a Green Corn Dance. It was both and more than both. It was the first Thanksgiving. In the years that followed, President George Washington issued the first national Thanksgiving proclamation, and President Abraham Lincoln proclaimed the last Thursday in November a holiday of “thanksgiving and praise.” Today it is still a harvest festival and Green Corn Dance. Families feast with friends, give thanks and play games. Plymouth Rock did not fare as well. It has been cut in half, moved twice, dropped, split and trimmed to fit its present-day portico. It is a mere memento of its once magnificent self. Yet to Americans, Plymouth Rock is a symbol. It is larger than the mountains, wider than the prairies and stronger than all our rivers. It is the rock on which our nation began.

Germany was being run by a loudmouthed rabble-rouser, bent on baiting other nations to war and making life miserable for countless innocent citizens. And here they were, drinking champagne and dancing to Scott Joplin.

London is not a city, London is a person. Tower Bridge talks to you; National Gallery reads a poem for you; Hyde Park dances with you; Palace of Westminster plays the piano; Big Ben and St Paul’s Cathedral sing an opera! London is not a city; it is a talented artist who is ready to contact with you directly!

The only road to freedom is self-education in art. Art is not a luxury for any advanced civilization; it is a necessity, without which creative intelligence will wither and die. Even in economically troubled times, support for the arts should be a national imperative. Dance, for example, requires funding not only to secure safe, roomy rehearsal space but to preserve the indispensible continuity of the teacher-student link. American culture has become unbalanced by its obsession with the blood sport of politics, a voracious vortex consuming everything in its path. History shows that, for both individuals and nations, political power is transient. America's true legacy is its ideal of liberty, which has inspired insurgencies around the world. Politicians and partisans of both the Right and the Left must recognize that art too is a voice of liberty, requiring nurture without intrusion. Art unites the spiritual and material realms. In an age of alluring, magical machines, the society that forgets art risks losing its soul.

It is true that when single, I swiftly chased off any men whose threatened disruption of my Saturday mornings, which I set aside for breakfast on my own and a ridiculous apartment-cleaning ritual that involved dancing, I found too irritating to bear.

Wouldn't the crow, that ubiquitous trickster, make a more compelling and accurate national symbol for the United States than the bald eagle?

A myth is a hypothesis about the personality of reality itself and not the personalities of individual persons, character types, or nations.

We're hungry for a blue that will sing like a drum We're lifting our spring feet to dance this death down

The French are completely without scruples, energy or valor - the Great War castrated them and left them diminished, whiney, mistaking bickering for debate and shrillness for eloquence, they are a nation in such effete decline that Shickelgrubber, when he finally attacks them, might be dancing with the keys to Paris in his hand after a week or two of puny skirmishing.

Soon after our father arrived we went to a party in our old neighborhood and introduced him to our friends from the basement days. When a cumbia came on, he asked our mother to dance, and we watched our parents sway, finding each other’s rhythm as if they’d never fallen out of step, as if the past fifteen years were only a dance interrupted waiting for the next song to play. I wondered about the matrix of separation and dislocation, our years bound to the phantom pain of a lost homeland, because now that we are together again that particular hurt and sensation that something is missing has faded. And maybe there is no nation or citizenry; they’re just territories mapped in place of family, in place of love, the infinite country.

I’m going to kill her, and Miss Preston and the mayor. All of them. I’m going to gut them like fish and use them as shambler bait, then I’m going to burn both the school and the mayor’s house to the ground and dance upon the ashes.” “That’s good, Jane, that’s good. It’s good to have goals,” Katherine says, her voice trembling.

A vision of the Shining One swirling into our world, a monstrous, glorious flaming pillar of incarnate, eternal Evil--of people passing through its radiant embrace into that hideous, unearthly life-in-death which I had seen enfold the sacrifices--of armies trembling into dancing atoms of diamond dust beneath the green ray's rhythmic death--of cities rushing out into space upon the wings of that other demoniac force which Olaf had watched at work--of a haunted world through which the assassins of the Dweller's court stole invisible, carrying with them every passion of hell--of the rallying to the Thing of every sinister soul and of the weak and the unbalanced, mystics and carnivores of humanity alike; for well I knew that, once loosed, not any nation could hold the devil-god for long and that swiftly its blight would spread!

Annwyl: dear Iesu Mawr: great Jesus Hwyl fawr am nawr: good-bye for now Diolch i Dduw: Thank God Dw i’n dy garu di: I love you Owain Glyndŵr: a Welsh ruler, a figure of Welsh nationalism, and the last native Welshman to hold the title Prince of Wales. He lived from 1349–1416 Eistedfodd: a festival of Welsh literature, music, dancing, and acting

Carlin would like to see this: her library in use by a community of readers, an oasis in an entire nation starved for books. No, not even starved, Kelsea thought grimly. The Tearling was like a man who hadn’t eaten in so long that he didn’t even remember what it was like to be hungry anymore. The spark of an idea ignited in her mind, then danced away. Pen

Peace is a dance,” Zarrah said. “It only works when both nations dance to the same music, and without Keris, Maridrina will keep dancing to the drums of war. He needs to live!

The bullets will not go toward you. The prairie is large and the bullets will not go toward you.

Esteem for the army - never in this country regarded, in the continental manner, as a popular expression of the national will - implies a kind of innocence.

On taxi-dancing. She said the men prefer her because she is clean.

While I was dancing my ass off in arguably the best ballet company in the nation and earning my B.A. in English online my friends were marrying Billys.

Using word, dance, food and drink, each nation fosters different experiences in its members, and develops its own peculiar sensitivities.

We [Americans] became a nation of java junkies, wired from dawn to dusk intent on running faster, getting richer, dancing harder, playing longer and getting higher than anybody else.

Halfway through the second term of Franklin Roosevelt, the New Deal braintrusters began to worry about mounting popular concern over the national debt. In those days the size of the national debt was on everyone’s mind. Indeed, Franklin Roosevelt had talked himself into office, in 1932, in part by promising to hack away at a debt which, even under the frugal Mr. Hoover, the people tended to think of as grown to menacing size. Mr. Roosevelt’s wisemen worried deeply about the mounting tension ... And then, suddenly, the academic community came to the rescue. Economists across the length and breadth of the land were electrified by a theory of debt introduced in England by John Maynard Keynes. The politicians wrung their hands in gratitude. Depicting the intoxicating political consequences of Lord Keynes’s discovery, the wry cartoonist of the Washington Times Herald drew a memorable picture. In the center, sitting on a throne in front of a Maypole, was a jubilant FDR, cigarette tilted almost vertically, a grin on his face that stretched from ear to ear. Dancing about him in a circle, hands clasped together, their faces glowing with ecstasy, the braintrusters, vested in academic robes, sang the magical incantation, the great discovery of Lord Keynes: “We owe it to ourselves.” With five talismanic words, the planners had disposed of the problem of deficit spending. Anyone thenceforward who worried about an increase in the national debt was just plain ignorant of the central insight of modern economics: What do we care how much we - the government - owe so long as we owe it to ourselves? On with the spending. Tax and tax, spend and spend, elect and elect ...

Religion, with its metaphysical error of absolute guilt, dominated the broadest, the cosmic realm. From there, it infiltrated the subordinate realms of biological, social and moral existence with its errors of the absolute and inherited guilt. Humanity, split up into millions of factions, groups, nations and states, lacerated itself with mutual accusations. "The Greeks are to blame," the Romans said, and "The Romans are to blame," the Greeks said. So they warred against one another. "The ancient Jewish priests are to blame," the early Christians shouted. "The Christians have preached the wrong Messiah," the Jews shouted and crucified the harmless Jesus. "The Muslims and Turks and Huns are guilty," the crusaders screamed. "The witches and heretics are to blame," the later Christians howled for centuries, murdering, hanging, torturing and burning heretics. It remains to investigate the sources from which the Jesus legend derives its grandeur, emotional power and perseverance. Let us continue to stay outside this St. Vitus dance. The longer we look around, the crazier it seems. Hundreds of minor patriarchs, self-proclaimed kings and princes, accused one another of this or that sin and made war, scorched the land, brought famine and epidemics to the populations. Later, this became known as "history." And the historians did not doubt the rationality of this history. Gradually the common people appeared on the scene. "The Queen is to blame," the people's representatives shouted, and beheaded the Queen. Howling, the populace danced around the guillotine. From the ranks of the people arose Napoleon. "The Austrians, the Prussians, the Russians are to blame," it was now said. "Napoleon is to blame," came the reply. "The machines are to blame!" the weavers screamed, and "The lumpenproletariat is to blame," sounded back. "The Monarchy is to blame, long live the Constitution!" the burgers shouted. "The middle classes and the Constitution are to blame; wipe them out; long live the Dictatorship of the Proletariat," the proletarian dictators shout, and "The Russians are to blame," is hurled back. "Germany is to blame," the Japanese and the Italians shouted in 1915. "England is to blame," the fathers of the proletarians shouted in 1939. And "Germany is to blame," the self-same fathers shouted in 1942. "Italy, Germany and Japan are to blame," it was said in 1940. It is only by keeping strictly outside this inferno that one can be amazed that the human animal continues to shriek "Guilty!" without doubting its own sanity, without even once asking about the origin of this guilt. Such mass psychoses have an origin and a function. Only human beings who are forced to hide something catastrophic are capable of erring so consistently and punishing so relentlessly any attempt at clarifying such errors.

CAN I BE PUERTO RICAN? If I was born in Brooklyn? If I’ve never been to Puerto Rico? If I mix my English with my Spanish? If I cop quenepas from the Chino spot? If I don’t know the Boricua national anthem? If I can’t name our national heroes? Can I be Puerto Rican? If the closest I’ve come to the beach is la pompa? If I can’t dance salsa? If all I got is a feeling? Can I be Puerto Rican? If all I got is a feeling?

Depression is, especially these days, an overused term to be sure, but never one associated with anything wild, anything about dancing all night with a lampshade on your head and then going home and killing yourself.

So you make a deal with the gods. You do these dances and they'll send rain and good crops and the whole works? And nothing bad will ever happen. Right.'… "'No, it's not like that. It's not making a deal, bad things can still happen, but you want to try not to CAUSE them to happen. It has to do with keeping things in balance…. Really, it's like the spirits have made a deal with US…. We're on our own. The spirits have been good enough to let us live here and use the utilities, and we're saying: We know how nice you're being. We appreciate the rain, we appreciate the sun, we appreciate the deer we took. Sorry if we messed up anything. You've gone to a lot of trouble, and we'll try to be good guests.'… "'Like a note you'd send somebody after you stayed in their house?' "'Exactly like that. "Thanks for letting me sleep on your couch. I took some beer out of the refrigerator, and I broke a coffee cup. Sorry, I hope it wasn't your favorite one."'… "It's a good idea,' I said. 'Especially since we're still here sleeping on God's couch. We're permanent houseguests.' "'Yep, we are. Better remember how to put everything back how we found it.' It was a new angle on religion, for me. I felt a little embarrassed for my blunt interrogation. And the more I thought about it, even more embarrassed for my bluntly utilitarian culture. 'The way they tell it to us Anglos, God put the earth here for us to use, westward-ho. Like a special little playground.' "Loyd said, 'Well, that explains a lot.'… "'But where do you go when you've pissed in every corner of your playground?'... "To people who think of themselves as God's houseguests, American enterprise must seem arrogant beyond belief. Or stupid. A nation of amnesiacs, proceeding as if there were no other day but today. Assuming the land could also forget what had been done to it.

Cade: Why are you texting me from the same table? Beau: Because you’re too terrifying to talk to. Cade: I hope our nation’s enemies don’t find out what a pussy you are. Beau: That’s rude. I think I’ll go dance with the nanny. She seems nice. Beau: Yikes. Is that face special for me? Wanna go outside and blow off some steam like when we were kids? Cade: No. You act like a chucklehead, but you know how to kill people with your bare hands. I’m not dumb enough to fight you.

Curiously, while drone operators are perhaps the safest of all combat troops physically, they have among the highest rates of depression and post-traumatic stress in the military and national security services. Sitting at a video console in Colorado or New York City, killing someone six thousand miles away and then collecting the kids at gymnastics or football practice, having dinner and sitting down to watch Dancing with the Stars in your suburban den was disorienting beyond belief.

NATURAL MUSIC   The old voice of the ocean, the bird-chatter of little rivers, (Winter has given them gold for silver To stain their water and bladed green for brown to line their banks) From different throats intone one language. So I believe if we were strong enough to listen without Divisions of desire and terror To the storm of the sick nations, the rage of the hunger-smitten cities, Those voices also would be found Clean as a child’s; or like some girl’s breathing who dances alone By the ocean-shore, dreaming of lovers.3

After his initial homecoming week, after he'd been taken to a bunch of sights by his cousins, after he'd gotten somewhat used to the scorching weather and the surprise of waking up to the roosters and being called Huascar by everybody (that was his Dominican name, something else he'd forgotten), after he refused to succumb to that whisper that all long-term immigrants carry inside themselves, the whisper that says You do not belong, after he'd gone to about fifty clubs and because he couldn't dance salsa, merengue, or bachata had sat and drunk Presidentes while Lola and his cousins burned holes in the floor, after he'd explained to people a hundred times that he'd been separated from his sister at birth, after he spent a couple of quiet mornings on his own, writing, after he'd given out all his taxi money to beggars and had to call his cousin Pedro Pablo to pick him up, after he'd watched shirtless shoeless seven-year-olds fighting each other for the scraps he'd left on his plate at an outdoor cafe, after his mother took them all to dinner in the Zona Colonial and the waiters kept looking at their party askance (Watch out, Mom, Lola said, they probably think you're Haitian - La unica haitiana aqui eres tu, mi amor, she retorted), after a skeletal vieja grabbed both his hands and begged him for a penny, after his sister had said, You think that's bad, you should see the bateys, after he'd spent a day in Bani (the camp where La Inca had been raised) and he'd taken a dump in a latrine and wiped his ass with a corn cob - now that's entertainment, he wrote in his journal - after he'd gotten somewhat used to the surreal whirligig that was life in La Capital - the guaguas, the cops, the mind-boggling poverty, the Dunkin' Donuts, the beggars, the Haitians selling roasted peanuts at the intersections, the mind-boggling poverty, the asshole tourists hogging up all the beaches, the Xica de Silva novelas where homegirl got naked every five seconds that Lola and his female cousins were cracked on, the afternoon walks on the Conde, the mind-boggling poverty, the snarl of streets and rusting zinc shacks that were the barrios populares, the masses of niggers he waded through every day who ran him over if he stood still, the skinny watchmen standing in front of stores with their brokedown shotguns, the music, the raunchy jokes heard on the streets, the mind-boggling poverty, being piledrived into the corner of a concho by the combined weight of four other customers, the music, the new tunnels driving down into the bauxite earth [...]

There was hope for peace, but there will be no peace here. Not soon. There was hope for quiet, but there will be no quiet here. Not in this generation. The foundations of the home we founded are somewhat shaky, and repeating earthquakes rattle it. So what we really have in this land is an ongoing adventure. An odyssey. The Jewish state does not resemble any other nation. What this nation has to offer is not security or well-being or peace of mind. What it has to offer is the intensity of life on the edge. The adrenaline rush of living dangerously, living lustfully, living to the extreme. If a Vesuvius-like volcano were to erupt tonight and end our Pompeii, this is what it will petrify: a living people. People that have come from death and were surrounded by death but who nevertheless put up a spectacular spectacle of life. People who danced the dance of life to the very end.

The power-crazed leaders of the world would certainly be surprised to find that their military leaders and troops were only masquerading sodomites who were only too eager to meet the masquerading sodomite armies of other nations in order to have dances and balls and learn some foreign dance steps.

We are volcanoes. When we women offer our experience as our truth, as human truth, all the maps change. There are new mountains. That’s what I want—to hear you erupting. You young Mount St. Helenses who don’t know the power in you—I want to hear you. I want to listen to you talking to each other and to us all: whether you’re writing an article or a poem or a letter or teaching a class or talking with friends or reading a novel or making a speech or proposing a law or giving a judgment or singing the baby to sleep or discussing the fate of nations, I want to hear you. Speak with a woman’s tongue.

But Little Spinoza was only interested in that satchel-bellied ten-dollar billy goat. First he jumped back like insulted when the goat lift his head at him and stare. What you think this is, son? Ain't nothing but a spotted he-goat, good for nothing save to be the horse's friend. He gone urinate in you hay and shove his head in you feed bucket and race you to you eats. You don't mind out, he win too. You want that? Medicine Ed reached down and touched that peculiar armor-plate forehead of the goat between his coin-slot eyes, and shuddered. But Little Spinoza dance around and look happy and want a billy goat all his own.

It all seems pointless in light of the fact that we’re all going to die eventually. Why do anything—why wash my hair, why read Moby-Dick, why fall in love, why sit through six hours of Nicholas Nickleby, why care about American intervention in Central America, why spend time trying to get into the right schools, why dance to the music when all of us are just slouching toward the same inevitable conclusion?

There are no gods in the universe, no nations, no money, no human rights, no laws, and no justice outside the common imagination of human beings. People easily understand that ‘primitives’ cement their social order by believing in ghosts and spirits, and gathering each full moon to dance together around the campfire. What we fail to appreciate is that our modern institutions function on exactly the same basis. Take

Q. Which is my favorite country? A. The United States of America. Not because I'm chauvinistic or xenophobic, but because I believe that we alone have it all, even if not to perfection. The U.S. has the widest possible diversity of spectacular scenery and depth of natural resources; relatively clean air and water; a fascinatingly heterogeneous population living in relative harmony; safe streets; few deadly communicable diseases; a functioning democracy; a superlative Constitution; equal opportunity in most spheres of life; an increasing tolerance of different races, religions, and sexual preferences; equal justice under the law; a free and vibrant press; a world-class culture in books,films, theater, museums, dance, and popular music; the cuisines of every nation; an increasing attention to health and good diet; an abiding entrepreneurial spirit; and peace at home.

America, like England and Scotland, had never really been a gay nation. Rather it had been heavily and noisily jocular, with a substratum of worry and insecurity, in the image of its patron saint, Lincoln of the rollicking stories and the tragic heart. But at least there had been hearty greetings, man to man; there had been clamorous jazz for dancing, and the lively, slangy catcalls of young people, and the nervous blatting of tremendous traffic.

Of course one’s sense of identification with the nation is inflected by all kinds of particulars, including one’s class, race, gender, and sexual identification. … But [regarding] national character …, aside from references to a national aesthetic — literary, musical, and choreographic, there are two poles I reference: minimalist and maximalist. I love them both — the cryptic poems of Emily Dickinson folded up in tiny packets and hidden away in a box, the sparse, understated choreographies of Merce; but also the “trashy, profane and obscene” poems of Whitman and Ginsberg, [and] Martha Graham’s expressionism. I am, myself, a minimalist. But I love distortion guitar and the wild exhibitionism of so many American artists. Also, these divisions are false. Emily Dickinson, in fact, can be as trashy and obscene as the best of them! Anyway, Dickinson and Whitman are at the heart of this narrative. They are the Dancing Queen and the Guitar Hero.

Every time political leaders of the world meet in those funny events called G8 or G20, the failure of political power—their lack of grasp on the future—becomes more evident. When they met in Sapporo, Hokkaido, in July 2008, and in L’Aquila in July 2009, the powerful men and women who lead the nations were supposed to make very important decisions about the crucial subject of climate change and its effects on the planetary ecosystem. But they were completely unable to say or do anything meaningful, so they have decided that, by 2050, toxic emissions will be reduced by half. How? Why? No answer. No political or technological action has been taken, no shorter deadline has been decided upon. Such a decision is like a shaman’s ritual, like a rain dance. The complexity of the problem exceeds world politicians’ powers of knowledge and influence. The future has escaped the grasp of political technique and everything has capsized, perhaps because of speed.

I preferred movies with dancing in them, singing, ceremonial masks, carved artifacts for making music: feathers, brass buttons, conch shells, drums. I liked watching these people when they were happy, not when they were miserable, starving, emaciated, straining themselves to death over some simple thing, the digging of a well, the irrigation of land, problems the civilized na-tions had long ago solved. I thought someone should just give them the technology and let them get on with it.

Now we see again, under the blue heavens where the larks are singing in the hot April sky, why the Romans called the Etruscans vicious. Even in their palmy days the Romans were not exactly saints. But they thought they ought to be. They hated the phallus and the ark, because they wanted empire and dominion and, above all, riches: social gain. You cannot dance gaily to the double flute and at the same time conquer nations or rake in large sums of money. Delenda est Carthago. To the greedy man, everybody that is in the way of its greed is vice incarnate.

Social developments often collect such a massy inertia that years pass before a tendency shows its results. The private automobile provides a good illustration. Ford perfected the under-five-hundred-dollar automobile in the first decade of the century, but it took another seventy years for this country to find itself hostage to oil-rich nations, increasingly susceptible to respiratory and oncological diseases, unable to get from A to B except through private ownership, and every fifteen years acquiring enough highway fatalities to level the city of Houston.

He rolled and thrashed in his bed, waiting for the dancing blue shadows to come in his window, waiting for the heavy knock on his door, waiting for some bodiless, Kafkaesque voice to call: Okay, open up in there! And when he finally fell asleep he did it without knowing it, because thought continued without a break, shifting from conscious rumination to the skewed world of dreams with hardly a break, like a car going from drive to low. Even in his dreams he thought he was awake, and in his dreams he committed suicide over and over: burned himself; bludgeoned himself by standing under an anvil and pulling a rope; hanged himself; blew out the stove’s pilot lights and then turned on the oven and all four burners; shot himself; defenestrated himself; stepped in front of a moving Greyhound bus; swallowed pills; swallowed Vanish toilet bowl disinfectant; stuck a can of Glade Pine Fresh aerosol in his mouth, pushed the button, and inhaled until his head floated off into the sky like a child’s balloon; committed hara-kiri while kneeling in a confessional at St. Dom’s, confessing his self-murder to a dumbfounded young priest even as his guts accordioned out onto the bench like beef stew, performing an act of contrition in a fading, bemused voice as he lay in his blood and the steaming sausages of his intestines. But most vividly, over and over, he saw himself behind the wheel of the LTD, racing the engine a little in the closed garage, taking deep breaths and leafing through a copy of National Geographic, examining pictures of life in Tahiti and Aukland and the Mardi Gras in New Orleans, turning the pages ever more slowly, until the sound of the engine faded to a faraway sweet hum and the green waters of the South Pacific inundated him in rocking warmth and took him down to a silver fathom.

THE RECOGNITION We learn too late the useless way light leaves Footprints of its own…night, the first skin… Thick river, remember we were light thanking light, Slow music rising. Trees perhaps, or my own voice Out of tune. I danced a human claim for coyote In this gully. No strs. He slipped By us, old as breath, moving in the rushing dark Like moonlight through tamarack, Wave on wave of unknown country. Crazed, I can’t get close enough To this tumble wild and tangled miracle. Night is the first skin around me. Roberta Hill Whiteman, Oneida Nation Collected in: Sisters of the Earth: Women's Prose and Poetry About Nature by Lorraine Anderson

Psychoanalysis: An Elegy" What are you thinking about? I am thinking of an early summer. I am thinking of wet hills in the rain Pouring water. Shedding it Down empty acres of oak and manzanita Down to the old green brush tangled in the sun, Greasewood, sage, and spring mustard. Or the hot wind coming down from Santa Ana Driving the hills crazy, A fast wind with a bit of dust in it Bruising everything and making the seed sweet. Or down in the city where the peach trees Are awkward as young horses, And there are kites caught on the wires Up above the street lamps, And the storm drains are all choked with dead branches. What are you thinking? I think that I would like to write a poem that is slow as a summer As slow getting started As 4th of July somewhere around the middle of the second stanza After a lot of unusual rain California seems long in the summer. I would like to write a poem as long as California And as slow as a summer. Do you get me, Doctor? It would have to be as slow As the very tip of summer. As slow as the summer seems On a hot day drinking beer outside Riverside Or standing in the middle of a white-hot road Between Bakersfield and Hell Waiting for Santa Claus. What are you thinking now? I’m thinking that she is very much like California. When she is still her dress is like a roadmap. Highways Traveling up and down her skin Long empty highways With the moon chasing jackrabbits across them On hot summer nights. I am thinking that her body could be California And I a rich Eastern tourist Lost somewhere between Hell and Texas Looking at a map of a long, wet, dancing California That I have never seen. Send me some penny picture-postcards, lady, Send them. One of each breast photographed looking Like curious national monuments, One of your body sweeping like a three-lane highway Twenty-seven miles from a night’s lodging In the world’s oldest hotel. What are you thinking? I am thinking of how many times this poem Will be repeated. How many summers Will torture California Until the damned maps burn Until the mad cartographer Falls to the ground and possesses The sweet thick earth from which he has been hiding. What are you thinking now? I am thinking that a poem could go on forever.

Yet none of these things [laws, justice, human rights, money] exists outside the stories that people invent and tell one another. There are no gods in the universe, no nations, no money, no human rights, no laws and no justice outside the common imagination of human beings. People easily understand that 'primitives' cement their social order by believing in ghosts and spirits, and gathering each full moon to dance together around the campfire. What we fail to appreciate is that our modern institutions function on exactly the same basis. Take for example the world of business corporations. Modern business-people and lawyers are, in fact, powerful sorcerers. The principal difference between them and tribal shamans is that modern lawyers tell far stranger stories.

In the film Death and the Maiden, there is a point during which Sigourney Weaver has duct-taped Ben Kingsley to a chair in her living room. The characters are re-enacting a reverse torture scene. To move the plot of a woman tortured toward its desire: to torture the torturer. To extract a confession. The chair is a prop. A prop is a stage object that supports the drama. If the audience suspends their disbelief the chair transforms itself in time and space. If the audience is left unconvinced the chair is silly and imaginable in anyone’s living room. In the film Romeo is Bleeding Lena Olin sits in a chair and spreads her legs so that her cunt can be seen/scene. Her nationality keeps slipping; she is what we want her to be in a million ways. Her severed arm our severed arms. Her mouth opening like a country. In the film Exotica Atom Egoyan has the male lead (primary actor, financial draw) sit in a chair immobile while a child-stripper dances excruciatingly close to his body. His hands on his thighs. His mouth open. His mind seated. Torture. In the film Barbarella Jane Fonda is trapped inside of a science fiction sexual orgasm chair. This is before her politics come. In the film Breaker Morant two men mutated soldiers lost are executed—shot through the chest—while seated in chairs. In my kitchen I jack my father off while he sits in a chair, my hand smally domestic, the back of the chair holding his back, the legs of the chair forgiving his weight, the wood of the chair blonde, the hair of the girl blonde, the room magnified to cinematic proportions.

I wonder, sometimes, if the Continentals were like shoals of fish, & the slightest flick of one fish caused dozens of others to follow suit, until the entire shimmering cloud had changed course. And were the Divinities the sum of this cloud? An embodiment, perhaps, of a national subconscious? Or were they empowered by the thoughts & praises of millions of people, yet also yoked to every one of those thoughts – giant, terrible puppets forced to dance by the strings of millions of puppeteers. This knowledge, I think, is incredibly dangerous. The Continentals derive so much pride & so much power from having Divine approval … but were they merely hearing the echoes of their own voices, magnified through strange caverns & tunnels? When they spoke to the Divinities, were they speaking to giant reflections of themselves?

There have been Fulani empires even though the people are mostly nomadic herders who have always seen the region as an entity in which they roam and not divided into nation states requiring pieces of paper to move from one place to another. That they once ruled the area is a fact deeply embedded in their collective memory; the Macina Empire (1818–62) is considered a golden age. The empire was centred on parts of what is now Mali and stretched hundreds of kilometres east and west. Its capital was Hamdullahi (from the Arabic ‘Praise to God’), which speaks of the strict Sunni Islam religious beliefs of the Fulani whose leaders banned dancing, music, smoking and alcohol. The Fulani were among the first Africans to embrace Islam. Hamdullahi alone garrisoned over 10,000 soldiers, with thousands more in regional outposts such as Timbuktu.

The capitalist who does no useful work has the economic power to take from a thousand or ten thousand workingmen all they produce, over and above what is required to keep them in working and producing order, and he becomes a millionaire, perhaps a multi-millionaire. He lives in a palace in which there is music and singing and dancing and the luxuries of all climes. He sails the high seas in his private yacht. He is the reputed “captain of industry” who privately owns a social utility, has great economic power, and commands the political power of the nation to protect his economic interests. He is the gentleman who furnishes the “political boss” and his swarm of mercenaries with the funds with which the politics of the nation are corrupted and debauched. He is the economic master and the political ruler and you workingmen are almost as completely at his mercy as if you were his property under the law.

The independence movements in the colonies and protectorates came into being, not through return to indigenous values on the part of those concerned, but through the absorption of occidental ideas and ideologies, liberal or revolutionary as the case might be. The process of modernization - a euphemism for Westernization - far from being halted by this withdrawal, was in fact accelerated. The enthusiasm of the new rulers for everything 'modern' was not restrained, as had been the enthusiasm of their former masters, by any element of self-doubt. The irony implicit in this whole situation was tragically apparent in the Vietnam war, when the people of that country fought, not to preserve their own traditions or to gain the right to be truly themselves, but under the banner of a shoddy occidental ideology and for the privilege of imitating their former masters in terms of nationalism and socialism. The west was at war with its own mirror image in a vicious dance of death.

Taki As a prolific author and journalist, Taki has written for many top-rated publications, including the Spectator, the London Sunday Times, Vanity Fair, National Review, and many others. Greek-born and American-educated, Taki is a well-known international personality and a respected social critic all over the world. In June 1987, I was an usher at the wedding of Harry Somerset, Marquis of Worcester, to Tracy Ward. The wedding and ensuing ball took place in the grand Ward country house, attended by a large portion of British society, including the Prince and Princess of Wales. Late in the evening, while I was in my cups, a friend, Nicky Haslam, grabbed my arm and introduced me to Diana, who was coming off the dance floor. We exchanged pleasantries, me slurring my words to the extent that she suddenly took my hand, looked at me straight in the face, and articulated, “T-a-k-e y-o-u-r t-i-m-e.” She mistook my drunken state for a severe speech impediment and went into her queen-of-hearts routine. Nicky, of course, ruined it all by pulling her away and saying, “Oh, let him be, ma’am; he’s drunk as usual.

In contrast to laisser-aller, every system of morals is a sort of tyranny against "nature" and also against "reason", that is, however, no objection, unless one should again decree by some system of morals, that all kinds of tyranny and unreasonableness are unlawful What is essential and invaluable in every system of morals, is that it is a long constraint. In order to understand Stoicism, or Port Royal, or Puritanism, one should remember the constraint under which every language has attained to strength and freedom—the metrical constraint, the tyranny of rhyme and rhythm. How much trouble have the poets and orators of every nation given themselves!—not excepting some of the prose writers of today, in whose ear dwells an inexorable conscientiousness—"for the sake of a folly," as utilitarian bunglers say, and thereby deem themselves wise—"from submission to arbitrary laws," as the anarchists say, and thereby fancy themselves "free," even free-spirited. The singular fact remains, however, that everything of the nature of freedom, elegance, boldness, dance, and masterly certainty, which exists or has existed, whether it be in thought itself, or in administration, or in speaking and persuading, in art just as in conduct, has only developed by means of the tyranny of such arbitrary law, and in all seriousness, it is not at all improbable that precisely this is "nature" and "natural"—and not laisser-aller! Every artist knows how different from the state of letting himself go, is his "most natural" condition, the free arranging, locating, disposing, and constructing in the moments of "inspiration"—and how strictly and delicately he then obeys a thousand laws, which, by their very rigidness and precision, defy all formulation by means of ideas (even the most stable idea has, in comparison therewith, something floating, manifold, and ambiguous in it). The essential thing "in heaven and in earth" is, apparently (to repeat it once more), that there should be long OBEDIENCE in the same direction, there thereby results, and has always resulted in the long run, something which has made life worth living; for instance, virtue, art, music, dancing, reason, spirituality—anything whatever that is transfiguring, refined, foolish, or divine.

I like rainbows. We came back down to the meadow near the steaming terrace and sat in the river, just where one of the bigger hot streams poured into the cold water of the Ferris Fork. It is illegal – not to say suicidal – to bathe in any of the thermal features of the park. But when those features empty into the river, at what is called a hot pot, swimming and soaking are perfectly acceptable. So we were soaking off our long walk, talking about our favorite waterfalls, and discussing rainbows when it occurred to us that the moon was full. There wasn’t a hint of foul weather. And if you had a clear sky and a waterfall facing in just the right direction… Over the course of a couple of days we hked back down the canyon to the Boundary Creek Trail and followed it to Dunanda Falls, which is only about eight miles from the ranger station at the entrance to the park. Dunanda is a 150-foot-high plunge facing generally south, so that in the afternoons reliable rainbows dance over the rocks at its base. It is the archetype of all western waterfalls. Dunenda is an Indian name; in Shoshone it means “straight down,” which is a pretty good description of the plunge. ... …We had to walk three miles back toward the ranger station and our assigned campsite. We planned to set up our tents, eat, hang our food, and walk back to Dunanda Falls in the dark, using headlamps. We could be there by ten or eleven. At that time the full moon would clear the east ridge of the downriver canyon and would be shining directly on the fall. Walking at night is never a happy proposition, and this particular evening stroll involved five stream crossings, mostly on old logs, and took a lot longer than we’d anticipated. Still, we beat the moon to the fall. Most of us took up residence in one or another of the hot pots. Presently the moon, like a floodlight, rose over the canyon rim. The falling water took on a silver tinge, and the rock wall, which had looked gold under the sun, was now a slick black so the contrast of water and rock was incomparably stark. The pools below the lip of the fall were glowing, as from within, with a pale blue light. And then it started at the base of the fall: just a diagonal line in the spray that ran from the lower east to the upper west side of the wall. “It’s going to happen,” I told Kara, who was sitting beside me in one of the hot pots. Where falling water hit the rock at the base of the fall and exploded upward in vapor, the light was very bright. It concentrated itself in a shining ball. The diagonal line was above and slowly began to bend until, in the fullness of time (ten minutes, maybe), it formed a perfectly symmetrical bow, shining silver blue under the moon. The color was vaguely electrical. Kara said she could see colors in the moonbow, and when I looked very hard, I thought I could make out a faint line of reddish orange above, and some deep violet at the bottom. Both colors were very pale, flickering, like bad florescent light. In any case, it was exhilarating, the experience of a lifetime: an entirely perfect moonbow, silver and iridescent, all shining and spectral there at the base of Dunanda Falls. The hot pot itself was a luxury, and I considered myself a pretty swell fellow, doing all this for the sanity of city dwellers, who need such things more than anyone else. I even thought of naming the moonbow: Cahill’s Luminescence. Something like that. Otherwise, someone else might take credit for it.

Sarjomdih, which for about sixty years was another nondescript dot on a map. That part of the Chhotanagpur area which is now formally known as the Purbi Singbhum district. Sarjomdih, where most of the population is Santhal and the rest are Munda; all of them are followers of Sarna, the aboriginal faith of the Chhotanagpur area. Saijomdih, which stands atop the mineral-rich core of the Indian subcontinent. Sarjomdih, outside whose southern frontiers a mine and a copper factory were established, where the Copper Town sprang up, and which was now gradually threatening to swallow all of Sarjomdih. Sarjomdih, which bore the repercussions of development, the nationalization of the mine and the factory, the opening up of two more quarries, and the confiscation of the villagers' properties so roads and living quarters could be built. Sarjomdih, whose men were given jobs as unskilled laborers in the mines and the factory in return for their fecund land. Sarjomdih, which is a standing testimony to the collapse of an agrarian Adivasi society and the dilution of Adivasi culture, the twin gifts of industrialization and progress. Sarjomdih, which within sixty years acquired all the signs of urbanity, just like the Copper Town: concrete houses; cable television; two-wheelers; a hand-pump; a narrow, winding tarmac that everyone called the 'main road'; and a primary school...

The Lord Gives Victory See, God has come to save me. I will trust in him and not be afraid. The LORD GOD is my strength and my song; he has given me victory.” ISAIAH 12:2 NLT The first time we see the phrase “the Lord is my strength and my song” is in the book of Exodus in the song Miriam and the women danced to as Moses and Miriam and the children of Israel sang. The reason for their rejoicing was their deliverance from Pharaoh and his army. When the Israelites left Egypt, they came to the Red Sea. They realized the army of Egypt had followed them. Then the Lord opened the Red Sea, and the Israelites crossed on dry land. The Egyptians followed. But once the last Israelite was safe on the other side, the Lord closed the waters over the Egyptians who had followed them. It was a great deliverance, and the people celebrated. Later, Isaiah not only predicted God’s judgment on the people of Israel because of their sin and desire to go their own way, he also predicted that God would send salvation and deliverance once their time of judgment was complete. As God had delivered the nation of Israel in ancient times, so would He deliver His people in the future. All would know His name; all would trust Him and not be afraid; all would find strength in praise and rejoicing. And therein lies true victory. Father, faith in You brings victory in the battle against sin. May we sing praises to You for Your salvation.

Before the assassination of President John F. Kennedy, the very word conspiracy was seldom used by most Americans. The JFK assassination was the seminal national event in the lives of the Baby Boomer generation. We’ve heard all the clichés about the loss of our innocence, and the beginning of public distrust in our government’s leaders, being born with the events of November 22, 1963, but there’s a good deal of truth in that. President Kennedy tapped into our innate idealism and inspired a great many people, especially the young, like no president ever had before. John F. Kennedy was vastly different from most of our elected presidents. He was the first president to refuse a salary. He never attended a Bilderberg meeting. He was the first Catholic to sit in the Oval Office, and he almost certainly wasn’t related to numerous other presidents and/or the royal family of England, as is often the case. He was a genuine war hero, having tugged an injured man more than three miles using only a life preserver’s strap between his teeth, after the Japanese had destroyed the boat he commanded, PT-109. This selfless act seems even more courageous when one takes into account Kennedy’s recurring health problems and chronic bad back. He was an intellectual and an accomplished author who wrote many of his memorable speeches. He would never have been invited to dance naked with other powerful men and worship a giant owl, as so many of our leaders do every summer at Bohemian Grove in California.

Every July, when Eli was growing up, his mother would close the cabin and move the family to the Sun Dance. Eli would help the other men set up the tepee, and then he and Norma and Camelot would run with the kids in the camp. They would ride horses and chase each other across the prairies, their freedom interrupted only by the ceremonies. Best of all, Eli liked the men’s dancing. The women would dance for four days, and then there would be a day of rest and the men would begin. Each afternoon, toward evening, the men would dance, and just before the sun set, one of the dancers would pick up a rifle and lead the other men to the edge of the camp, where the children waited. Eli and the rest of the children would stand in a pack and wave pieces of scrap paper at the dancers as the men attacked and fell back, surged forward and retreated, until finally, after several of these mock forays, the lead dancer would breach the fortress of children and fire the rifle, and all the children would fall down in a heap, laughing, full of fear and pleasure, the pieces of paper scattering across the land. Then the dancers would gather up the food that was piled around the flagpole—bread, macaroni, canned soup, sardines, coffee—and pass it out to the people. Later, after the camp settled in, Eli and Norma and Camelot would lie on their backs and watch the stars as they appeared among the tepee poles through the opening in the top of the tent. And each morning, because the sun returned and the people remembered, it would begin again.

North American LGBT activists, wedded to epistemologies of the closet, often implicitly or explicitly equate this culture of semivisibility with the Global South’s lack of progress. In Sirena Selena, the Puerto Rican novelist Mayra Santos-Febres parodies the North’s conflation of “developing” nations’ electrical power outages and their lack of sexual enlightenment through the words of a Canadian tourist in Santo Domingo. He sighs, “I don’t want to criticize, you know — with all the problems these islands have, it’s understandable that they’re less evolved. . . . You can’t compare our problems with the atrocities a gay man has to face in these countries. . . . It’s all hanky-panky in the dark, like in the fifties in Canada.”5 But the “dark” or semivisibility of Caribbean same-sex sexuality can be something other than a blackout. It can also read as the “tender and beautiful” night that Ida Faubert imagines in “Tropical Night,” a space of alternative vision that nurtures both eroticism and resistance. The tactically obscured has been crucial to Caribbean and North American slave societies, in which dances, ceremonies, sexual encounters, abortions, and slave revolts all took place under the cover of night. Calling on this different understanding of the half seen, Édouard Glissant exhorts scholars engaging Caribbean cultures to leave behind desires for transparency and instead approach with respect for opacity: a mode of seeing in which the difference of the other is neither completely visible nor completely hidden, neither overexposed nor erased.6 The difference that Glissant asks us to (half ) look at is certainly not that of sexuality (since it is never mentioned) nor of gender (since he includes in his work a diatribe against feminism).

Let the nations be glad and sing for joy…. —Psalm 67:4 (KJV) My wife was poring over a map of Europe. “Look, Danny. My homeland is a tiny little country. I had no idea it was so small.” “I know, you could put maybe half a dozen Irelands inside the state of Texas.” It may be small, but Ireland has made a huge impression on the world. More than a dozen US presidents and some thirty-four million Americans trace their roots to Ireland, including my own auburn bride. Officially, Saint Patrick’s Day honors the missionary who came to Ireland about 1,600 years ago. There he started hundreds of churches and baptized thousands, thus raising the moral profile of Ireland. But most of his life is a mystery and forgotten. Unofficially, Saint Patrick’s Day is everybody’s opportunity to be Irish for a day, regardless of religion or nationality. By the simple act of wearing green, I can be lucky or bonny or practice a bit of blarney. In short, I can be happy for a day. There are many ways to celebrate the day. Some daring types dye their hair green or wear shamrock tattoos. Others march in parades or attend Irish festivals, where they dance an Irish jig or enjoy an Irish stew. More serious types demonstrate for green causes or go to spiritual retreats, where they pray for missionaries. Yes, I will wear green today, so I don’t get pinched. And I will listen to some fine Irish music, starting with my favorite, “Danny Boy.” I will also pray for some of my former students who are currently missionaries in Ireland. Most of all, I will try to be happy for the day. That’s what it’s really all about, isn’t it? And if I can be happy for one day, why not every day? There is much to be happy about, God. Help me find a reason to sing with joy every day. —Daniel Schantz Digging Deeper: Ps 16:9; Is 55:12

My sisters and I giggled at “Dance: Ten; Looks: Three” (“Tits and ass / bought myself a fancy pair / tightened up the derriere”) while our parents sat in the front of the car—my father at the wheel, my mom in the passenger seat—both distracted and nonplussed. We flipped through the Jacqueline Susann and Harold Robbins hardbacks in my grandmother’s bookshelf and watched The Exorcist on the Z Channel (the country’s first pay-cable network that premiered in LA in the mid-’70s) after our parents sternly told us not to watch it, but of course we did anyway and got properly freaked out. We saw skits about people doing cocaine on Saturday Night Live, and we were drawn to the allure of disco culture and unironic horror movies. We consumed all of this and none of it ever triggered us—we were never wounded because the darkness and the bad mood of the era was everywhere, and when pessimism was the national language, a badge of hipness and cool. Everything was a scam and everybody was corrupt and we were all being raised on a diet of grit. One could argue that this fucked us all up, or maybe, from another angle, it made us stronger. Looking back almost forty years later, it probably made each of us less of a wuss. Yes, we were sixth and seventh graders dealing with a society where no parental filters existed. Tube8.com was not within our reach, fisting videos were not available on our phones, nor were Fifty Shades of Grey or gangster rap or violent video games, and terrorism hadn’t yet reached our shores, but we were children wandering through a world made almost solely for adults. No one cared what we watched or didn’t, how we felt or what we wanted, and we hadn’t yet become enthralled by the cult of victimization. It was, by comparison to what’s now acceptable when children are coddled into helplessness, an age of innocence.

The Unknown Soldier A tale to tell in bloody rhyme, A story to last ’til the dawn of end’s time. Of a loving boy who left dear home, To bear his countries burdens; her honor to sow. –A common boy, I say, who left kith and kin, To battle der Kaiser and all that was therein. The Arsenal of Democracy was his kind, –To make the world safe–was their call and chime. Trained he thus in the far army camps, Drilled he often in the march and stamp. Laughed he did with new found friends, Lived they together for the noble end. Greyish mottled images clipp’ed and hack´ed– Black and white broke drum Ʀ…ɧ..λ..t…ʮ..m..ȿ —marching armies off to ’ttack. Images scratched, chopped, theatrical exaggerate, Confetti parades, shouts of high praise To where hell would sup and partake with all bon hope as the transport do them take Faded icons board the ship– To steel them away collaged together –joined in spirit and hip. Timeworn humanity of once what was To broker peace in eagles and doves. Mortal clay in the earth but to grapple and smite As warbirds ironed soar in heaven’s light. All called all forward to divinities’ kept date, Heroes all–all aces and fates. Paris–Used to sing and play at some cards, A common Joe everybody knew from own heart. He could have been called ‘the kid’ by the ‘old man,’ But a common private now taking orders to stand. Receiving letters from his shy sweet one, Read them over and over until they faded to none. Trained like hell with his Commander-in-Arms, –To avoid the dangers of a most bloody harm. Aye, this boy was mortal, true enough said, He could be one of thousands alive but now surely dead. How he sang and cried and ate the gruel of rations, And grumbled as soldiers do at war’s great contagions. Out–out to the battle this young did go, To become a man; the world to show. (An ocean away his mother cried so– To return her boy safe as far as the heavens go). Lay he down in trenched hole, With balls bursting overhead upon the knoll. Listened hardnfast to the “Sarge” bearing the news, —“We’re going over soon—” was all he knew. The whistle blew; up and over they went, Charging the Hun, his life to be spent (“Avoid the gas boys that’ll blister yer arse!!”). Running through wires razored and deadened trees, Fell he into a gouge to find in shelter of need (They say he bayoneted one just as he–, face to face in War’s Dance of trialed humanity). A nameless sonnuvabitch shell then did untimely RiiiiiiiP the field asunder in burrrstzʑ–and he tripped. And on the field of battle’s blood did he die, Faceless in a puddle as blurrs of ghosting men shrieked as they were fleeing by–. Perished he alone in the no man’s land, Surrounded by an army of his brother’s teeming bands . . . And a world away a mother sighed, Listened to the rain and lay down and cried. . . . Today lays the grave somber and white, Guarded decades long in both the dark and the light. Silent sentinels watch o’er and with him do walk, Speak they neither; their duty talks. Lone, stark sentries perform the unsmiling task, –Guarding this one dead–at the nation’s bequest. Cared over day and night in both rain or sun, Present changing of the guard and their duty is done (The changing of the guard ’tis poetry motioned A Nation defining itself–telling of rifles twirl-clicking under the intensest of devotions). This poem–of The Unknown, taken thus, Is rend eternal by Divinity’s Iron Trust. How he, a common soldier, gained the estate Of bearing his countries glory unto his unknown fate. Here rests in honored glory a warrior known but to God, Now rests he in peace from the conflict path he trod. He is our friend, our family, brother, our mother’s son –belongs he to us all, For he has stood in our place–heeding God’s final call.

The chorus of criticism culminated in a May 27 White House press conference that had me fielding tough questions on the oil spill for about an hour. I methodically listed everything we'd done since the Deepwater had exploded, and I described the technical intricacies of the various strategies being employed to cap the well. I acknowledged problems with MMS, as well as my own excessive confidence in the ability of companies like BP to safeguard against risk. I announced the formation of a national commission to review the disaster and figure out how such accidents could be prevented in the future, and I reemphasized the need for a long-term response that would make America less reliant on dirty fossil fuels. Reading the transcript now, a decade later, I'm struck by how calm and cogent I sound. Maybe I'm surprised because the transcript doesn't register what I remember feeling at the time or come close to capturing what I really wanted to say before the assembled White House press corps: That MMS wasn't fully equipped to do its job, in large part because for the past thirty years a big chunk of American voters had bought into the Republican idea that government was the problem and that business always knew better, and had elected leaders who made it their mission to gut environmental regulations, starve agency budgets, denigrate civil servants, and allow industrial polluters do whatever the hell they wanted to do. That the government didn't have better technology than BP did to quickly plug the hole because it would be expensive to have such technology on hand, and we Americans didn't like paying higher taxes - especially when it was to prepare for problems that hadn't happened yet. That it was hard to take seriously any criticism from a character like Bobby Jindal, who'd done Big Oil's bidding throughout his career and would go on to support an oil industry lawsuit trying to get a federal court to lift our temporary drilling moratorium; and that if he and other Gulf-elected officials were truly concerned about the well-being of their constituents, they'd be urging their party to stop denying the effects of climate change, since it was precisely the people of the Gulf who were the most likely to lose homes or jobs as a result of rising global temperatures. And that the only way to truly guarantee that we didn't have another catastrophic oil spill in the future was to stop drilling entirely; but that wasn't going to happen because at the end of the day we Americans loved our cheap gas and big cars more than we cared about the environment, except when a complete disaster was staring us in the face; and in the absence of such a disaster, the media rarely covered efforts to shift America off fossil fuels or pass climate legislation, since actually educating the public on long-term energy policy would be boring and bad for ratings; and the one thing I could be certain of was that for all the outrage being expressed at the moment about wetlands and sea turtles and pelicans, what the majority of us were really interested in was having the problem go away, for me to clean up yet one more mess decades in the making with some quick and easy fix, so that we could all go back to our carbon-spewing, energy-wasting ways without having to feel guilty about it. I didn't say any of that. Instead I somberly took responsibility and said it was my job to "get this fixed." Afterward, I scolded my press team, suggesting that if they'd done better work telling the story of everything we were doing to clean up the spill, I wouldn't have had to tap-dance for an hour while getting the crap kicked out of me. My press folks looked wounded. Sitting alone in the Treaty Room later that night, I felt bad about what I had said, knowing I'd misdirected my anger and frustration. It was those damned plumes of oil that I really wanted to curse out.

THE DEMANDS MADE by a work of this nature upon the generosity of specialists are very numerous, and the Editor would be wanting in all title to the generous treatment he has received were he not willing to make the fullest possible acknowledgment of his indebtedness. His thanks are due in the first place to the scholarly and accomplished Bahadur Shah, baggage elephant 174 on the Indian Register, who, with his amiable sister Pudmini, most courteously supplied the history of ‘Toomai of the Elephants’ and much of the information contained in ‘Servants of the Queen’. The adventures of Mowgli were collected at various times and in various places from a multitude of informants, most of whom desire to preserve the strictest anonymity. Yet, at this distance, the Editor feels at liberty to thank a Hindu gentleman of the old rock, an esteemed resident of the upper slopes of Jakko, for his convincing if somewhat caustic estimate of the national characteristics of his caste–the Presbytes. Sahi, a savant of infinite research and industry, a member of the recently disbanded Seeonee Pack, and an artist well known at most of the local fairs of Southern India, where his muzzled dance with his master attracts the youth, beauty, and culture of many villages, have contributed most valuable data on people, manners, and customs. These have been freely drawn upon, in the stories of ‘Tiger-Tiger!’ ‘Kaa’s Hunting’, and ‘Mowgli’s Brothers’. For the outlines of ‘Rikki-tikki-tavi’ the Editor stands indebted to one of the leading herpetologists of Upper India, a fearless and independent investigator who, resolving ‘not to live but know’, lately sacrificed his life through over-application to the study of our Eastern Thanatophidia. A happy accident of travel enabled the Editor, when a passenger on the Empress of India, to be of some slight assistance to a fellow-voyager. How richly his poor services were repaid, readers of the ‘White Seal’ may judge for themselves.

CAN WE TRUST ANYTHING THE NEW YORK TIMES SAYS ABOUT IMMIGRATION? In 2008, the world’s richest man, Carlos Slim Helu, saved the Times from bankruptcy. When that guy saves your company, you dance to his tune. So it’s worth mentioning that Slim’s fortune depends on tens of millions of Mexicans living in the United States, preferably illegally. That is, unless the Times is some bizarre exception to the normal pattern of corruption—which you can read about at this very minute in the Times. If a tobacco company owned Fox News, would we believe their reports on the dangers of smoking? (Guess what else Slim owns? A tobacco company!) The Times impugns David and Charles Koch for funneling “secret cash” into a “right-wing political zeppelin.”1 The Kochs’ funding of Americans for Prosperity is hardly “secret.” What most people think of as “secret cash” is more like Carlos Slim’s purchase of favorable editorial opinion in the Newspaper of Record. It would be fun to have a “Sugar Daddy–Off” with the New York Times: Whose Sugar Daddy Is More Loathsome? The Koch Brothers? The Olin Foundation? Monsanto? Halliburton? Every time, Carlos Slim would win by a landslide. Normally, Slim is the kind of businessman the Times—along with every other sentient human being—would find repugnant. Frequently listed as the richest man in the world, Slim acquired his fortune through a corrupt inside deal giving him a monopoly on telecommunications services in Mexico. But in order to make money from his monopoly, Slim needs lots of Mexicans living in the United States, sending money to their relatives back in Oaxaca. Otherwise, Mexicans couldn’t pay him—and they wouldn’t have much need for phone service, either—other than to call in ransom demands. Back in 2004—before the Times became Slim’s pimp—a Times article stated: “Clearly . . . the nation’s southern border is under siege.”2 But that was before Carlos Slim saved the Times from bankruptcy. Ten years later, with a border crisis even worse than in 2004, and Latin Americans pouring across the border, the Times indignantly demanded that Obama “go big” on immigration and give “millions of immigrants permission to stay.”3

I saw Clinton again during the signing of the peace treaty with Jordan in Israel’s Arava Valley in 1995. That year, I also sent him my third book on terrorism, Fighting Terrorism, and he sent me back a cordial letter. Notwithstanding his civility, I knew his administration would do anything to defeat me. In fact they did. Totally committed to the idea of a fully independent Palestine, they were not aware that Rabin himself had been opposed to such a state. Clinton sent his number one campaign strategist, James Carville, his pollster Stan Greenberg and his top team of experts to Israel to help tip the scales in Peres’s favor. Special envoy Dennis Ross would later say, “We did everything we could to help Peres,” and Clinton’s national security advisor, Sandy Berger, would also later admit, “If there was ever a time that we tried to influence an Israeli election, it was Peres vs. Netanyahu.”23 Normally such an outrageous and systemic interference in another democracy’s elections would elicit outcries of protest from the press in America and Israel alike. No such protests were heard. Totally supportive of Peres, the press in both Israel and the United States was silent. Though the odds were stacked against us, we weren’t fazed. “About Carville,” Arthur said, “we can beat him.” Clinton and Peres organized an international peace conference in Sharm el-Sheikh a few weeks before the elections. Peres, Clinton, President Hosni Mubarak of Egypt, King Hussein of Jordan, and Arafat all showed up and danced the dance. Yet a few months earlier, soon after Peres was installed without an election as replacement prime minister following Rabin’s assassination, King Hussein had sent me a message through his brother Crown Prince Hassan, asking: Would I meet Hassan secretly in London? In a London flat the crown prince and I hit it off immediately. I liked Hassan. Straightforward, with a humorous streak, he didn’t even attempt to hide his concern about a Peres victory. Though they wouldn’t admit it publicly, he and many Jordanian officials I met over the years were concerned that an armed Palestinian state could destroy the Hashemite regime and take over Jordan.

And what’s the solution of preventing this debacle? Plenty of ‘em! The Communists have a patent Solution they know will work. So have the Fascists, and the rigid American Constitutionalists—who call themselves advocates of Democracy, without any notion what the word ought to mean; and the Monarchists—who are certain that if we could just resurrect the Kaiser and the Czar and King Alfonso, everybody would be loyal and happy again, and the banks would simply force credit on small business men at 2 per cent. And all the preachers—they tell you that they alone have the inspired Solution. “Well, gentlemen, I have listened to all your Solutions, and I now inform you that I, and I alone, except perhaps for Walt Trowbridge and the ghost of Pareto, have the perfect, the inevitable, the only Solution, and that is: There is no Solution! There will never be a state of society anything like perfect! “There never will be a time when there won’t be a large proportion of people who feel poor no matter how much they have, and envy their neighbors who know how to wear cheap clothes showily, and envy neighbors who can dance or make love or digest better.” Doremus suspected that, with the most scientific state, it would be impossible for iron deposits always to find themselves at exactly the rate decided upon two years before by the National Technocratic Minerals Commission, no matter how elevated and fraternal and Utopian the principles of the commissioners. His Solution, Doremus pointed out, was the only one that did not flee before the thought that a thousand years from now human beings would probably continue to die of cancer and earthquake and such clownish mishaps as slipping in bathtubs. It presumed that mankind would continue to be burdened with eyes that grow weak, feet that grow tired, noses that itch, intestines vulnerable to bacilli, and generative organs that are nervous until the age of virtue and senility. It seemed to him unidealistically probable, for all the “contemporary furniture” of the 1930’s, that most people would continue, at least for a few hundred years, to sit in chairs, eat from dishes upon tables, read books—no matter how many cunning phonographic substitutes might be invented, wear shoes or sandals, sleep in beds, write with some sort of pens, and in general spend twenty or twenty-two hours a day much as they had spent them in 1930, in 1630.

Amy?" he breathed. Two dancers, caught up in the dance, didn't see him standing there and collided with him, nearly knocking him down. "Lord Charles!  I beg your pardon!" But he never heard them.  He never saw them.  He had eyes only for the stunning beauty who was being swept around the dance floor by Gareth's friend Perry.  She was a ravishing young woman in shimmering peacock and royal blue whose beauty commanded the eye, the attention, the heart — and made every other woman in the room pale to insignificance. Charles's mouth went dry.  His heartbeat cracked his chest and he forgot to breathe. Another set of dancers collided with him, knocking him to his senses.  Angrily, he stared into the amused eyes of Gareth's friend Neil Chilcot, another Den of Debauchery member who was partnering a grinning Nerissa.  "Gorgeous young woman, isn't she?" quipped Chilcot, sweeping Nerissa past.  "You should've stuck around to see her announced, Charles.  Not that you'll ever have a chance of claiming a dance with her now, what with all the young bucks before you already waiting . . ." Charles had heard enough.  But as he stalked across the dance floor, he heard even more. "Well, His Grace told me she's an heiress . . ." "Not just an heiress, but a princess from some vast Indian nation in America . . ." ". . . came here to offer her tribe's help in the war against the Americans . . ." Charles clenched his fists.  Lucien.  No one else could have, would have, started and circulated such a preposterously crazy rumor!  What the hell was his brother trying to do, get Amy married off to some handsome young swain and out of Charles's life forever?  This was no training for a lady's maid, that was for damned sure! His jaw tight, he stormed across the dance floor toward Amy.  He saw her hooped petticoats swirling about her legs and exposing a tantalizing bit of ankle with every step she took, the laughter in her face even though she kept glancing over Perry's shoulder in search of someone, the studied grace in her movements that, a week ago, he would've sworn she didn't have. She had not seen him yet, and as Perry, a handsome man who had something of a reputation with the ladies, led her through the steps, Charles felt a surge of jealousy so fierce, so violent, that it made him think of doing something totally irrational. Such as calling Perry out for dancing with his woman. Such as killing Lucien for whatever little game he was playing. Such

God damn you!” Alfred said. “You belong in jail!” The turd wheezed with laughter as it slid very slowly down the wall, its viscous pseudopods threatening to drip on the sheets below. “Seems to me,” it said, “you anal retentive type personalities want everything in jail. Like, little kids, bad news, man, they pull your tchotchkes off your shelves, they drop food on the carpet, they cry in theaters, they miss the pot. Put ’em in the slammer! And Polynesians, man, they track sand in the house, get fish juice on the furniture, and all those pubescent chickies with their honkers exposed? Jail ’em! And how about ten to twenty, while we’re at it, for every horny little teenager, I mean talk about insolence, talk about no restraint. And Negroes (sore topic, Fred?), I’m hearing rambunctious shouting and interesting grammar, I’m smelling liquor of the malt variety and sweat that’s very rich and scalpy, and all that dancing and whoopee-making and singers that coo like body parts wetted with saliva and special jellies: what’s a jail for if not to toss a Negro in it? And your Caribbeans with their spliffs and their potbelly toddlers and their like daily barbecues and ratborne hanta viruses and sugary drinks with pig blood at the bottom? Slam the cell door, eat the key. And the Chinese, man, those creepy-ass weird-name vegetables like homegrown dildos somebody forgot to wash after using, one-dollah, one-dollah, and those slimy carps and skinned-alive songbirds, and come on, like, puppy-dog soup and pooty-tat dumplings and female infants are national delicacies, and pork bung, by which we’re referring here to the anus of a swine, presumably a sort of chewy and bristly type item, pork bung’s a thing Chinks pay money for to eat? What say we just nuke all billion point two of ’em, hey? Clean that part of the world up already. And let’s not forget about women generally, nothing but a trail of Kleenexes and Tampaxes everywhere they go. And your fairies with their doctor’s-office lubricants, and your Mediterraneans with their whiskers and their garlic, and your French with their garter belts and raunchy cheeses, and your blue-collar ball-scratchers with their hot rods and beer belches, and your Jews with their circumcised putzes and gefilte fish like pickled turds, and your Wasps with their Cigarette boats and runny-assed polo horses and go-to-hell cigars? Hey, funny thing, Fred, the only people that don’t belong in your jail are upper-middle-class northern European men. And you’re on my case for wanting

We danced to John Michael Montgomery’s “I Swear.” We cut the seven-tiered cake, electing not to take the smear-it-on-our-faces route. We visited and laughed and toasted. We held hands and mingled. But after a while, I began to notice that I hadn’t seen any of the tuxedo-clad groomsmen--particularly Marlboro Man’s friends from college--for quite some time. “What happened to all the guys?” I asked. “Oh,” he said. “They’re down in the men’s locker room.” “Oh, really?” I asked. “Are they smoking cigars or something?” “Well…” He hesitated, grinning. “They’re watching a football game.” I laughed. “What game are they watching?” It had to be a good one. “It’s…ASU is playing Nebraska,” he answered. ASU? His alma mater? Playing Nebraska? Defending national champions? How had I missed this? Marlboro Man hadn’t said a word. He was such a rabid college football fan, I couldn’t believe such a monumental game hadn’t been cause to reschedule the wedding date. Aside from ranching, football had always been Marlboro Man’s primary interest in life. He’d played in high school and part of college. He watched every televised ASU game religiously--for the nontelevised games, he relied on live reporting from Tony, his best friend, who attended every game in person. “I didn’t even know they were playing!” I said. I don’t know why I shouldn’t have known. It was September, after all. But it just hadn’t crossed my mind. I’d been a little on the busy side, I guess, getting ready to change my entire life and all. “How come you’re not down there watching it?” I asked. “I didn’t want to leave you,” he said. “You might get hit on.” He chuckled his sweet, sexy chuckle. I laughed. I could just see it--a drunk old guest scooting down the bar, eyeing my poufy white dress and spouting off pickup lines: You live around here? I sure like what you’re wearing… So…you married? Marlboro Man wasn’t in any immediate danger. Of that I was absolutely certain. “Go watch the game!” I insisted, motioning downstairs. “Nah,” he said. “I don’t need to.” He wanted to watch the game so badly I could see it in the air. “No, seriously!” I said. “I need to go hang with the girls anyway. Go. Now.” I turned my back and walked away, refusing even to look back. I wanted to make it easy on him. I wouldn’t see him for over an hour. Poor Marlboro Man. Unsure of the protocol for grooms watching college football during their wedding receptions, he’d darted in and out of the locker room for the entire first half. The agony he must have felt. The deep, sustained agony. I was so glad he’d finally joined the guys.

Now, before you invade a foreign city. Here’s the law: Offer the fools a peace treaty. They can remain in their city as your slaves doing forced labor for you. And if they refuse your generosity? Kill every goddamned one of their men. And take their women, children, livestock, and wealth as plunder.” The same guy raised his hand and yelled, “Can we fuck these women, too?” It was a stupid question, but Moses replied patiently, “Of course. Fuck them—use them as footstools, punching bags, scarecrows—who cares? They’re slaves! Do whatever you want with them. “Just remember, all you have to do is obey Yahweh. Then you will have no worries and nothing to fear. He will take care of you. But be careful, because Yahweh will test you. He will send false prophets and phony dream interpreters. “If you encounter one? And his predictions come true? And he wants you to worship another god? Don’t be impressed! Beware! Yahweh sent him to tempt you. “So kill anyone who prophesies in the name of another god. “And kill anyone who pretends to be a prophet and is not! “And if you find a town worshipping another god—kill everyone in it! And kill their livestock! Plunder their homes! Burn that despicable town to the ground and never rebuild it! Make it a perpetual burnt offering to Yahweh. “And whatever you do, for god’s sake, do not imitate the detestable Canaanite religions! Do not incinerate your children, or practice sorcery, or witchcraft. And don’t interpret omens. These practices are detestable to Yahweh. “Above all, DO NOT worship their gods! Don’t worship the sun! Or the moon! Or the stars in the sky! Yahweh gave those to the suckers in other nations as their gods. If you worship just one of them—just one time…” Moses shuddered at the thought. “Well, let’s just say, Yahweh is jealous—real jealous! If he catches you worshipping another god, I have to tell you that the gigs up. He’ll kick your asses out of the Promised Land. And scatter you among the other nations like snake shit scattered about the desert.”   Obey Yahweh and you will live in paradise   “Just obey Yahweh. You hear me? Obey him, and you will live in paradise. He will protect you from your enemies. Send rain for your crops. Nurture your herds. You will have abundant food and wine. Maybe free dance lessons—who knows? There is no limit to Yahweh’s love! Obey him, and your lives will be perfect. Disobey him, and you are fucked! It’s just that simple.” Moses waited for the impact of this essential truth to resister in their brains. Regretfully, it did not. But he concluded, “Anyhow, I’m one-hundred and twenty years old. I cannot lead you into the Promised Land. Joshua will lead you.” He again found Joshua in the crowd. “Joshua, come on up here!” Joshua, startled awake, elbowed his way through the crowd and

The Robot With Human Hair Pt2" Said it's the coming of man And I forget when you went away Like a kick to the face Not winning the race (Lion, I've seen you from afar) I've seen her in the car Knowing that you deserve such more Deserved to know you're free Leave, I'm the director Agree to the role of the pilot inspector Breathe, pilot inspector Feed off the role of the radar detector Leave, I'm the director Agree to the role of the pilot inspector Breathe, pilot inspector Feed off the role of the radar detector Well, then, you said you could do this on your own I'm sorry baby, I can't aid you (And then you say, hands down, right now, I'll let this go) You... Well, now it's up to god to save you Save you from all of those bruised, bruised and battered wounds (Wave right with a gun in his hand wave right) Can you taste this blood Dripping sweeter than...? And over your eyes And I, and I fall to both knees Not to beg for your forgiveness But to hate the word And you speak Take a right off these cliffs The ground is staring at your wounded weapons Wounded weapons (And I can't believe that you're right) You can bank the night on this its round And glaring at your well I get hyphy Tell 'em I get hyphy And this is where it ends Well, then, you said you could do this on your own I'm sorry baby, I can't aid you (And then you say, hands down, right now, I'll let this go) You... Well, now it's up to god to save you Save you, save you Save you, save you I can't believe these long words Come from many national absurd This is a line cut across Hope, defeat, the line, the loss I can never be this lone wolf You can never see me across this earth This will be a light that I run from You thought you were so strong You pleaded to never be wrong (Brace yourself, fasten belts) Well, now that you go (Close the hatch, flip the latch) I sit here and wonder (They're not dead, speed ahead) Times have changed It's like we've been trashing silos (Well, now that you go) In the time bomb aisle (I sit here and wonder) Maybe they'll dodge the spill Oil kills, sure it will And I can't breathe the air (Hide your daughter 'cause I'm coming over) To reach for this light (You know I'm not lying about) (Trashing silos in the time bomb aisle) And you can't breathe the air (About trashing silos in the time bomb aisle) Not leaving her to reach The line, the work, the rope, the love And I have seen such worse for you It's a no, I'm not coming back It's a no, I'm not coming back It's a no, I'm not coming back And now you see the sky has turned black Why do think everyone has turned back? It's cause he's gone And now you see the sky has turned black Why do think everyone has turned back? It's cause he's gone And now you see the sky has turned black Why do think everyone has turned back? It's cause he's gone

Of course, most of us, in the service of sanity, don’t fixate on the end. We go about the world focused on worldly concerns. We accept the inevitable and direct our energies to other things. Yet the recognition that our time is finite is always with us, helping to shape the choices we make, the challenges we accept, the paths we follow. As cultural anthropologist Ernest Becker maintained, we are under a constant existential tension, pulled toward the sky by a consciousness that can soar to the heights of Shakespeare, Beethoven, and Einstein but tethered to earth by a physical form that will decay to dust. “Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order blindly and dumbly to rot and disappear forever.”2 According to Becker, we are impelled by such awareness to deny death the capacity to erase us. Some soothe the existential yearning through commitment to family, a team, a movement, a religion, a nation—constructs that will outlast the individual’s allotted time on earth. Others leave behind creative expressions, artifacts that extend the duration of their presence symbolically. “We fly to Beauty,” said Emerson, “as an asylum from the terrors of finite nature.”3 Others still seek to vanquish death by winning or conquering, as if stature, power, and wealth command an immunity unavailable to the common mortal. Across the millennia, one consequence has been a widespread fascination with all things, real or imagined, that touch on the timeless. From prophesies of an afterlife, to teachings of reincarnation, to entreaties of the windswept mandala, we have developed strategies to contend with knowledge of our impermanence and, often with hope, sometimes with resignation, to gesture toward eternity. What’s new in our age is the remarkable power of science to tell a lucid story not only of the past, back to the big bang, but also of the future. Eternity itself may forever lie beyond the reach of our equations, but our analyses have already revealed that the universe we have come to know is transitory. From planets to stars, solar systems to galaxies, black holes to swirling nebulae, nothing is everlasting. Indeed, as far as we can tell, not only is each individual life finite, but so too is life itself. Planet earth, which Carl Sagan described as a “mote of dust suspended on a sunbeam,” is an evanescent bloom in an exquisite cosmos that will ultimately be barren. Motes of dust, nearby or distant, dance on sunbeams for merely a moment. Still, here on earth we have punctuated our moment with astonishing feats of insight, creativity, and ingenuity as each generation has built on the achievements of those who have gone before, seeking clarity on how it all came to be, pursuing coherence in where it is all going, and longing for an answer to why it all matters. Such is the story of this book.

It’s my turn next, and I realize then that I never turned in the name of my escort--because I hadn’t planned on being here. I glance around wildly for Ryder, but he’s nowhere to be seen, swallowed up by the sea of people in cocktail dresses and suits. Crap. I thought he realized that escorting me on court was part of the deal, once I’d agreed to go. I guess he’d figured it’d be easier on me, what with the whole Patrick thing, if I was alone onstage. But I don’t want to be alone. I want Ryder with me. By my side, supporting me. Always. I finally spot him in the crowd--it’s not too hard, since he’s a head taller than pretty much everyone else--and our eyes meet. My stomach drops to my feet--you know, that feeling you get on a roller coaster right after you crest that first hill and start plummeting toward the ground. Oh my God, this can’t be happening. I’ve fallen in love with Ryder Marsden, the boy I’m supposed to hate. And it has nothing to do with his confession, his declaration that he loves me. Sure, it might have forced me to examine my feelings faster than I would have on my own, but it was there all along, taking root, growing, blossoming. Heck, it’s a full-blown garden at this point. “Our senior maid is Miss Jemma Cafferty!” comes the principal’s voice. “Jemma is a varsity cheerleader, a member of the Wheelettes social sorority, the French Honor Club, the National Honor Society, and the Peer Mentors. She’s escorted tonight by…ahem, sorry. I’m afraid there’s no escort, so we’ll just--” “Ryder Marsden,” I call out as I make my way across the stage. “I’m escorted by Ryder Marsden.” The collective gasp that follows my announcement is like something out of the movies. I swear, it’s just like that scene in Gone with the Wind where Rhett offers one hundred and fifty dollars in gold to dance with Scarlett, and she walks through the scandalized bystanders to take her place beside Rhett for the Virginia reel. Only it’s the reverse. I’m standing here doing the scandalizing, and Ryder’s doing the walking. “Apparently, Jemma’s escort is Ryder Marsden,” the principal ad-libs into the microphone, looking a little frazzled. “Ryder is…um…the starting quarterback for the varsity football team, and, um…in the National Honor Society and…” She trails off helplessly. “A Peer Mentor,” he adds helpfully as he steps up beside me and takes my hand. The smile he flashes in my direction as Mrs. Crawford places the tiara on my head is dazzling--way more so than the tiara itself. My knees go a little weak, and I clutch him tightly as I wobble on my four-inch heels. But here’s the thing: If the crowd is whispering about me, I don’t hear it. I’m aware only of Ryder beside me, my hand resting in the crook of his arm as he leads me to our spot on the stage beside the junior maid and her escort, where we wait for Morgan to be crowned queen. Oh, there’ll be hell to pay tomorrow. I have no idea what we’re going to tell our parents. Right now I don’t even care. Just like Scarlett O’Hara, I’m going to enjoy myself tonight and worry about the rest later. After all, tomorrow is another…Well, you know how the saying goes.

Grant-making bodies have long channeled funds along racial lines. Many black and Hispanic organizations receive crucial funding from the Ford and Rockefeller foundations. A large number of arts councils give both public and private money to ethnic dance, theater, and other arts groups. The National Endowment for the Arts has begun to penalize grantees that do not show enough minority representation.580 The Rockefeller and Ford foundations reportedly plan to phase out their support for traditional European art forms altogether so as to concentrate on non-Western arts.581 Entirely typical of race-based grant-making was the 1990 announcement of a series of gifts by the Boston Foundation. It released $200,000, to be divided among fifteen Boston-area social service organizations for the sole purpose of hiring nonwhite employees.582 The foundation also makes grants for the arts, but only for projects that show “cultural diversity.”583

Yet against all this background of mourning despair, Paris in the summer of 1939 seemed gilded by splendid receptions, dances, right-wing festivities. The prospect of war was an ever-present ghost at every party, but even so people refused to acknowldege the reality behind the fears. Each new crisis was like a splinter of glass that scratched, might even draw a drop of blood, but was not savage enough to wound badly. The madness in the air was a last-gasp attempt to enjoy ourselves while we could, a collective national need for illusions, by a patient with an incurable disease who knows that death will come at any moment.

Photographs from Distant Places (1) In distant villages, You always see the same scenes: Farms Cattle Worship spaces Small local shops. Just basic the things humans need To endure life. (2) ‘Can you stay with me forever?’ She asked him in the airport, While hugging him tightly in her arms. ‘Sorry, I can’t. My flight leaves in two hours and a half.’ He responded with an artificially caring voice, As he kissed her on her right cheek. (3) I was walking in one of Bucharest’s old streets, In a neighborhood that looked harshly beaten by Time, And severely damaged by development and globalization. I saw a poor homeless man Combing his dirty hair In a side mirror of a modern and expensive car! (4) The shape and the color of the eyes don’t matter. What matters is that, As soon as you gaze into them, You know that they have seen a lot. All eyes that dare to bear witness To what they have seen are beautiful. (5) A stranger asked me how I chose my path in life. I told him: ‘I never chose anything, my friend.’ My path has always been like someone forced to sit In an airplane on a long flight. Forced to sit with the condition Of keeping the seatbelt on at all times, Until the end of the flight. Here I am still sitting with the seatbelt on. I can neither move Nor walk. I can’t even throw myself out of the plane’s emergency exit To end this forced flight! (6) After years of searching and observing, I discovered that despair’s favorite hiding place Is under business suits and tuxedos. Under jewelry and expensive night gowns. Despair dances at the tables where Expensive wines of corruption And delicious dinners of betrayal are served. (7) Oh, my poet friend, Did you know that The bouquet of fresh flowers in that vase On your table is not a source of inspiration or creativity? The vase is just a reminder Of a flower massacre that took place recently In a field Where these poor flowers happened to be. It was their fate to have their already short lives cut shorter, To wither and wilt in your vase, While breathing the not-so-fresh air In your room, As you sit down at your table And write your vain words. (8) Under authoritarian regimes, 99.9% of the population vote for the dictator. Under capitalist ‘democratic’ regimes, 99.9% of people love buying and consuming products Made and sold by the same few corporations. Awe to those societies where both regimes meet to create a united vicious alliance against the people! To create a ‘nation’ Of customers, not citizens! (9) The post-revolution leaders are scavengers not hunters. They master the art of eating up The dead bodies and achievements Of the fools who sacrificed themselves For the ‘revolution’ and its ideals. Is this the paradox and the irony of all revolutions? (10) Every person is ugly if you take a close look at them, And beautiful, if you take a closer look. (11) Just as wheat fields can’t thrive Under the shadow of other trees, Intellectuals, too, can’t thrive under the shadow Of any power or authority. (12) We waste so much time trying to change others. Others waste so much time thinking they are changing. What a waste! October 20, 2015

The fight over the Ten Commandments monument got Moore national news, and he became something of a cult figure for many in Alabama. But what few knew was that a video of the monument was made and sold by a company that helped Moore pay for his legal expenses over the fight that led to his removal from the supreme court.3 That little detail perfectly encapsulates the monetization of phony morality that is so common with the professional Christian conservatives. Six days after being removed from office for the second time, Moore announced his candidacy for the Republican nomination for senator in a special election to fill the seat vacated by Donald Trump’s appointment of Jeff Sessions as attorney general. Despite multiple allegations of molesting an underage girl, sexual harassment of barely legal teenage girls, and being such a general creep that he was allegedly banned from his local mall in Gadsden, Alabama, Moore defeated the appointed incumbent Luther Strange and became the Republican nominee. When Moore won the nomination, Donald Trump and the Republican National Committee endorsed him. Trump supported Moore’s denials, and on Election Day Moore won 67 percent of white voters.4 Only black voters, particularly black women who turned out at record levels, saved the state of Alabama from being represented by an accused child molester who said that he first noticed his wife when he saw her in a high school dance performance. Moore was thirty at the time.

The newer tactic of scattering bodies on city streets, as happened when Joaquín Guzmán’s goons pushed thirty-five bloody corpses (twelve of them women) off two trucks on Manuel Ávila Camacho Boulevard, near a shopping mall in the prettier part of the port city of Veracruz one day in September 2011, to terrorize their adversaries... Guzmán, known as El Chapo (Shorty) for his small stature, ran the largest airborne opera- tion in Mexico; he owned more aircraft than Aeromexico, the national air- line. Between 2006 and 2015, Mexican authorities seized 599 aircraft — 586 planes and 13 helicopters—from the Sinaloa cartel; by comparison, Aeromexico had a piddling fleet of 127 planes.... One Zeta atrocity I knew nothing about took place in 2010, in the small town of San Fernando, south of Reynosa. A roaming band of Zetas stopped two buses of migrants—men, women, and children from Central and South America, who were fleeing the violence in their countries. The Zetas demanded money. The migrants had no money. The Zetas demanded that the migrants work for them, as assassins or operatives or drug mules. The migrants refused. So they were taken to a building in the village of El Huizachal, blindfolded, their hands and legs bound, and each one was shot in the head. Seventy-two of them died. One man (from Ecuador) played dead, escaped, and raised the alarm... The gory details of this massacre became known when one of the perpetrators was arrested, Édgar Huerta Montiel, an army deserter known as El Wache, or Fat Ass. He admitted killing eleven of the migrants person- ally, in the belief (so he said) that they were working for a gang hostile to his own. A year later, near the same town, police found 47 mass graves containing 193 corpses — mostly migrants or passengers in buses hijacked and robbed while passing through this area of Tamaulipas state, about eighty miles south of the US border... But in the early 2000s headless bodies began to appear, tossed by the roadside, while human heads were displayed in public, at intersections, and randomly on the roofs of cars. This butchery was believed to be inspired by a tactic of the Guatemalan military’s elite commandos, known as Kaibiles. A man I was to meet in Matamoros, on my traverse of the border, explained how the Kaibiles were toughened by their officers. The officers encouraged recruits to raise a dog from a puppy, then, at a certain point in their training, the recruit was ordered to kill the dog and eat it.... When the Kaibiles became mercenaries in the Mexican cartels, the first beheadings occurred, the earliest known taking place in 2006: a gang in Michoacán kicked open the doors of a bar and tossed five human heads on the dance floor. Decapitations are now, according to one authority on the business, “a staple in the lexicon of violence” for Mexican cartels....

If you are as ardent a fan of the National Geographic channel as I am, some of or all the following scenes should be familiar to you. A male lion roaring to assert his dominance over a pride; female baboons with their bright sexual swelling indicating their readiness to mate; bees performing their waggle dance to show the direction and distance of flowers; a female elephant caressing her calf to soothe him; a deep-sea squid emitting light to attract prey; and a meerkat squealing to warn her family of a predatory eagle. All these are examples of signals, and no textbook on evolutionary theory is complete without a lengthy discussion on them.1 Signals emitted by a “sender” have explicitly evolved to alter the behavior of the “receiver” and are used to communicate with and influence the behavior of prey, predators, mates, competitors, friends, and family.

It is a grim paradox that the worst deeds that humans have ever been guilty of have been carried out by people with an easy conscience, people who felt they were definitely on the side of angels, people who were entirely sure that they had justice in hand. What unites the people who report their neighbours to the secret police, the crowds who burn their victims at stakes while dancing around their agonised bodies, the government officials who set up purification camps and the nations that wipe out their enemies with special barbarism is their consistent and overwhelming sense that they are doing the right thing – in the eyes of god, history or Truth. When trying to understand why people do evil things, never start from the position of imagining that they understood them as evil; remember that they would have carried out their nastiness cocksure that they were paragons. An impassioned feeling of being the instrument of justice has been at the heart of humanity’s most appallingly unkind moments.

I’m pretty sure that this is the guy I met the night before Easter in 1989. You see these?” He picked out Polaroids depicting a severed penis, a black male’s scalp with a large Jheri curl still attached, and a painted skull. “These belong to him.” This was the first time he kept his victim’s body parts. He met Anthony Sears at closing time in front of a dance club called La Cage. He was with a friend, a white man, and after accepting Dahmer’s offer to come home with him, the friend gave them a ride to 57th and National. They walked the remainder of the way to Grandma’s, and Dahmer gave him the drink mixed with Halcion. He had sex with him before and after death. On Easter Sunday, while Grandma attended church, Dahmer dismembered the body by severing the flesh, keeping the individual’s scalp, genitals, and skull. He wanted to preserve these body parts, so he went to a hardware store and told the clerk he was interested in drying and treating a wild rabbit pelt. They informed him that acetone would do the trick, and he purchased some. After cleaning the body parts, Dahmer treated them with the acetone for preservation. “It actually worked quite well, as you can see from the pictures. When they were dried, I wore his scalp. It helped me to fantasize and remember the night I was with him. I could suck on his penis and masturbate.

When the National Institutes of Health makes an announcement through one of its many spokespeople, who

When the National Institutes of Health makes an announcement through one of its many spokespeople, who checks out the credibility of that statement?

Next up was the match with North Korea, where the national team showed off another choreographed goal celebration in a 1–0 win. After Abby Wambach’s first goal, the team lined up and held hands, raising their arms in succession to create a rolling wave—a break dancing–type move. When it reached the last player in the line, the players turned and pointed to the midfield, where Hope Solo and Christie Pearce were doing the dance move known as “the Worm.” “Sometimes Hope doesn’t get involved in our celebrations, and she said before the game that the Worm is the only thing she can do,” Wambach said afterward. “So we just tried to set her up for something.

Other than Christie Pearce, who was on the 1999 World Cup team as a depth piece, none of the players had experienced anything like what they saw when they returned from Germany. The team surged back into the American mainstream practically overnight. Hope Solo, a breakout star, appeared on the cover of Sports Illustrated and was asked to compete on ABC’s Dancing with the Stars. Everyone on the team was more famous than they had ever been. At one point in New York City as the players looked out from their bus onto the crowd of fans who had gathered to catch a glimpse of the team, a scream came from Abby Wambach. “Fuck!” she shouted. Those around her—startled and worried that something bad had just happened—turned to her and asked her what was wrong. Wambach, with resignation in her voice, responded: “We didn’t win.” It hit Wambach like a ton of bricks. She saw the response the team had gotten—a massive surge of fan support—and she saw the missed opportunity. If the national team had actually won the World Cup, how much bigger could it have been for the sport?

Back at the hotel, the turmoil was only getting started. The Americans and the Brazilians, who were staying at the same hotel, ran into each other in the lobby. The Americans cried as the Brazilians danced. “That was one of the most excruciating postgame hotel moments I can remember,” Heather O’Reilly says. “We were with family and friends, sobbing, and they’re trying to console us, and the Brazilians show up and are just relentless in their celebrations. I’ll confidently use the word obnoxious, because it was. It was pretty over-the-top and absurd. I remember them in the turnstile of the door, just going around and around.” *

People daily speak a quilt of words, and continents and nations and tribes and even enemies dance all over your mouth when you speak. The tongue seems to know no race, no affiliation, no breed, no caste, no order, no genus, no lineage.

Love, with its symphony of emotions, orchestrates a profound dance in the brain. It casts spells of euphoria, joy, and obsession, making us both foolish and passionate. Yet, amidst this complex ballet, I can't help but perceive it as an unnecessary drama.

They think you’re unhealthily fixated on death,” her father told her later. Her mother had made a beeline for the box of wine in the fridge. “I told them America is unhealthily fixated on death in absentia. America pretends we’re all gonna live forever. That everything is a sunny Coke commercial, that this grandiose experiment of a nation isn’t built on blood and bones and broken bodies. Moonie, you look the dark in the face and still you dance. You are healthily fixated on death.” It was the most grown-up compliment her father had ever paid her.

While the newly born nation cheered and danced in the streets of the White City, Tel Aviv, the heart of an old nation bled as its eyes brimmed with tears. They feared the worse was still to come.

The guy with the wacky hair and the crazed look in his eyes did not appear out of nowhere. He was already known to them. Sometimes he said how great they were, and told them to go back to their roots; if need be, he threw in some highly unlikely but madly alluring conspiracy theory. Just to get them to listen. And to give them a fright. Because he'd noticed that if he scared them, they paid him more attention. They'd gotten used to him being there, and to the fact that now and then, with a totally straight face, he said something unintentionally hilarious. Sometimes he hovered on the fringes of political life, sometimes closer to the mainstream, but he was generally regarded as a mild eccentric. Until one fine day they rubbed their eyes in amazement. Because the guy with the wacky hair had entered the race for one of the highest offices in the land. And just as before, here he was, trying to scare them again - with talk of refugees, war, and unprecedent disaster. With anything at all. He was also trying to pump up the national ego. In the process - in the eyes of the so-called elite - he was making a bit of a fool of himself. But he was also making big promises. Above all, he promised to turn back time, and make things the way they used to be. In other words, better. And he won. You know where this happened? Yes, you're right. In our part of the world. In post-communist Central and Eastern Europe. In Regime-Change Land. "And he won." "....In post-communist Central and Eastern Europe. In Regime-Change Land.

The guy with the wacky hair and the crazed look in his eyes did not appear out of nowhere. He was already known to them. Sometimes he said how great they were, and told them to go back to their roots; if need be, he threw in some highly unlikely but madly alluring conspiracy theory. Just to get them to listen. And to give them a fright. Because he'd noticed that if he scared them, they paid him more attention. They'd gotten used to him being there, and to the fact that now and then, with a totally straight face, he said something unintentionally hilarious. Sometimes he hovered on the fringes of political life, sometimes closer to the mainstream, but he was generally regarded as a mild eccentric. Until one fine day they rubbed their eyes in amazement. Because the guy with the wacky hair had entered the race for one of the highest offices in the land. And just as before, here he was, trying to scare them again - with talk of refugees, war, and unprecedent disaster. With anything at all. He was also trying to pump up the national ego. In the process - in the eyes of the so-called elite - he was making a bit of a fool of himself. But he was also making big promises. Above all, he promised to turn back time, and make things the way they used to be. In other words, better. And he won. You know where this happened? Yes, you're right. In our part of the world. In post-communist Central and Eastern Europe. In Regime-Change Land.

Though it is becoming an increasingly popular area of advocacy, the United States continues to top the list of nations that are disconnected from the basic concept of relieving a mother of overwork and giving her dancing hormones the time and space to regulate through rest and proper nutrition. It's a grin-and-bear-it moment (complete with dark circles and wan complexion). And, these days, with more and more women literally and energetically holding the home together as the primary breadwinner, and very often as the emotional center of the home as well, the postpartum period becomes a pressure cooker. The unconscious message beamed from all angles is, "Get back at it. You can't afford to rest." But it seems we can't afford not to. Anecdotal evidence strongly suggests that when deliberate physical care and support surround a new mother after birth, as well as rituals that acknowledge the magnitude of the event of birth, postpartum anxiety and its more serious expression, postpartum depression, are much less likely to get a foothold. Consider that the key causes of these disturbingly common, yet still highly underreported, syndromes include isolation, extreme fatigue, overwork, shame or trauma about birth and one's body, difficulties and worries about breastfeeding, and nutritional depletion, all of which suggests that when we let go of the old ways, we inadvertently helped create a perfect storm of factors for postpartum depression.

And it restricts the power of majorities through an assortment of mediating mechanisms that require agents of change to engage in a complicated dance of coalition building. These counter-majoritarian restraints often feel not only frustrating but, in fact, divisive, because they force us to confront the reality of the existence of opposing views in our society, even when our side wins elections and makes appointments. But those divisions are there whether we confront them or not, and it is by being forced to confront them that we are moved to overcome them through negotiation.

So far in our nation visionary feminist movement is the only struggle for justice that emphasizes the need to end patriarchy. No mass body of women has challenged patriarchy and neither has any group of men come together to lead the struggle. The crisis facing men is not the crisis of masculinity, it is the crisis of patriarchal masculinity. Until we make this distinction clear, men will continue to fear that any critique of patriarchy represents a threat. Distinguishing political patriarchy, which he sees as largely committed to ending sexism, therapist Terrence Real makes clear that the patriarchy damaging us all is embedded in our psyches: Psychological patriarchy is the dynamic between those qualities deemed “masculine” and “feminine” in which half of our human traits are exalted while the other half is devalued. Both men and women participate in this tortured value system. Psychological patriarchy is a “dance of contempt,” a perverse form of connection that replaces true intimacy with complex, covert layers of dominance and submission, collusion and manipulation. It is the unacknowledged paradigm of relationships that has suffused Western civilization generation after generation, deforming both sexes, and destroying the passionate bond between them. By highlighting psychological patriarchy, we see that everyone is implicated and we are freed from the misperception that men are the enemy. To end patriarchy we must challenge both its psychological and its concrete manifestations in daily life. There are folks who are able to critique patriarchy but unable to act in an antipatriarchal manner.

The collective benefits of higher education will not be asserted unless the public can be engaged in defining them. A student’s future returns on his or her personal investment of time and money will seem more critical than the public benefits to be derived from ensuring that all students become people of character as well as of competence. An institution’s prowess in potentially lucrative lines of scientific research will seem more essential to its mission than its participation in the development of an aesthetically engaged and broadly humane society. Unless there is public discussion that can help support the balancing of public and private priorities, colleges and universities will dance only to the private ambitions that ensure continuing high levels of enrollment and high ratings in the various surveys of satisfaction that give institutions a boost in national rankings.

Other nations merely change governments as a lady changes dancing partners: Canada contrives to fall in a dead faint every time the music stops.

Taki As a prolific author and journalist, Taki has written for many top-rated publications, including the Spectator, the London Sunday Times, Vanity Fair, National Review, and many others. Greek-born and American-educated, Taki is a well-known international personality and a respected social critic all over the world. In June 1987, I was an usher at the wedding of Harry Somerset, Marquis of Worcester, to Tracy Ward. The wedding and ensuing ball took place in the grand Ward country house, attended by a large portion of British society, including the Prince and Princess of Wales. Late in the evening, while I was in my cups, a friend, Nicky Haslam, grabbed my arm and introduced me to Diana, who was coming off the dance floor. We exchanged pleasantries, me slurring my words to the extent that she suddenly took my hand, looked at me straight in the face, and articulated, “T-a-k-e y-o-u-r t-i-m-e.” She mistook my drunken state for a severe speech impediment and went into her queen-of-hearts routine. Nicky, of course, ruined it all by pulling her away and saying, “Oh, let him be, ma’am; he’s drunk as usual.” We occasionally met after that and always had a laugh about it. But we never got further than that rather pathetic incident. In 1994, I began writing the “Atticus” column for the Sunday Times, the bestselling Sunday broadsheet in Britain. By this time Diana and Charles had separated, and Diana had gone on the offensive against what was perceived by her to be Buckingham Palace plotting. As a confirmed monarchist, I warned in one of my columns that her popularity was enough to one day bring down the monarchy. I also wrote that she was bonkers. One month or so later, at a ball given in London by Sir James Goldsmith and his daughter Jemima Khan, a mutual friend approached me and told me that Princess Diana would like to speak with me. As luck would have it, yet again I was under the weather. When I reached her table, she pulled out a seat for me and asked me to sit down. The trouble was that I missed the chair and ended up under the table. Diana screamed with laughter, pulled up the tablecloth, looked underneath, and asked me pointblank: “Do you really think I’m mad?” For once I had the right answer. “All I know is I’m mad about you.” It was the start of a beautiful friendship, as Bogie said in Casablanca.

Liberated from fear, the Americans live with confidence, and therefore with enhanced vitality. A generous extravagance, undreamed of in other parts of the world, is the American rule. Men and women earn largely and spend what they have on the national pleasures, which are all social and stimulative of vitality. Modernity also tends to heighten vitality – or to be more exact, it affects the expression of vitality, externalising it in the form of vehement action. The joyful acceptance of change, which so profoundly influences American industry, business methods and domestic architecture, reacts on the affairs of daily, personal life. Pleasure is associated with a change of place and environment, finally with mere movement for its own sake. People leave their homes if they want entertainment. They externalise their vitality in visiting places of public amusement, in dancing and motoring – in doing anything that is not quietly sitting by their own fireside (or rather by their own radiator). What is known as 'night life' flourishes in America as nowhere else in the world. And nowhere, perhaps, is there so little conversation. In America vitality is given its most obviously vital expression. Hence there appears to be even more vitality in the Americans than perhaps there really is. A man may have plenty of vitality and yet keep still; his motionless calm may be mistaken for listlessness. There can be no mistake about people who dance and rush about. American vitality is always obviously manifested. It expresses itself vigorously to the music of the drum and saxophone, to the ringing of telephone bells and the roar of street cars. It expresses itself in terms of hastening automobiles, of huge and yelling crowds, of speeches, banquets, 'drives,' slogans, sky signs. It is all movement and noise, like the water gurgling out of a bath down the waste. Yes, down the waste.

Los Angeles—the dream-making capital of the world—serves as the backdrop for a number of the stories I recount. Some readers who cut their teeth in the urban centers of Europe or on the East Coast of America may prefer to dismiss what happens in Los Angeles as from a place apart, the aberrations of a migrant’s city within a migrant land. Such sentiments are understandable. Awash in the solar energy of a subtropical paradise, Los Angelinos engage life in the moment. The pace is fast, the music loud, and money is on display. Part of me, too, would prefer to dismiss such an existence as a mythmaker’s parody. But the place is real. In its immediacy and in its magnification of the familiar, Los Angeles creates its own reality and in so doing offers a “fast-forward” simulation of our collective future as a migrant culture. As Americans we must now decide whether such a future is of our choice, and whether it is sustainable. In the pages that follow, it is my goal to help inform that choice. Will we learn as a people to constructively channel the opportunities and individual enticements of the Fast New World toward an equitable social order, as Adam Smith had envisioned, or will the material demand for economic growth continue to erode the microcultures and intimate social bonds that are the hallmark of our humanity and the keys to health and personal happiness? Have the goals of America’s original social experiment been hijacked by its commercial success, threatening the delicate dance between individual desire and social responsibility, or will the nation in its migrant wisdom effectively apply its market and military dominance to remain a “beacon of hope,” enhancing the well-being of all the world’s peoples? This is a critical time in America, a time for careful thought and diligent action, for we have discovered in our commercial success that in an open society the real enemy is the self-interest that begins with a healthy appetite for life and mushrooms into manic excess during affluent times. Americans are again in the vanguard of human experience, and the world is watching. It is again a time for choosing.

Entertaining is a way of life for the Southern girl. We’ve been doing it for over three hundred years now, and we’re not too shy to say we’re just about the best in the world at it. There really doesn’t have to be an occasion to entertain in the South. Just about any excuse will do, from the anniversary of your friend’s divorce (a “comfort” party) to national flag day (Southern girls are always eager to show the flag the respect it’s due). Parties in the South have always been big affairs. In pre--Civil War days, it was a long way between plantations on bad roads (or no roads at all), so parties lasted for days on end. The hostess spared no expense, with lavish dances, beautiful dresses, and meals that went on and on, with all the best dishes the South had to offer: from whole roast pig to wild game stew. After all, plantation parties were a circuit. You might go to twenty parties a year, but you were only going to throw one--so you better make it memorable, darlin’. Grits work hard to keep this tradition alive. The Junior League and Debutante balls are not just coming out parties for our daughters, god bless them, they are the modern version of old Southern plantation balls. The same is true of graduation, important birthdays, yearly seasonal galas, and of course our weddings.

Beyond the cultural differences that must be bridged in any international effort, combined with factors of national politics, priorities, and values, we continue to grapple with the essential paradox of public health that began our discussion: when the system is working effectively, it is a silent venture and there are relatively few outbreaks of disease. These very successes lead most of us down a complacent path of false confidence, apathy, and assumptions that the endless dance is over. To complicate matters further, microbes themselves are hardly monolithic or permanently settled beings. For every attempt we make to destroy or weaken them, they respond with an equal and opposite force. The goal of both sides is to assume leadership of the evolutionary waltz ever in progress.

Koreans are better at packaging and marketing. Look at Samsung, for example. With K-pop, the songwriters are not Korean. They’re European. The people who do the editing studied in the United States; they’re multinational. The dance choreographers are from everywhere. It’s really a factory.” Many

This means that most of the births they have seen were to women on epidurals lying still during labor, waiting for it all to be over. Seeing this kind of birth over and over again causes a subconscious imprint on the mind, and many women develop enough fear of the pains of childbirth that they block the messages their bodies give them about other positions they might take in labor. Others may simply fear diverging from the norm. A woman in the first stage of labor may find it beneficial to try several upright positions: standing, perhaps leaning on a counter or tray table; slow dancing with her partner; sitting while leaning forward or propped up with pillows; squatting; or sitting in a rocking chair. Sometimes one position suffices, but laboring women usually like to change from one position to another as labor progresses. One of the most effective labors I ever witnessed was that of a first-time mother giving birth to a very large baby. She moved through the first part of labor very efficiently by belly-dancing while putting as much of her weight as possible on a long staff she was holding to steady herself. She then pushed her baby out while leaning on the bed in a kneeling position. A woman’s position during labor and birth may affect her ability to breastfeed in a couple of ways. Dr. Roberto Caldeyro-Barcia, an Uruguayan obstetrician, was one of the first to scientifically investigate the effects of maternal position on labor. In 1979 he published a study now regarded as a classic, which demonstrated that mothers in a “vertical” position had thirty-six percent shorter opening stages of labor than “horizontal” women; the “vertical” women also reported less pain than the “horizontals.” Walking helped labor progress as well, because it brought the pressure of the baby’s head against the cervix, helping it to thin and open. And the “vertical” mothers’ babies’ heads were less apt to be extremely molded just after birth, indicating a somewhat smoother passage through the mother’s birth canal. Equally important, the babies of women who gave birth in upright positions had less fetal distress at birth.5 These factors all increase the chances that a woman will have a good early breastfeeding experience. Dr.

Eagle Dance and Green Corn Ceremony The Cherokee Eagle Dance combined many songs and different dances. The dancers dressed like eagles and moved while dancing around a fire. The Cherokee conducted this ceremony to ensure a successful hunt or to cure a sick person. The Green Corn Ceremony represented the beginning of a new year. It was performed when the corn was ripe. During this ceremony, the Sacred Fire was put out, as were all fires in every home. A Cherokee healer then started a new Sacred Fire to last through the next year. The fires in each of the homes were then lit from the new Sacred Fire.

In peace we play and freedom ring, Now let us enjoy a mantra to sing, Down here we know that today Elated it's a really sunny day, Play: It's Independence Day! Ensure you celebrate with joyful thought Never forget that for freedom we fought Dance and sing we never forgot Erase all doubts of what we got. Now it's time to celebrate, Chant hymns and vibrate! Expectations must be met. Don't give up and don't forget. As sometimes it's the only way Yield for freedom, learn to play.

In a very true sense, I have no country or nationality. I am a dance of consciousness that belongs to this universe and to eternity.

India had witnessed the destructive dances of its intelligence organisations during the Emergency regime and the regime that followed. Indian democracy can be as oppressive as the regime of Idi Amin. There is no dearth of evidence to support this statement. Rights of the citizen are more frequently violated even under normal circumstances. A shaky ruler can run amuck and rock the foundation of the country. The present system is not good enough to ensure free democracy and constitutional liberty. Mere government notifications are not good enough to give legal status to the prime intelligence organisations, which have evolved along with the political system of the country and democratic aspirations of the people. If the systemic evolution has made the administrative services and other spheres of national activities accountable to the elected representatives of the people why the most powerful tools of the state machinery should be kept under the wrap of secrecy and the hazards of informality that can be misused and manipulated by a few politicians?

Remember when I said I was a bit scattered? It wasn’t just when it came to jobs. I had a slew of strange ex-boyfriends, too. There was George, who liked to wear my underwear . . . everyday. Not just to prance around in—he wore them under his Levi’s at work. As a construction worker. That didn’t go over well with his co-workers once they found out. He works at Jamba Juice now. I don’t think anyone cares about what kind of underwear he wears at Jamba Juice. Then there was Curtis. He had an irrational fear of El Caminos. Yes, the car. He just hated them so much that he became really fearful of seeing one. He’d say, “I don’t understand, is it a car or a truck?” The confusion would bring him to tears. When we were walking on the street together, I had to lead him like a blind person because he didn’t want to open his eyes and spot an El Camino. If he did, it would completely ruin his day. He would cry out, “There’s another one. Why, God?” And then he would have to blink seven times and say four Hail Marys facing in a southerly direction. I don’t know what happened to Curtis. He’s probably in his house playing video games and collecting disability. After Curtis came Randall, who will never be forgotten. He was an expert sign spinner. You know those people who stand on the corner spinning signs? Randall had made a career of it. He was proud and protective of his title as best spinner in LA. I met him when he was spinning signs for Jesus Christ Bail Bonds on Fifth Street. He was skillfully flipping a giant arrow that said, “Let God Free You!” and his enthusiasm struck me. I smiled at him from the turn lane. He set the sign down, waved me over, and asked for my phone number. We started dating immediately. He called himself an Arrow Advertising executive when people would ask what he did for a living. He could spin, kick, and toss that sign like it weighed nothing. But when he’d put his bright-red Beats by Dre headphones on, he could break, krump, jerk, turf, float, pop, lock, crip-walk, and b-boy around that six-foot arrow like nobody’s business. He was the best around and I really liked him, but he dumped me for Alicia, who worked at Liberty Tax in the same strip mall. She would stand on the opposite corner, wearing a Statue of Liberty outfit, and dance to the National Anthem. They were destined for each other. After Randall was Paul. Ugh, Paul. That, I will admit, was completely my fault.

The 80's in America were about building a better future here in America. We came into the generation dancing. We saw an explosion of songs about Christianity, concern for the environment, the first space shuttle, the number of nuclear arms peaked, and the start of the national debt clock. It ended with the fall of the Berlin Wall. We also saw growing frustration that some things were not getting done.

Sociobiologist Edward O. Wilson later said that there should be a “consilience” between art and science. 79 Former NASA astronaut Mae Jemison took selected images with her on her first trip to space, including a poster of dancer and former artistic director of the Alvin Ailey American Dance Theater Judith Jamison performing the dance Cry, and a Bundu statue from Sierra Leone, because, as she said, “the creativity that allowed us . . . to conceive and build and launch the space shuttle, springs from the same source as the imagination and analysis it took to carve a Bundu statue, or the ingenuity it took to design, choreograph, and stage ‘Cry.’ . . . That’s what we have to reconcile in our minds, how these things fit together.” 80 As a jazz musician once told me, musicians are mathematicians as well as artists. Morse’s story suggests that the argument started not because of the need to bring art and science together, but because they were once not so far apart. 81 When Frank Jewett Mather Jr. of The Nation stated that Morse “was an inventor superimposed upon an artist,” it was factually true. 82 Equally true is that Morse could become an inventor because he was an artist all the while. In one of the final paintings that laid him flat, the painting that failed to secure his last attempt at a commission, one he had worked fifteen years to achieve, Morse may have left a clue about his shift from art to invention, and the fact that the skills required for both are the same. He painted The House of Representatives (1822–23) as evidence of his suitability for a commission from Congress to complete a suite of paintings that still adorn the U.S. Capitol building. The painting has an odd compositional focus. In the center is a man screwing in an oil chandelier, preoccupied with currents. Morse was “rejected beyond hope of appeal” by the congressional commission led by John Quincy Adams. When he toured the picture for seven weeks—displayed in a coffee house in Salem, Massachusetts, and at exhibitions in New York, Boston, Middleton, and Hartford, Connecticut—it lost twenty dollars in the first two weeks. Compounded by a litany of embarrassing, near-soul-stealing artistic failures, he took to his bed for weeks, “more seriously depressed than ever.” This final rejection forced him to shift his energies to his telegraph invention. 83 By 1844 Morse went to the Capitol focused on a current that would occupy the work of Congress—obtaining a patent for the telegraph.

Ancient Ways Considering their favorable strategic location, pleasant climate, and natural beauty, is it any wonder that the Greek Isles became the cradle of Western culture? For millennia, the Greek islands have exerted a powerful magnetic force on people around the world. Seafaring conquerors have long recognized the importance and beauty of these islands. Ancient Phoenician ships came ashore as early as the third millennium B.C.E., followed by would-be conquerors from mainland Greece, Rome, Venice, and Turkey. Invaders have laid claim to these islands from antiquity well into the modern era. Pleasure seekers have also been drawn to the area. Ancient Minoan kings built their luxurious palaces among the citrus groves and rugged hillsides that overlook the placid seas. Scenes depicted in ancient wall paintings and on decorated pottery suggest that the islands have been a center of hedonistic activity--dancing, drinking, and romance--for eons. Today, visitors from around the world indulge in these same activities, drawn to the beaches, tavernas, and discotheques that pepper the many island harbors. Contemporary travelers to the Greek Isles come for myriad reasons and find a dazzling array of unexpected delights, for each of the more than three thousand islands has its own particular character. From the larger, bustling islands of Crete, Rhodes, and the island nation of Cyprus to the quieter havens of Folegandros and Kárpathos, to the hundreds of tiny, uninhabited islets of the region, the Greek Isles present a collage of diverse landscapes and customs. Mykonos is fun-loving, with lively tavernas and populated beaches. Delos is stoic, protecting the ruins of its ancient sanctuaries in solemn dignity. Milos is magical, with its volcanic rock formations and stunning village vistas.

The union team of New Zealand's national sport of Rugby has incorporated the static posture of the Haka war dance into its symbols. That symbol of the sprawling arms and legs is similar to that of the Dogon's Kanaga mask which I trace back to Egypt; it resembles the Ka signaling the beginning of the solar and/or lunar cycle based on the Egyptian theology when Osiris proceeds from the Great Pyramid (which is the House of Ka) into the Duat.

While in Hanoi, I gave a speech at the Vietnam national university. It was unlike anything I had ever experienced. The speech was an unremarkable review of the development of the U.S.-Vietnamese military relationship over the preceding fifteen years. But my reception was quite extraordinary. As I entered the hall, funky dance and disco music was blaring, strobe lights were flashing, and the audience—many young military officers but also a lot of young female students—was applauding, whistling, and carrying on. I knew that the only way I would ever get such a rock star’s reception would be at the order of a dictatorship.

In Shanghai's prime, no city in the Orient, or the world for that matter, could compare with it. At the peak of its spectacular career the swamp-ridden metropolis surely ranked as the most pleasure-mad, rapacious, corrupt, strife-ridden, licentious, squalid, and decadent city in the world. It was the most pleasure-mad because nowhere else did the population pursue amusement, from feasting to whoring, dancing to powder-taking, with such abandoned zeal. It was rapacious because greed was its driving force; strife-ridden because calamity was always at the door; licentious because it catered to every depravity known to man; squalid because misery stared one brazenly in the face; and decadent because morality, as every Shanghai resident knew, was irrelevant. The missionaries might rail at Shanghai's wickedness and reformers condemn its iniquities, but there was never reason for the city to mend its errant ways, for as a popular Chinese saying aptly observed, "Shanghai is like the emperor's ugly daughter; she never has to worry about finding suitors." Other great cities - Rome, Athens, or St. Petersburg, for instance – might flatter themselves that they had been conceived for virtuous, even heroic, purposes. Not so the ugly daughter who reveled in her bastard status. Half Oriental, half Occidental: half land, half water; neither a colony nor wholly belonging to China; inhabited by the citizens of every nation in the world but ruled by none, the emperor's ugly daughter was an anomaly among cities. The strange fruit of a forced union between East and West, this mongrel princess came into the world through a grasping premise-the right of one nation to foist a poisonous drug upon another. Born in greed and humiliation, the ugly daughter grew up in the shadow of the Celestial Empire's defeat by outsiders in the Opium War. Nonetheless, within decades, she had become Asia's greatest metropolis, a brash sprawling juggernaut of a city that dominated the rest of the country with its power, sophistication, and, most of all money.

When Americans raise their flag at the 9/11 sites, they reaffirm the resilience of their nation state. When Indians dance at the site of the 26/11 massacre, they celebrate the triumph of their civilization. The

FROM AN OPPRESSIVE MARCH TO DANCING FREE Let us not become weary in doing good, for at the proper time we will reap a harvest if we do not give up. Galatians 6:9 If you’re an American patriot who wants to restore constitutional government to our land, who wants to see big government cut back to its rightful small-government boundaries, who wants a nation once again united under the banner of faith and freedom . . . well, we know we’ve got our work cut out for us. We may have big challenges ahead, but name me a generation that didn’t. There’s nothing wrong with America that our activism and some good old-fashioned election victories can’t fix. Elections are where we the people can fire politicians who don’t abide by the Constitution; who don’t support liberty, or the right to life, or the right of an entrepreneur to follow his dream, start a business, and create jobs unhindered by burdensome regulation and crushing taxes. Our mission is to take back our government so that it once again represents a land not of government subsidies and patronage and welfare dependency, but of individual spirit, drive, and initiative; not of government direction but of individual responsibility; not of tax-fed bureaucrats but of businesses meeting real market needs and creating jobs. SWEET FREEDOM IN Action Patriotism, like faith, is for the long haul. We should never be discouraged, because God is always with us; and this is America, where anything is possible! Don’t give up!

The ancient human social construct that once was common in this land was called community. We lived among our villagers, depending on them for what we needed. If we had a problem, we did not discuss it over the phone with someone in Mumbai. We went to a neighbor. We acquired food from farmers. We listened to music in groups, in churches or on front porches. We danced. We participated. Even when there was no money in it. Community is our native state. You play hardest for a hometown crowd. You become your best self. You know joy. This is not a guess, there is evidence. The scholars who study social well-being can put it on charts and graphs. In the last 30 years our material wealth has increased in this country, but our self-described happiness has steadily declined. Elsewhere, the people who consider themselves very happy are not in the very poorest nations, as you might guess, nor in the very richest. The winners are Mexico, Ireland, Puerto Rico, the kinds of places we identify with extended family, noisy villages, a lot of dancing. The happiest people are the ones with the most community.

the school the Seer had set up trained select men in the calling of prophet. If a man felt he had the calling upon him, he would be interviewed by the Seer for sincerity and integrity. If accepted into the school, he was then educated in the Torah and Wisdom literature of Israel and surrounding nations. Prophecy was not merely foretelling of the future by revelation from Yahweh. It was mostly forth-telling of truth, be it directly from Yahweh’s revelation or from the learned precepts of their sacred texts. Prophets would spend long hours in the spiritual exercises of religious devotion and scribal disciplines of learned education to become messengers of Yahweh. Hearing from their god involved both supernatural and natural pursuits to be both holy and wise. Part of that education included the playing of musical instruments that would accompany ecstatic trances and dances.

Then it came to him. This was not the diversion, the battle of Gibeah was the diversion. The real goal was to capture Mikael himself, the prince of Israel. Well, he thought, they picked the wrong archangel to mess with. I have a chosen nation to protect. He pulled out his horn to call for help, but Ba’alzebul’s mace smashed it out of his hands. Dagon assaulted him with a barrage of sword slashes and strikes. Mikael kept him at bay, but almost got stung by Asherah’s javelin from the other side. He dodged and kept moving. His Karabu training was his only hope. It was the heavenly battle technique of Yahweh’s archangels developed to protect the Garden of Eden in primordial days. They had taught the human giant killers Enoch, Methuselah, Lamech, and Caleb the Way of Karabu, but now he would need to call upon his training to survive this ordeal. He flipped, spun, and danced around the four attacking gods and their weapons. It frustrated the malevolent beings, which was to Mikael’s advantage. But archangels were still created beings. He began to grow tired. They were wearing him down. Dagon’s sword grazed Mikael’s arm, cutting through his tunic. He was not going to be able to keep it up. He would have to do something drastic. Ba’alzebul moved in on Mikael. The biggest, meanest, mightiest of the gods had been waiting for his opportune moment when Mikael was just weary enough, just worn enough, to be incapable of expecting the unexpected. Ba’alzebul took the lead and pounded Mikael’s sword with his mace and backed him up against the ledge. Mikael looked down to the chasm floor. Saul and his forces made their way through the chasm below after slaughtering the priests of Molech. It wasn’t a fair fight. And neither was this fight. But Saul was safe. He had made it through and went north toward Gibeah. But the gods were not here for Saul. They were here for Mikael. Ba’alzebul suddenly threw down his mace and rushed Mikael like a bull goring its prey. Mikael didn’t register why, until Ba’alzebul hit him. The two of them launched off into space, plummeting toward the chasm floor two hundred feet below. Angels and gods could not die. But they were not mere spirits. They were enfleshed spirits. While it was unique flesh that would heal miraculously, it was still flesh that could be hurt — as Ba’alzebul knew all too well from his own painful experience in the molten earth. They hit the ground with a powerful thud and sank several feet into the dirt. Every bone in Mikael’s body was broken in the fall. He was paralyzed in excruciating pain. Ba’alzebul had been on top of Mikael, so while he too would be somewhat incapacitated, it would not be as bad for him, having used Mikael’s body as a cushion in the fall. As Mikael slipped into a state of delirious pain, he knew that their goal had been to capture him this way. To ambush him and therefore make both Saul and David more vulnerable to human attack. But what did they plan for Mikael? He could not begin to imagine.

It is not my province to show how brave it was for a great, strong nation to quell a riot caused by the dancing of a few 'bucks' – for civilized soldiers to slaughter indiscriminately, Indian women and children. Doubtless it was brave, for so public opinion tells us, and it cannot err.

Estes Park was set in a valley surrounded by the Rocky Mountain National Park.... When I visited a few years ago, there were actually elk grazing on the golf course." "Are you serious?" "Hey, every year in October they have an Elk Festival. That's why I came here. I wanted to see it 'cause it was on my bucket list." "An Elk Festival?" Amelia laughed. "You have the most awesome things on your bucket list. Mine seem boring compared to yours." Amelia raised her brow curiously. "What was the festival like?" "It was awesome. They had an elk bugling contest, elk seminars, Native American music, dancing and storytelling. They even had bus tours that took you to see the elk grazing in the fields. It was great. I loved it." "Wait a minute," said Amelia as she tilted her head to one side. "What's an elk bugling contest?" Rick grinned. "It's the call of the elk. Anyone can compete. Whoever sounds the most like an elk wins. You can use a horn or just your own voice. When I was there, the man who won used his voice. It was really something." Amelia's eyes widened with curiosity. "How did he do it? What does it sounds like?" Rick chuckled. "Well... the call starts out with deep rich tones. Then it quickly rises to a high-pitched squealing sound and immediately drops down to a bunch of grunts.

and she always made time for me. So this was my world—taking classes, working a temp job, seeing Dana make her dream a reality—when Janet’s “Rhythm Nation” exploded onto my mother’s TV screen in September of 1989. When I danced along to that video, picturing myself alongside Janet, it was

The Weaving We stand here, surrounded by the sacred mountains, at the sipapu, where our world began. We come from the four corners of this earth, walking in love, bringing our knowledge of many cultures, many languages. Seeking understanding, growth and change, for ourselves, our nations, our world. This is our intention! Here at this time we create a new world, we weave a new reality! We pray for assistance and request witness, from the sacred energies of our world! AIR - Winds of the 4 directions, winds that move the stars WATER - Rain, rivers, springs FIRE - Our sun, lightning that dances on the sky EARTH - Our mother, her sand, her cliffs, her mountains OUR BROTHERS - The four legs, the winged ones, water children and those that creep and crawl OUR SISTERS - The standing people, from mighty tree to smallest flower OUR OWN HUMAN RACE - From our ancestors who first walked this land, to our children's children, seven generations distant, most of all we call upon OUR SELVES, here and now, to witness and strive. We are here to create a weaving of a new reality.

Bass notes played by helicopters not too high above us By pilots who have not yet realized That this is all part of the native song of America Our national anthem of greed, violence, suppression, and oppression To which we have all learned to dance and dutifully accept Until the next time

The Jewish Stake in America's Changing Demography Reconsidering a Misguided Immigration Policy by Stephen Steinlight I'll confess it, at least: like thousands of other typical Jewish kids of my generation, I was reared as a Jewish nationalist, even a quasi-separatist. Every summer for two months for 10 formative years during my childhood and adolescence I attended Jewish summer camp. There, each morning, I saluted a foreign flag, dressed in a uniform reflecting its colors, sang a foreign national anthem, learned a foreign language, learned foreign folk songs and dances, and was taught that Israel was the true homeland. Emigration to Israel was considered the highest virtue, and, like many other Jewish teens of my generation, I spent two summers working in Israel on a collective farm while I contemplated that possibility. More tacitly and subconsciously, I was taught the superiority of my people to the gentiles who had oppressed us. We were taught to view non-Jews as untrustworthy outsiders, people from whom sudden gusts of hatred might be anticipated, people less sensitive, intelligent, and moral than ourselves. We were also taught that the lesson of our dark history is that we could rely on no one.

The overarching subject of all these works was Russia – its character, its history, its customs and conventions, its spiritual essence and its destiny. In a way that was extraordinary, if not unique to Russia, the country’s artistic energy was almost wholly given to the quest to grasp the idea of its nationality.

Alienated from official Russia by their politics, and from peasant Russia by their education, Russia’s artists took it upon themselves to create a national community of values and ideas through literature and art. What did it mean to be a Russian? What was Russia’s place and mission in the world? And where was the true Russia? In Europe or in Asia? St Petersburg or Moscow? The Tsar’s empire or the muddy one-street village where Natasha’s ‘Uncle’ lived? These were the ‘accursed questions’ that occupied the mind of every serious writer, literary critic and historian, painter and composer, theologian and philosopher in the golden age of Russian culture from Pushkin to Pasternak. They are the questions that lie beneath the surface of the art within this book. The works discussed here represent a history of ideas and attitudes – concepts of the nation through which Russia tried to understand itself. If we look carefully, they may become a window on to a nation’s inner life.

Natasha’s dance is an emblem of the view to be taken in this book: there is no quintessential national culture, only mythic images of it, like Natasha’s version of the peasant dance.

Forced to become Europeans, the educated classes had become so alienated from the old Russia, they had so long forgotten how to speak and act in a Russian way, that when, in Tolstoy’s age, they struggled to define themselves as ‘Russians’ once again, they were obliged to reinvent that nation through historical and artistic myths. They rediscovered their own ‘Russianness’ through literature and art, just as Natasha found her ‘Russianness’ through the rituals of the dance.

the reader will find here that works of literature, like War and Peace, are intercut with episodes from daily life (childhood, marriage, religious life, responses to the landscape, food and drinking habits, attitudes to death) where the outlines of this national consciousness may be discerned. These are the episodes where we may find, in life, the unseen threads of a common Russian sensibility, such as Tolstoy had imagined in his celebrated dancing scene.

During the great trials in Moscow, the procurator Andrei Vyshinsky, who was an intellectual with a traditional classical training, threw himself into a veritable frenzy of animalization: “Shoot these rabid dogs! Death to this gang who hide their ferocious teeth, their eagle claws, from the people! Down with that vulture Trotsky, from whose mouth a bloody venom drips, putrefying the great ideals of Marxism! Let’s put these liars out of harm’s way, these miserable pygmies who dance around rotting carcasses! Down with these abject animals! Let’s put an end once and for all to these miserable hybrids of foxes and pigs, these stinking corpses! Let their horrible squeals finally come to an end! Let’s exterminate the mad dogs of capitalism, who want to tear to pieces the flower of our new Soviet nation! Let’s push the bestial hatred they bear our leaders back down their own throats!” (Qtd. In The Black Book of Communism, p. 750.)

What tyrant first dreamed of conquest and clad violent oppression in terms of virtue? Why does the imposition of one will over another draw men like no other sin? For more than two hundred years, the Emperor has demanded that the galaxy align itself to his principles at the cost of ten thousand cultures that lived free and without the need for tyranny. Now Horus demands that the stellar nations of this broken empire dance to his tune instead. Billions die for conquest, to advance the pride of these two vain creatures cast in the shapes of men. There is no virtue in fighting for conquest. Nothing is more worthless and hollow than obliterating freedom for the sake of more land, more coin, more voices singing your name in holy hymn. Conquest is as meaningless as glory. Worse, it is an evil in its selfishness. Both are triumphs only in a fool's crusade.

Could there exist true happiness in a marriage when the man is the only one who can regularly exercise his free will and satisfy his desires, without caring whether or not his wife agrees? Accustomed to the passive obedience of women, he does not bother to find out whether or not she is satisfied with his conduct. And if she is not, he does not attempt to please her, nor to adapt his conduct to a new way of life. How can the holy priestess of the hearth preserve the sacred fire of love in the home when she has to officiate alone? Where is the principal object of her devotion? Look for him outside the home at those times when he should be at the side of his companion. Will a solid foundation for domestic happiness be established by this behavior? No. Men have the right to do or undo, without his companion. He goes to a masked ball or not, to the casino, to gamble, or chases other women.... and meanwhile, poor woman! A sad scenario for domestic bliss! She is subjected to a sad solitude for days and nights on end, orphaned of love, of sweet attentions and joys while the above-mentioned companion gambles, dances... or falls in love.

Old stories, those,” Thom Merrilin said, and abruptly he was juggling three colored balls with each hand. “Stories from the Age before the Age of Legends, some say. Perhaps even older. But I have all stories, mind you now, of the Ages that were and will be. Ages when men ruled the heavens and the stars, and Ages when man roamed as brother to the animals. Ages of wonder, and Ages of horror. Ages ended by fire raining from the skies, and Ages doomed by snow and ice covering land and sea. I have all stories, and I will tell all stories. Tales of Mosk the Giant, with his Lance of Fire that could reach around the world, and his wars with Elsbet, the Queen of All. Tales of Materese the Healer, Mother of the Wondrous Ind.” The balls now danced between Thom’s hands in two intertwining circles. His voice was almost a chant, and he turned slowly as he spoke, as if surveying the onlookers to gauge his effect. “I will tell you of the end of the Age of Legends, of the Dragon, and his attempt to free the Dark One into the world of men. I will tell you of the Time of Madness, when Aes Sedai shattered the world; of the Trolloc Wars, when men battled Trollocs for rule of the earth; of the War of a Hundred Years, when men battled men and the nations of our day were wrought. I will tell the adventures of men and women, rich and poor, great and small, proud and humble.

Years of drought and famine come…and the climate is not changed with dance, libation, or prayer.” —John Wesley Powell

Esperanza Impossible Sonnet 10 Nationality is not the trouble, real trouble is nationalism, And nationalism is the super weapon in a politician's arsenal. When nothing works, peddling nationalism works every time, For insecure citizenry can't tell nationality from nationalism. So in practice, all the wars of the world are caused by citizens, But it feels good to blame the bad things on politicians. Once the citizens grow up to not be swayed by nationalism, No authoritarian nincompoop can make them dance. Nationality is a tool, what it is not is a badge of supremacy, Just like culture is a tool, and not a badge of authority. If we must dance, let us dance to life, not to baseless fright, If we must take a step, let's take a step towards humanity. Borders exist to aid the functioning of the fabric of society. They are not some olympian designation of your identity.

The amazing thing, when she came to do the long-postponed Egypta in 1910, after she had won international fame, was that she did indeed do a work which was not only a day in the life of Egypt but the life of the nation itself, starting with dawn, with prayer, with the river Nile (she was the river itself), with the labors of the working people of Egypt, with temple ceremonies, with entertainment of the pharaoh, and with the final judgment when, before the god Osiris, the heart of Egypt is weighed against the feather of truth.

If land and religion are what people most often kill each other over, then the West is different only in that the land is the religion. As such, the basic struggle is between the West of possibility and the West of possession. On many days it looks as if the possessors have won. Over the past century and a half, it has been the same crew, whether shod in snakeskin boots or tasseled loafers, chipping away at the West. They have tried to tame it, shave it, fence it, cut it, dam it, drain it, nuke it, poison it, pave it, and subdivide it. They use a false view of history to disguise most of what they are up to. They seem to be afraid of the native West—the big, cloud-crushing, prickly place. They cannot stand it that green-eyed wolves are once again staring out from behind aspen groves in Yellowstone National Park. They cannot live with the idea that at least one of the seventeen rivers that dance out of the western slopes of the Sierra Nevada remains undammed. They are disgusted that George Armstrong Custer’s name has been removed from the name of the battlefield memorial, the range of the Sioux and Crow and Arapaho, replaced by a name that gives no special favor to either side: the Little Bighorn Battlefield. Worse, the person now in charge of the memorial is an Indian.

Never before has so much power been concentrated into the hands of such a few number of people, who literally can decide what countries live or die on a minute by minute basis. Never before has all the world’s wealth been subject to the decisions of such a small clique of individuals, who can, as we said earlier, completely alter the economic, sociological, and legislative landscape of entire nations as if with the wave of a magic wand. And if this situation weren’t bad enough, what makes it worse is the fact that the mental condition of this clique is such that makes the whole situation a ticking time bomb. It’s true, on it’s face, that such a threat from such a statistically small number of people makes no sense, except when considering what possibilities exist when this small number of people have the ear of the President of the United States, the most powerful man in the world. And, if these people can literally make the president dance on strings like a puppet, (as has obviously been the case with every American president since Lyndon Johnson) then it becomes apparent how such machinery can be made to operate. We are talking about an unprecedented concentration of the world’s power in the hands of a few individuals who are, by any standards that can be used to measure, criminally insane. They possess 90% of the world’s wealth, control the political machinery of the world’s most powerful nations, control the informational infrastructure of these nations, and are imbued with the mindset that they have a right to possess all of this by virtue of: A: Their superiority, and by B. The inferiority of the rest of the world’s inhabitants. This situation does not paint a pretty picture, even to the most shallow-minded of thinkers. When it is reduced to its irreducible minimum, the program under which such individuals have deluded themselves is that it is impossible that evil in any form may emanate from the Jewish quarter, and, conversely, that the only evil that can exist is that which works against the Jewish agenda. Like Pavlov’s dogs, the sentiments of such individuals can be turned on like a light switch in defending the agenda of their masters, sentiments completely disconnected with any true intellectual processes and which vary between loyalty for the hand that feeds them and fear of the hand that can grab them by the throat. And thus it is in this manner therefore that we must view the intellectual parrying that takes place by today’s skeptics as but a magic act, and particularly so when the other side of the coin is discussed.

Polish rule robbed Ukraine of its nobility. But it also saw the emergence of a new power in the region – the Cossacks. Outlaws and frontiersmen, fighters and pioneers, the Cossacks are to the Ukrainian national consciousness what cowboys are to the American. Unlike the remote and sanctified Rus princes, the Cossacks make heroes Ukrainians can relate to. They ranged the steppe in covered wagons, drawing them up in squares in case of Tatar attack. They raided Turkish ports in sixty-foot-long double-ruddered galleys, built of willow-wood and buoyed up with bundles of hollow reeds. They wore splendid moustaches, red boots and baggy trousers ‘as wide as the Black Sea’. They danced, sang and drank horilka in heroic quantities.

troubled, Alfred Allsworth (Fred) Thorp, Sheriff of Okanogan County approached the Lute Morris Saloon in Conconully Monday morning, November 9, 1909. Inside, a hard-looking stranger of medium height, with black hair and a mustache, who gave his name as Frank LeRoy, was playing cards at a table. Sheriff Thorp intended to question LeRoy regarding a safe blown in the A.C. Gillespie & Son store in Brewster a few days earlier and two residential burglaries in Brewster. A mild mannered Iowa farmer, Thorp came to the Okanogan in 1900, carried mail between Chesaw and Loomis, ran for sheriff. Armed with a six-shooter, Thorp feared only that some day, he might have to kill someone, which would compel him to resign, and this might be the day. LeRoy sat very still, watching the frontier sheriff approach the card table. “I’ll have to take you in, partner.” said Thorp. There must have been an unearthly silence in the saloon as LeRoy rose. Thorp drew his revolver, “I’m going to search you.” LeRoy turned as if to throw off his coat, and then jerked a pistol from a shoulder holster. The two opened fire simultaneously LeRoy dancing about to present an elusive target. LeRoy got off four shots. Thorp emptied his revolver, striking LeRoy’s right hand, causing him to drop his gun, and hitting the suspect in the shoulder as he bolted out a rear door. LeRoy staggered a few yards up Salmon Creek before hiding in some brush. “Look out, he’s got another gun” someone yelled from across the creek. Having borrowed a second revolver, the sheriff pounced, kicking LeRoy’s gun from his hand. LeRoy was rolled onto a piece of barn board and carried into the Elliot Hotel. There his wounds, including a punctured lung were treated. In LeRoy’s hotel room Thorp found two more guns, wedges and drills, and a supply of nitroglycerine. Two days later, LeRoy broke out of the county jail. Wearing only his nightshirt, a blanket for trousers, shoes and an old mackinaw taken from an elderly trusty who served as jailer, the desperado flew through chilling weather to Okanogan. Three days later, Thorp caught up with him in a fleld of sagebrush below Malott. LeRoy came out with his hands up commenting mildly he wished he had a gun so the two could shoot it out again. In January, 1910, at Conconully LeRoy was convicted of burglarizing the William Plemmon’s home at Brewster. Since this was his third burglary conviction, he was sentenced to life imprisonment in the state penitentiary at Walla Walla as a habitual criminal. After serving nine years, LeRoy, in ill health, was released in 1919. He once met Fred Thorp on a street in Spokane. They chatted for a few minutes. While there were, in pioneer times, numerous other confrontations between armed men, the Thorp-LeRoy gun flght probably was the closest Okanogan County ever came to a HIGH NOON shootout.

I’d read Persuasion, about Anne Elliot, who, unmarried at twenty-seven, veers perilously close to an economically and socially unmoored fate before being saved from the indignity of spinsterhood by Captain Wentworth. I’d read about Hester Prynne and Miss Havisham and Edith Wharton’s maddening, doomed Lily Bart. These were not inspiring portraits. Collectively, they suggested that women who remained unmarried, whether by choice or by accident, were destined to wear red letters or spend their lives dancing in unused wedding dresses or overdose on chloral hydrate. These characters might not have wed, but their lack of husbands constrained and defined them, just as surely as marriage would have.

He could be good to talk to sometimes, but his actual efforts on my behalf added up to a whole lot of nothing. Every time I realized how little he would actually do for me as a father, how indifferent he was to parenting basics like buying me clothes or getting me to school on time or running me over to dance class, my misery was compounded. I could see that he might have understood me better than my mom did, but he really didn’t love me as devotedly.

In international affairs, true strength is found in the pursuit of peace, not power." "Diplomacy is the art of finding common ground in the vast diversity of our global landscape." "Global progress depends on leaders who see beyond borders and build bridges of understanding." "The world’s greatest challenges are solved not by isolation, but by the unity of nations working together." "International affairs demand a balance of vision and pragmatism, of ideals and realities." "In the global arena, dialogue is the most powerful weapon for resolving conflicts and fostering peace." "True global leadership embraces the diversity of voices, recognizing that every culture adds value to our shared future." "The key to a stable world lies in our ability to collaborate across borders and find solutions that benefit all." "To navigate international affairs is to dance in the delicate balance between national interests and global responsibility." "Sustainable development is a collective commitment that transcends borders, cultures, and politics.

The seventies were becoming a decade defined by dance. The era saw the rise of discos, which offered a respite from the nation’s social and political turmoil and whose lifeblood was the pulsing, euphoric music that kept clubgoers on the dance floor until the wee hours. (That, and cocaine.)

The poem is a requiem to the death of black creativity. It is an obituary for the lives of singers, musicians, and poets who dare believe they share the authority to act and think. The beauty of the poem is its juxtapositions: laughter and suffering, song and pain, dancing and dying. Yet this is the black American dilemma- how to live in a nation committed to one's destruction? How to find joy in the midst of terror? How to do art when one has not been deemed human?

Countries and continents with a people who love and know the healing and protecting powerful presence of God Almighty in the name of Jesus Christ will be healed, protected, flourish and prevail in every aspect. When I was in the final stages of this holy book, the Holy Spirit of a Sovereign God in me came through and danced holy healing dances of world restoration, world salvation, world peace, world protection, world love in his mercy and upholding strength. The Holy One made a straight path of life for the restoration and wellness of countries, continents and nationalities who dwell in the accepting and forgiving presence of God Almighty. There was strong and powerful angelic presence manifesting in me as the dances of global love and protection were revealed… There is presence of God Almighty in this world in today's age and era.Thank you Holy Spirit, you are God and you are good, True and Faithful all the time. We bless your Name, Holy One.

The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.

Politicians continued their mantra, saying that Americans were much too smart to be fooled! As a nation we believed this nonsense. However, as a people, we had no idea what was happening and, even worse, we didn’t know to what extent the depression would affect us. The major problem was that the wealth of the nation was spread unevenly, with the rich getting richer and the poor being abused. A vast difference developed between the country’s productive capacity and the ability of the people to purchase manufactured products. In other words, the consumer base had been eroded to the point where Americans could no longer afford to buy the necessities of life, thus ending the need to manufacture things. As factories closed and people were laid off, the downhill spiral became complete. Everybody was left wondering what had happened to the country that had promised them an opportunity to have a better life than their parents had had. The 1930’s became the most difficult years that the United States had ever had to face economically, and the people we had entrusted with political power and our welfare, caved in to special interest groups. Rudy Vallée typified the era as he sang songs such as Brother, Can You Spare a Dime and Life Is Just a Bowl of Cherries, through his handheld megaphone. The dances of the day were the Charleston and the Peabody and, if you believed the film industry, everyone was doing them. Hollywood provided a fleeting escape from reality. That is, if you could afford the price of admission to the theaters that had just opened in almost every hamlet in the country.

The songs and dances of the Aurignacians, Gravettians, Solutreans, and Magdalenians probably served the same purpose in prehistoric life as they do in modern life today: as a means of emotional release, as a way of creating feelings of camaraderie and belonging among the members of a social group, and as a way of expressing one’s cultural identity. It is no accident that every modern nation-state has a national anthem that its members sing together to express their solidarity as citizens of their national cultures and to reinforce their shared identity as members of these immense human groups.

Freedom is a blessing and a curse. People of all nations treasure the notion of personal liberty, but freedom creates the coincident anxiety of choosing how a person should live. If I desire to find personal happiness, I need to understand what happiness is and learn how to rid myself of unhappiness. Is happiness an endurable material or is it comprised of no more than a string of good fortune? Is the good luck that brings happiness a fortunate happenstance that may evaporate at any moment? Do we measure happiness in the present? Alternatively, is happiness determinable only when looking at the sum and substance of a person’s total life? Is the game of life ultimately a losing proposition for all persons, and if so, is happiness even achievable or is it a form of an illusion? Is happiness simply a temporary mental reprieve from an inevitable period of suffering that serves as a prelude to our final dance with death? Is happiness a matter of quality of life or quantity, i.e. longevity? Can we measure happiness objectively? Alternatively, should we subjectively compute our scale of happiness?

People do need grace, but grace is not always what we think. The outpouring of the Holy Spirit I witnessed in my youth—from summer camps to national conferences with hymns sung by choirs of thousands—strikes me today as a very human experience. The energy of a crowd, the trust of a friend, the touch that sends thrills up your spine and shakes you to the core, the joy of giving and the honor of receiving, the dance and the competition, the humbling and the uplifting, the brightest ecstasy and the firmest faith—these things do not rain from Heaven but well up from the Earth. We spread blessings with our hands and pour out grace with our mouths. We love and we deserve love. We have a right to ask for love from our partners, friends, families, and strangers. And we have a right to seek love in the most intimate, personal experiences.

The fighting over, Lincoln resumed his place, and gave one of his shortest political speeches. Fellow Citizens, I presume22 you all know who I am. I am humble Abraham Lincoln. I have been solicited by my friends to become a candidate for the Legislature. My politics are short and sweet, like the old woman’s dance. I am in favor of a national bank. I am in favor of the internal improvement system and a high protection tariff. These are my sentiments and political principles. If elected I shall be thankful; if not it will be all the same.

Fellow Citizens, I presume22 you all know who I am. I am humble Abraham Lincoln. I have been solicited by my friends to become a candidate for the Legislature. My politics are short and sweet, like the old woman’s dance. I am in favor of a national bank. I am in favor of the internal improvement system and a high protection tariff. These are my sentiments and political principles. If elected I shall be thankful; if not it will be all the same.

But before it came to that, the show needed a quizmaster, an adult who, like Clifton Fadiman on Information, Please, gave it exactly the right edge. This chair was as vital to the show’s success as were the young panelists. A pair of college professors auditioned: they were too impressed with themselves, giving the kids no time to talk. A candidate from the lecture circuit gave away half the answers. Among the 20-odd people who auditioned was Joe Kelly, a thirdgrade dropout, seasoned vaudevillian, and host of the hayseed music show The National Barn Dance. “His height of intellectual polish before The Quiz Kids was to ring a cowbell and chortle, ‘I’m teakettled pink to be here,’” wrote John Lear in the Saturday Evening Post. Kelly was far from dumb: he had finished third grade a year ahead of schedule but at age 8 had gone into show business.

We give them power, to play the game Then to who do we blame we do surrender even without struggle keep quiet, we use to sit cool and calm Then to who do we blame ink, Paper pen, and human they are buying all, what they can blood in the street. is washing money rain putridity of Corpse, vanish by the status fragrance Orgy of cruelty everywhere without shame it's a new normal, as we are so tolerance just, religion cast and anti-nation where is health where is education harmony, peace, and love disappearing who is dying nearby, who is caring closed inside the malice cage, just dancing to the leader's fame Then to who do we blame the world is a market full of moon-shine shade the financial value will decide your grade the disease is a business, death is a trade I have seen, people crying for a piece of bread but, TV studio, newspaper, and twitter Filled to the brim with hate thread don't shout, shut your mouth king is sleeping, building the nation in a dream working hard for your butter and cream hunger, Poverty, thirst, nothing at all you must be a pride citizen, that's all keep burning nationalism flame otherwise, you are a traitor, damn We give them power, to play the game let them play, with our future and generation don't cry, don't cry, be little wise if we are a puppet of politics. to earn their bread and fame they need our sacrifice to earn their bread and fame they need our sacrifice

Each town was represented by a council. The council was headed by a shaman, who had no authority but advised on spiritual and medical matters. There were two chiefs--the White chief (also known as the most beloved man), who handled daily concerns of the town, and the Red chief, who offered advice regarding war parties, victory dances, and the spirited games that were a vital part of the Cherokee way of life. Seven elder men were chosen from each clan. These men usually led discussions, although all Cherokee men participated. The council discussed town concerns, including religious matters, and decided by consensus, meaning general agreement. Cherokee society had little need of formal laws. Seeking harmony in relations with each other, they maintained order by social pressure and negotiation among disputing individuals or clans. The Cherokee were a highly organized people, not only within each village, but in the nation as a whole, with two forms of government--the White for civil or peacetime affairs and the Red for waging war. The White chief was the religious head or high priest as well. Next in important to the chief was the right-hand man, or itausta, and then the chief speaker. The chief had seven councilors, including the right-hand man, who formed the main government. The Red organization consisted of a group of officials corresponding in rank to the White leaders, except that they were responsible only for military activities. The White organization had slightly more power because the Red chief was selected by the White chief. There were other important people within the Cherokee government, notably the beloved woman, an elderly matron who was honored for her wisdom and goodness. Seven women, usually the eldest women in the nation, also took part in many council ceremonies. The national government met in a large seven-sided building situated on a high mound in the capital. The capital was not fixed at first, but was always in the village of the White chief, although Echota eventually became the traditional capital. As in the town council house, the seating arrangement was highly formalized, with the White chief occupying the seat of honor. Here, Cherokee leaders held elaborate national ceremonies, assembled war parties, and administered laws.

For years, we knew the double-storey at the bottom of Albermarle Street as the Gandhi House. In the decade before the Great War, we'd been told, Gandhi lived here with his family. Now the house has lost its claim on history 9but not its plaque from the National Monuments Council). An enterprising researcher, with nothing to gain by his unmasking except the truth, has shown that Gandhi did not live here after all, but up the road at No. 11. One of Gandhi's descendants, who visited the house as a child, has provided confirmation. The people at No. 11 should have that plaque moved to their wall. Both the Gandhi Houses, the true and the false, are double-storeys set on a promontory between two thoroughfares, but the attitudes of the streets could not differ more. Hillier and Albermarle Streets approach the impostor rather Kindly, cupping it in leafy palms, whereas Albermarle and Johannes grip the genuine article like an egg in a nutcracker. No. 11 has a handsome corrugated-iron roof and a wide, shady balcony. I recall an orante wrought-iron finial, the ECG of a Victorian heartbeat, dancing along the roof ridge, but it must have been removed by the renovators. I cannot remember ever seeing a person on the balcony, perfectly suited though it is to reading the paper or chatting over sundowners, but for a few years there were shop-window mannequins leaning on the parapet. Perhaps they were scarecrows for thieves? At night, with the lighted windows behind them, they always deceived the eye. Something in the atmosphere, a bit of lace around the neck, a reddish tinge of the light from the doorway, made them look like whores. Apparently, the Mahatma used to take his rest on the balcony on summer nights. It is easy to picture him there with sleep in his eyes, buffing his little round glasses on the hem of a bed sheet.

To those who actually practise it, morris dance has an elemental quality, an ancient ritual magic comparable to the whirling dervish dance of Sufism, the Native American ghost dance or the spiritual movements developed by G. I. Gurdjieff. Its gestures are designed to act as a lightning conductor for spiritual energies to unite the universe with the earth and replicate the seasonal cycles of growth, death and rebirth. Morris dancers’ tatter jackets act as symbolic antennae; clogs dash against the ground, awakening slumbering earth gods. The EFDSS had gentrified the dance in the 1930s and 40s, slowing the pace and draining its erotic vigour. More recently, morris has become the anvil round the revival’s neck, its boisterous moves, outlandish costumes and trite musical accompaniment treated as a national joke. To dive into the music of this much-ridiculed custom shows how giddily Ashley Hutchings had fallen under the spell of English traditional music. Morris was the last locked cupboard of the entire post-war folk revival. By unsealing it, he was prepared to stake a hard-won reputation and credibility on a music that appeared to be unredeemable.

just had the best dream. It was National Alex Day and the world was celebrating ME! They cheered and chanted my name along with my evil laugh. They lit villagers on fire and danced in the moonlit. The skies were orange, and yellow, and red. Anarchy filled the air while drums beat wildly. The energy was mind-blowing. I was cherished, honored, loved even, all across the lands.

Do you have a copy of "these" books or "its just Stellah talking?"...."Get out of my way, says the Lord God Almighty to Anointed Author Stellah Mupanduki of Jesus Christ concerning the Works/Books of healing breathed by the Holy Spirit of a Sovereign God" ...Yeah...Click bio link for more book source links or go for other online bookstores carrying the work of her/my hands.

Responding ot the need to represent French Canada in the company's offerings, Franca and Ambrose researched French-Canadian folk songs and arts and crafts, commissioned a score, on George Crum's recommendation, from Hector Gratton, and put together what was intended as a light and amusing ballet on folk themes. It was well-received outside Quebec, but met strong opposition in Montreal, where it was seen as the worst kind of tokenism as well as a slight to the true nature of Quebec culture. Paul Roussel, reviewing for Le Canada, called into question the validity of its inspiration. He suggested that, suitably revised, it might make an amusing trifle, but in its present form it could not lay claim to any Quebecois cultural authenticity.

Dance! Both of you. Afterward I’ll answer whatever questions you like.” A few seconds later, as the old man strode confidently across the dance floor toward a young woman with a severe ponytail and a slit skirt, he was utterly transformed into a lithe, ageless tanguero who pressed the young woman tightly to him and guided her gracefully around the hall. While Max gawked at this unsuspected world, Monsieur Perdu grasped right away where he was. He had read about places like this in a book by Jac. Toes: secret tango milongas in school halls, gymnasiums or deserted barns. There dancers of all levels and ages and every nationality would meet up; some would drive hundreds of miles to savor these few hours. One thing united them: they had to keep their passion for the tango a secret from jealous partners and families who greeted these depraved, suggestive, frivolous moves with disgust and rigid, pinch-mouthed embarrassment.

Psychoanalysis: An Elegy" What are you thinking? I think that I would like to write a poem that is slow as a summer As slow getting started As 4th of July somewhere around the middle of the second stanza After a lot of unusual rain California seems long in the summer. I would like to write a poem as long as California And as slow as a summer. Do you get me, Doctor? It would have to be as slow As the very tip of summer. As slow as the summer seems On a hot day drinking beer outside Riverside Or standing in the middle of a white-hot road Between Bakersfield and Hell Waiting for Santa Claus. What are you thinking now? I’m thinking that she is very much like California. When she is still her dress is like a roadmap. Highways Traveling up and down her skin Long empty highways With the moon chasing jackrabbits across them On hot summer nights. I am thinking that her body could be California And I a rich Eastern tourist Lost somewhere between Hell and Texas Looking at a map of a long, wet, dancing California That I have never seen. Send me some penny picture-postcards, lady, Send them. One of each breast photographed looking Like curious national monuments, One of your body sweeping like a three-lane highway Twenty-seven miles from a night’s lodging In the world’s oldest hotel. What are you thinking? I am thinking of how many times this poem Will be repeated. How many summers Will torture California Until the damned maps burn Until the mad cartographer Falls to the ground and possesses The sweet thick earth from which he has been hiding. What are you thinking now? I am thinking that a poem could go on forever.

As we age, we are bound to find comfort from the nation that it takes generations for a way of life to fade. We are familiar with the songs our grandparents favored, after all, even though we never danced to them ourselves. At festive holidays, the recipes we pull from the drawer are routinely decades old, and in some cases even written in the hand of a relative long since dead. And the objects in our homes? The oriental coffee tables and well-worn desks that have been handed down from generation to generation? Despite being "out of fashion," not only do they add beauty to our daily lives, they lend material credibility to our presumption that the passing of an era will be glacial.

Naked I Dance (A Sonnet) Naked I dance here in delight, I am not wearing name, fame or stature. All I am wearing is a smile of humaneness, Isn't that what matters in human nature! I need no faith, nation or intellect, Nor do I need illusive pomp and ceremony. I am happy being a human above all, I'll stay that way forever exuding harmony. Tried a lot many countries, races and religions, To tie me up with their rugged exclusivities. But my heart is too grand for any one sect, So I dance naked without any cultural amenities. Come join me if you like my sisters and brothers, United we’ll free the world of all tribal attires.

Nation hosted community events with Bronx youth, organizing local music and dance movements into a single cohort that, over time, produced the formative language of hip hop, encompassing everything from beat-making to emceeing (MCing)—acting as the “master of ceremonies” following the West African griot practice of rhythmically telling stories and sharing oral traditions over drum beats. The success of “Planet Rock” was a slow burn; first received as a type of funk music, it could slip onto the radio at a time when mainstream stations were convinced that the entire genre of hip hop was a fad that would soon pass. The release landed the same summer as Grandmaster Flash and the Furious

she is full of secrets everybody already knows. When she sings, “I never grew up, it’s getting so old,” she thinks nobody has ever noticed this. When she admits that she has a history of turning her friends into enemies, she’s absolutely certain she is the first to mention it, as if her friends and enemies don’t laugh about it together. She cannot stop marveling at how skilled she is at hiding her feelings inside, as they dance merrily across her forehead

The entire nation is fashioned around this idea. It’s a philosophy that basically states, “We are God.” It’s the same idea that’s been plaguing humans since the Garden of Eden, and the Juche Idea is just one of its many names. Any philosophy not founded in Christ, when taken to its extreme, will destroy more lives than it promises to save. In the case of North Korea, ultimate self-reliance has turned into absolute

Hoxha's contempt of capitalist society was summed up in a speech which also hinted at the pride he felt in Albanian national culture 'Why should we turn our country into an inn with doors flung open to pigs and sows, to people with pants on or no pants at all, to the hirsute, longhaired hippies to supplant their wild orgies, the graceful dances of our people.