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    <title>Vanishing Culture: A Report on Our Fragile Cultural Record (2026) : Luca Messarra : Free Download, Borrow, and Streaming : Internet Archive</title>
    <dc:date>2026-07-12T23:37:08+00:00</dc:date>
    <link>https://archive.org/details/vanishing-culture-2026</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["LISTEN TO THE PODCAST (Release dates: July 1 - August 5, 2026):

• Vanishing Culture Episode #1: What We Stand to Lose with Luca Messarra
• Vanishing Culture Episode #2: The Stories Hidden in Cookbooks with Katie Livingston [via this: https://www.youtube.com/watch?v=RfVF20mFkPg ]
• Vanishing Culture Episode #3: Saving Queer Memory with Brooke Palmieri
• Vanishing Culture Episdoe #4: Keeping African Folktales Alive with Helen Nde & Laura Gibbs
• Vanishing Culture Episode #5: A Language Worth Saving with Peter Scholing
• Vanishing Culture Episode #6: What We've Learned with Vida Vojić & Alice Bridgwood

ABOUT VANISHING CULTURE:

In today’s digital landscape, corporate interests, shifting distribution models, and malicious cyber attacks are threatening public access to our shared cultural history. 

• The rise of streaming platforms and temporary licensing agreements means that sound recordings, books, films, and other cultural artifacts that used to be owned in physical form, are now at risk—in digital form—of disappearing from public view without ever being archived. 

• Web sites like MTV News, Gawker, and others are removed from the live web by their corporate owners, leaving only web archives like those in the Wayback Machine as the last remaining public record of their reporting and cultural impact.

• Cyber attacks, like those against the Internet Archive, British Library, Seattle Public Library, Toronto Public Library and Calgary Public Library, are a new form of digital barrier, impeding access to information at community scale. 

When digital materials are vulnerable to sudden removal—whether by design or by attack—our collective memory is compromised, and the public's ability to access its own history is at risk. Vanishing Culture: A Report on Our Fragile Cultural Record aims to raise awareness of these growing issues, featuring essays from:

• Digital librarian Brewster Kahle, founder of the Internet Archive;
• Humanities scholar Luca Messarra;
• Book historian and social media star Allie Alvis;
• Game designer Jordan Mechner;
• Journalist Philip Bump;
• Writer and editor Maria Bustillos;
• Film archivist Rick Prelinger;
• Digital humanities scholar Nichole Misako Nomura;
• Writer and book artist Eve Scarborough;
• And many more…

The report details recent instances of cultural loss, highlights the underlying causes, and emphasizes the critical role that public-serving libraries and archives must play in preserving these materials for future generations. By empowering libraries and archives legally, culturally, and financially, we can safeguard the public’s ability to maintain access to our cultural history and our digital future."]]></description>
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    <title>All Roads Lead to Om | Matt Mullenweg</title>
    <dc:date>2026-06-27T07:16:32+00:00</dc:date>
    <link>https://ma.tt/2026/06/om-forever/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yesterday, my best friend and brother from another mother, Om Malik, passed away.

<blockquote>They say that blood is thicker than water, and what we had was way thicker than blood. — Bob Weir</blockquote>

Om’s request was for a small family prayer ceremony. In mourning, that will be all there is. In celebration and tribute, I love that everyone is sharing their Om stories online, like the writing and photography Christopher Michel shared, which very much embody the OG spirit of blogging that Om pioneered.

***

A Renaissance Man

I knew Om contained multitudes, but sitting by his side these last few weeks, I’ve been amazed to learn how many deep and completely separate communities he was part of. He meant so much to so many, in so many different ways.

Om loved putting on a good conference, and I’d like to celebrate his life with an awesome event on September 29, 2026 (his 60th) in San Francisco, like an OmFest. I’ll find a space where every community from the many facets of Om can come together. In the spirit of Open Source and co-creation, we can have some booths, flash talks, a gallery of his photography, pen showcase, and whatever other fun ideas people want to contribute. I can’t wait for the beautiful collision of his tech / journalism / Indian party planner / pen / coffee / shoes / photography circles, and probably some niches I couldn’t even imagine.

***

A Few Vignettes

I have so much to say about Om, but right now I’m working on moderating comments and keeping his website tip-top, so here are a few snippets:

Fundamentally, Om was a lover of humanity. He became a fast “regular” everywhere he went. He wouldn’t just buy coffee, he would also learn the name and story of every barista, the dogs and people in South Park. His deep curiosity and respect weren’t just for the fine and famous. It extended to every soul that crossed his path. His encyclopedic knowledge and photographic memory created connections not just in San Francisco, but all around the world wherever we traveled. (I need to pull the stats, but we went to five continents together, including Antarctica.)

He loved people and their stories. 

***

Om and I were an odd couple. We met online through forums and email because Om was one of the earliest adopters of WordPress. We finally met in person in 2004 when I was 20 and he was 38. He connected me to the first investors I ever spoke to, Phil Black, who formed True Ventures, and Tony Conrad, and introduced me to Toni Schneider, my business soul mate, who became like a co-founder as the CEO of Automattic in our first 8 years.

And of course on the internet. I don’t know how we would count, but I would guess Om read at least 1 or 2% of the whole thing.

**

Om was a voracious learner. I was there when he first used chopsticks, and only a few months later, he knew every sushi restaurant in San Francisco and exactly what he liked at each.

***

Om is probably in the top ten in the world for finding things incredibly early. That’s why he has the best usernames! How does one guy get the @om username on WordPress.com in 2005 (user ID 719), Twitter in 2006, Instagram in 2010? The first WordPress meetup was at Chaat Cafe (now Corner) in 2005, 8 people showed up, and Om was one of them.

***

One of the biggest lessons I learned from Om is the deep appreciation of craft. When he took an interest in photography or pens, he would somehow find his way to the most obscure, highest-quality expression of that form. “What Would Om Want?” is a question I will always ponder. I want to craft products that would make Om proud.

***

Om’s last word was “love.”"]]></description>
<dc:subject>ommalik grief friendship death life 2026 bobwier mattmullenweg christophermichel writing howwewrite storytelling blogs blogging humanity curiosity respect stories waysofliving craft love</dc:subject>
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    <title>What Are We? Where Are We? – Charles Foster</title>
    <dc:date>2026-05-31T21:59:18+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/what-are-we-where-are-we/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contemplating the age-old question of what it means to be human, Charles Foster contends that we are most fundamentally ourselves at the edges of certainty and comfort."]]></description>
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<item rdf:about="https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces">
    <title>A Discussion on the New Novel 'Palaces of the Crow' (with Ray Nayler) | The Chris Hedges Report</title>
    <dc:date>2026-05-23T05:19:01+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his new book, “Palaces of the Crow,” Ray Nayler examines human nature through the lens of caring and community amidst the often hidden horrors of World War II."

...

"“We tell the stories that perpetuate the narrative or the myth we want, and we erase the others,” Chris Hedges states in this interview with Ray Nayler about his new book, “Palaces of the Crow,” which centers around four teenagers from varying backgrounds who struggle to survive during World War II. The war, Nayler says, fundamentally reshaped the world geopolitically, technologically and socially in ways that have profoundly impacted the environment in which we live today. Critical lessons from that moment in time are being lost, with media and governments covering up the deep and long-lasting wounds inflicted upon tens of millions of people. Nayler says that “We can’t move away from that time period before understanding it.”

During World War II people were trapped in unimaginably horrible circumstances and were forced to make difficult, and at times self-sacrificial, decisions. The story of the “ways in which people came together to protect their neighbors, to protect family members, to protect friends, to protect strangers” is rarely told, Nayler says.

In Nayler’s novel, crows play an essential role in the story. Like humans, crows are social animals. He describes the crows’ niche as the flock and the flock as a type of organism whose niche is the forest, much like the human’s niche is society and our society’s niche is the world. Contrary to their typical association with death and destruction, Nayler utilizes them as “a symbol of cooperation and group living and non-violence.” From this viewpoint, one sees that human connection, cooperation, nonviolence and mutual aid are fundamental to survival.

The theme of connection, “a primal sense of togetherness,” is central to the story of the four teenagers thrown together under hostile conditions. This connection allows people, and other animals, to find common ground and get along despite their different cultures. Civilization, which Nayler portrays as “being inside a painted box and trying to ignore what’s out there,” is an obstacle to connection that prevents us from recognizing reality. We erase the reality that humans are social, nonviolent, interconnected and caring beings at our own peril."

...

"Ray Nayler: Well, in a way, this book for me is a kind of response to a certain way of seeing human nature, right? I was very surprised when I found out that William Golding’s “Lord of the Flies” was based on a real event. That there really was a group of shipwrecked boys who survived for a long time on an island alone. They all went to a boarding school, right? And their teachers were not with them, so they were forced to form a society on this island and cooperate and find some way through. The difference between the book and reality is that in reality, nobody died. The boys divided the chores up between themselves, set up housekeeping, and lived very peacefully on that island together in a state of mutual aid and cooperation.

But that’s not the story that gets told in Lord of the Flies, of course. The story that gets told in Lord of the Flies is one of the strong against the weak, and this sort of perverted miniature version of the society that William Golding perceived us as living in in his day. Golding responds to that criticism in an interesting way and, at the contemporary moment when he wrote the Lord of the Flies, he says, “Well this is not a story about those boys. This is a story about British schoolboys and how they would form a society on an island.” And I take that point, but at the time, I think, there’s so many books that are written about people destroying one another in times of adversity. And one of the things that’s forgotten about World War II, for example, is that probably most of the people involved in World War II tried to protect both themselves and other people around them. And many, many people in World War II actually sacrificed their lives to protect other people, knowingly gave their lives up in order to shield other people from oppression. And that’s a story that we don’t talk about, I think, enough about the ways in which people came together to protect their neighbors, to protect family members, to protect friends, to protect strangers."

...

"Chris Hedges: I know from your wonderful book about the octopus that you probably didn’t make up anything about these crows. But set against this horror, and it is a horror that these four teenagers are attempting to hide from and survive through, is our relationship to the animal, to animals, in this particular case, crows. And one of the things I found interesting is that they kind of live in this underground shelter that had been previously occupied by a veteran of World War I and a hermit who had been very, very kind to the flocks of crows in the forest. And it raises that question of whether there was some kind of reciprocity. But I want you to talk about the use of crows that are a constant theme in the book. And at the end, I won’t spoil it, but I mean, there becomes a decision by one of them, I mean, to risk their life to save the crows that are trying to save her.

Ray Nayler: I think Corvids are fascinating. And crows, in particular, but other Corvids like ravens and rooks. One of the things that’s really interesting about them for me is that within the space that humans create, this very damaged space, urban spaces and suburban spaces and all of the spaces in which we’ve sort of invaded nature to some extent, many animals have been destroyed by that movement into nature by human beings. Crows, on the other hand, are one of the groups of animals whose numbers have increased along with humans and who seem very suited to taking advantage of our damaged liminal spaces.

I think we have a strong association with crows and negativity, right? We see their call as a sign sometimes of death, right? They’re associated with disease and war and all of these other things, but I think precisely because when humankind has gone into battle, historically crows have been there to take advantage of the food that we leave behind for them on the battlefield, right? And so, crows are creative and intelligent creatures themselves, of course. And these crows in this book are sort of an extension just of the tool use and intelligence that crows have. And crows are also an animal that has a direct weaving relationship with human beings. They’ve been with us as a symbol, probably throughout our entire history. We’ve, I think, learned a lot from them. And they learn from us. They watch us do things and imitate us. They exchange gifts with us. They remember our faces. They’ve clearly evolved alongside us for a long time.

I was on the beach with my daughter, and we were tide pooling and we were sort of standing there looking at some things. And I saw the crows come down off of the sea cliffs and start gleaning from the tide pools. And I asked the ranger what the crows were doing there because you don’t usually see crows right at the seashore. They’re usually driven away by gulls. And the ranger said, “Well, there was a student group here. There were children. It was a kindergarten group. And the crows know that when the children come through the tide pools, they’re not very careful about where they put their feet and they kill a lot of small animals and snails and things. And so, the crows watch from the forest above the beach, and they wait for children to come through the tide pools and then they go and they pick up what the children have left behind.” And I thought, that’s such a good summation of what much of the crow-human relationship has been historically. We make a mess. The crows take advantage.

But there’s also in the book, mutual care that emerges between the humans and the crows. And this is something that we see with human-animal relationships. And you see it with crows. People who treat injured birds, especially the more intelligent species like Corvids, will often find that they’ve gained a lifelong friend, right? And that bird will introduce them to other birds from their flock and soon they have a relationship with a whole group of birds. And so that thread of care that proceeds from the man who takes care of some crows and is kind to them, and then the children who come along and need help and the crows give it to them, and then later in the book, what the adults will do for the crows. All of that is for me a way of showing how care can move through species, through generations and build some kind of a system of care, right? Grow and grow, if it’s given that space to grow."

...

"Ray Nayler: You know, again, crows are an interesting species. They can be cruel. They can seem cruel to us. They certainly have these famous moments of having trials of other crows and for whatever reason deciding to kill one of their number and it’s completely unclear to us from the outside. No biologist can tell you why this happens, what has been done, because we don’t understand what their culture is and what the violation might have been. But crows show concern for one another, for the injured, for the weak, and they will protect a wounded crow. They will protect a fledgling fallen from the nest against predation. Crows will band together to drive off predators, even when those predators are not a direct threat to them. They will do it just for the sake of other crows, of other members of their group. And they risk their lives to do this. Driving a hawk off is a dangerous activity and it puts one at risk. And so, to do that as a crow, not for the sake of oneself, but for the sake of the flock, really shows the sort of mentality that exists. And I use that word in that exact sense of mentation and a sort of vision of the world or a picture of the world. In the crows’ picture of the world, it is worth risking one’s life for the other virtually at all times.

Chris Hedges: Well, in the book, they risk their lives for the children.

Ray Nayler: Yes. And I think that the implication is that in some way they’ve been able to extend this care out to the children because they have formed a relationship with one of them, Neriya, who has for many seasons been playing with them and interacting with them and building a kind of friendship with them. And so, on that foundation and on the foundation of the relationship that they had with this man before, they have a reason to extend that care to an interspecies level."

[Direct link to video:
https://www.youtube.com/watch?v=hjZ35_Rin3U

"(0:00) Intro  
(2:25) Why WWII? 
(4:21) Clash of totalitarians 
(6:13) The four characters 
(10:19) The symbology of crows 
(15:58) Karma and resurrection 
(19:46) Kropotkin’s naturalism 
(25:04) The complexity of crows
(27:53) Transgenerational communication 
(30:59) Rootlessness and evil 
(33:03) Human-animal communication 
(38:55) The myth of childhood 
(44:05) The forgotten history of WWII
(51:21) Trauma of veterans 
(52:11) Outro"]]]></description>
<dc:subject>raynayler chrishedges war poland wwii ww2 crows corvids humannature humans human caring community fiction literature togetherness interconnected interconnectedness ussr nazigermany germany cooperation nonviolence mutualaid survival peterkropotkin totalitarianism williamgolding rootlessness evil trauma childhood human-animalrelations human-animalrelationships 2026 lordoftheflies danielberrigan faith birds siberia morethanhuman multispecies krasnovodsk resurrection manchuria turkmenistan leesandlin hitler adolfhitler society civilization children communication interspecies relationships thomasnagel experience perception pathology donaltrump hannaharendt karma poverty nourishment scarcity abundance socialism equality writing howwewrite reading howweread legacy death generations culture learning howwelearn inscription individualism extraction extractiveindividualism environment corporations corporatism disconnection history interdependence sesnes sensory waysofknowing blindness sound sensing senses modernity huma</dc:subject>
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    <title>The role of literature as the key to personal freedom | Aeon Essays</title>
    <dc:date>2026-04-26T06:57:44+00:00</dc:date>
    <link>https://aeon.co/essays/the-role-of-literature-as-the-key-to-personal-freedom</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Stripped of easy moralising, literature makes us relish the search for truth in an age when many believe truth to be dead"]]></description>
<dc:subject>reading howweread literature 2026 freedom florachampy empathy proust johnruskin johnmilton books writing howwewrite rolandbarthes stanleyfish jacquesderrida newhistoricism newcriticism jonathanrose allanbloom haroldbloom emilyfinley janeausten patriciamatthew madamebovary gustaveflaubert percivaleverett kameldaoud marktwain elenaferrante paulbénichou victorhugo annelouisegermainedestël fiction rousseau readership christopherkelly charlesdickens émiledurkheim neigesinno hernandiaz values stories education marcelrpoust dostoevsky flaubert freud</dc:subject>
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<item rdf:about="https://urubos.github.io/efa-site/">
    <title>Extrapolated Futures Archive</title>
    <dc:date>2026-04-22T03:49:17+00:00</dc:date>
    <link>https://urubos.github.io/efa-site/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mapping real-world scenarios to the science fiction stories that explored them first."

...

"📚 What is this site?

The Extrapolated Futures Archive is a reverse-lookup for speculative fiction. Describe a situation you are facing, and find the SF stories that already worked through the implications.

The catalog connects stories (novels, novellas, short stories, films) to the speculative ideas they explore: thought experiments about technology, governance, biology, society, and more. Every idea is tagged with domains, scenario types, and outcome types so you can filter by the kind of future you are thinking about.

How to use it:

• Search by title, author, synopsis keywords, or idea descriptions

• Filter by domain (AI, biotech, climate, space, governance...), scenario type, outcome, decade, or series

• Browse ideas to find transferable thought experiments, then follow links to the stories that explore them

• Browse stories to see what speculative ideas a particular work contains

• Book Club discussions (marked with 📖) offer section-by-section roundtable analyses by AI personas modeled on SF authors

• What-If Query (via the What-If Query page/link) lets you describe a real-world scenario in plain text and get ranked matching ideas

The archive is designed for decision-makers in government, industry, and NGOs who want to widen their thinking by surfacing fictional precedents for novel real-world challenges."

[via:
https://kottke.org/26/04/0048768-the-extrapolated-futures- ]]]></description>
<dc:subject>scific sciencefiction speculativefiction history books reference databases maps mapping stories</dc:subject>
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<item rdf:about="https://psyche.co/ideas/well-soon-find-out-what-is-truly-special-about-human-writing">
    <title>We’ll soon find out what is truly special about human writing | Psyche Ideas</title>
    <dc:date>2026-04-21T06:25:34+00:00</dc:date>
    <link>https://psyche.co/ideas/well-soon-find-out-what-is-truly-special-about-human-writing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AI can take over many writing tasks. But there is something irreplaceable about a text with an author standing behind it"

...

"In the mid-15th century, when Johannes Gutenberg began experimenting with movable type, the scribes who had spent their lives copying manuscripts by hand could not have known they were witnessing the end of their profession. The texts maintained a deceptive continuity, circulating the same liturgies and legal canons that had always been reproduced, possibly camouflaging the massive shift that was occurring in the mechanics of cultural production. Whether the scribes saw beyond the unchanged content to the upheaval in its origin, who can say; but we, looking back, can see what they couldn’t: that the revolution was invisible in the output – it lived entirely in the means.

Nearly six centuries later, we find ourselves at another such juncture. Large language models (LLMs) can produce prose that is, by most functional measures, indistinguishable from competent human writing. The question that might eventually have come to haunt the scribes of the 15th century – what happens to us when machines can do what we do? – has resurfaced with some vengeance. What happens to writing when the production of prose no longer guarantees the presence of a mind behind what is written?

The answer, if there is one, will possibly be found in what writing has always asked of the person who does it: a willingness to stand behind words, to mean them, and to accept the consequences of having claimed to have written them.

Writing has always been understood as a trace of human thought; when we read, we assume that behind the words lies a consciousness that selected them, a mind that deliberated over their arrangement, a person who stands accountable for their claims. This assumption is so deeply embedded in literate culture that we rarely articulate it – it is simply what writing is. Generative AI disrupts this assumption, producing text that has no author in any meaningful sense, no one who meant it, no one who can be held responsible for it, and no one who was changed by the act of composing it. The words exist, but the covenant that once connected writer to reader has been severed.

The professional consequences of this severance are already visible. Journalism, criticism and the broader ecosystem of writing-for-pay have already been contracting for two decades, squeezed by the ruthless logic of attention economics. Generative AI arrives at this moment as an accelerant, further breaking down the transaction that once sustained writing as labour – time exchanged for text exchanged for money.

Writing has weathered previous technological upheavals but, while the history is instructive, it is not reassuring in the way some of us might hope because the threat this time is of a different kind.

The printing press didn’t destroy writing, but democratised its distribution, making books cheap and abundant, creating new publics and new genres. The intimate relationship between scribe and text, the sense that each manuscript was a unique artefact bearing the marks of its maker, gave way to something less personal.

Up until the late 19th century, handwriting was the dominant form of creative literary expression. This changed in the 1870s, when the first commercial typewriters came to market. Where handwriting had long been understood as an extension of the body, a kind of graphological fingerprint, the typed page was uniform, mechanical, depersonalised. Writers like Henry James and Mark Twain, who were among the first to compose on typewriters, reported that the machine changed not just how their prose looked but how it felt to produce it. The clatter of keys imposed a different rhythm and a different relationship to revision. Something was lost; something else was gained.

The word processor, and later the networked computer, accelerated this logic. The ease of editing made prose more fluid, more provisional, and the internet dissolved the gatekeeping structures that had once controlled publication. Anyone could write and publish, resulting in an explosion of text. Blogs, comments, social media posts, emails – by the early 2000s, written language was being produced on a scale unprecedented in human history. Writing became ubiquitous, ordinary and, in many of its manifestations, sadly disposable.

Each of these transitions was accompanied by predictions of catastrophe and claims of liberation, and each changed writing without eliminating it. The lesson that triumphalists like to draw is one of resilience, that writing adapts and survives, and finds new purposes as old ones become obsolete.

But generative AI represents a rupture of a different order, because, where previous technologies changed how writing was produced or distributed, LLMs change what writing is, or, more precisely, what it can be assumed to be. When a reader encounters a text, they can no longer take for granted that a human being composed it – as long as LLMs exist, there will always be doubt as to whether a piece was entirely written by a human.

The implications ramify in unexpected directions. Academic writing, which depends on the assumption that authors have actually done the thinking their papers represent, faces a crisis of verification. Legal documents, contracts and medical records, genres where accountability is essential, become newly uncertain. Even personal correspondence, the most intimate form of writing, is shadowed by doubt. Did my friend write this message, or did they prompt a machine to write it for them?

This contamination of doubt has spread quickly, most notably online, as the internet, once imagined as a vast library of human knowledge, is filling with synthetic text. Search results, product reviews, news aggregators and social media feeds are increasingly populated by machine-generated content designed to capture attention or manipulate behaviour. It’s harder than ever to identify trustworthy content.

But the question of writing’s future cannot be answered by cataloguing losses. If writing is to survive as something more than a nostalgic practice, it must find a new basis for its value. When it can now be almost entirely simulated by machines, what remains?

The answer is probably not in the properties of text but in the nature of the relationship that text enables. Human writing is only partly concerned with the production of words; more essential to its essence is the assumption of responsibility for those words. When a person writes, they are committing themselves, something a language model cannot do. They are saying, in effect: ‘I stand behind this; I am willing to be held accountable for the attempt.’

This dimension of writing, what we might consider its testimonial function, has always been present, but it has been obscured by more practical concerns. We valued writing for its usefulness, like how it conveyed information, made arguments, entertained, and persuaded. These functions can now be performed by machines with considerable competence, but what machines cannot do is bear witness or stake a claim grounded in lived experience and personal judgment. Large language models cannot enter into the implicit contract that says: here is a mind engaging with a problem, here is a person who cares about getting it right.

In an environment saturated with synthetic text, this testimonial function becomes newly precious. Readers may stop asking whether a piece is well written and begin asking who wrote it, under what conditions, and why they should be trusted. Evidence of human deliberation will not take a single form, but may reside in the traces of process that machines tend to smooth away: in the presence of hesitation, idiosyncrasy, revision and judgment made under constraint. Imperfection itself might acquire a different valence. Even forms long thought obsolete, such as handwritten notes or materially specific modes of composition, may regain appeal as visible reminders that a particular person was present at the act of writing. Essentially, the criteria for valuable writing might shift to provenance, from fluency to accountability, and writing that matters will be writing that can still function as evidence of human deliberation – work that cannot be faked because it carries the marks of genuine thought.

The transition will be messy, and many forms of writing will not survive it. But writing that depends on trust and the willingness to be present to a reader – work grounded in first-hand experience or attributed to an author with a hard-earned reputation – well, this may find itself valued in ways it has not been for decades.

The future of writing may look less like the frictionless content economy of the recent past and more like the older, slower forms of correspondence and publication that preceded it. Letters, essays, criticism, investigative journalism, genres where the identity of the writer matters, where readers seek out particular voices and measure what is written against what has been written before. To hold a writer to account, in this sense, is not simply to agree or disagree, but to respond, to challenge, to cite, to remember and, when necessary, to withdraw trust. Such forms cannot be automated without losing what makes them valuable, because they are, by their nature, resistant to scale. We might think of this moment, nearly six decades since the theorist and critic Roland Barthes proclaimed the death of the author, as a moment of revival, as the rebirth of the author.

Whether such writing can sustain itself economically is another question. Writers have always struggled to make a living, and the coming years will intensify that struggle. But the deeper question is not whether writers will be paid – though that is, of course, vitally important – but whether writing will continue to mean something, and whether the act of composing prose will still carry the weight of human intention.

Real, human writing may become rarer and more deliberate – more visibly marked by the presence of the person behind it. It might slow down, retreat from the platforms that have commodified it, and find refuge in spaces where trust can still be built between writer and reader. It may take place in settings and forms that reward patience rather than immediacy, where words are written with an awareness of who will read them and remembered for having been read. It might become more like it was before the age of mass media – a practice defined by the quality of attention it embodies, rather than volume or reach, gathering value through continuity and recognition rather than constant circulation or amplification.

The scribes of Gutenberg’s time could not have imagined the world that movable type would create, and we are no better positioned to foresee what lies ahead. But if writing survives this rupture, it will be because it offers something that no machine can replicate: the irreducible fact of a human being, thinking in public, willing to be known by their words."]]></description>
<dc:subject>writing howwerwrite jameso'sullivan 2026 ai artificialintelligence generativeai genai human humanism language communication stories storytelling literature technology media rolandbarthes llms publishing henryjames marktwain gutenberg history change wordprocessing chatbots howwewrite gutenberh print printing printingpress</dc:subject>
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<item rdf:about="https://www.frontporchrepublic.com/2026/04/prophetic-possibilities-a-few-words-on-david-w-orr-and-a-healing-vision-for-america/">
    <title>Prophetic Possibilities: A Few Words on David W. Orr and a Healing Vision for America - Front Porch Republic</title>
    <dc:date>2026-04-11T03:11:31+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/04/prophetic-possibilities-a-few-words-on-david-w-orr-and-a-healing-vision-for-america/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A healing vision for America, Orr suggests in his writings, is one faithful to the great nearby, to the gospel of the local."

...

“How do we reimagine and remake the human presence on earth in ways that work over the long haul?” —David W. Orr

“The plain fact is that the planet does not need more successful people. But it does desperately need more peacemakers, healers, restorers, storytellers, and lovers of every kind. It needs people who live well in their places. It needs people of moral courage willing to join the fight to make the world habitable and humane. And these qualities have little to do with success as we have defined it.” —David W. Orr

...

"And what is Orr’s vision?

In light of the variety of topics he’s written about (love, gratitude, water, oil, speed, scale, diversity, language, education, climate change, technology, science, scientism, spirituality, politics, leadership, citizenship, agriculture, conservation, localism, architecture, ecological design, the industrial economy, and others) and in light of the richness of his expression, attempting a summary of his vision seems a fool’s errand. But let me run that fool’s errand roundaboutly (and uncomprehensively) by sharing a list from his book Hope Is an Imperative, a list of things Orr believes every healthy community needs, a plainly worded but provocative list that I’ve been sharing with friends and students for years:

• front porches
• public parks
• local businesses
• windmills and solar collectors
• local farms and better food
• better woodlots and forests
• local employment
• more bike trails
• summer baseball leagues
• community theaters
• better poetry
• neighborhood book clubs
• bowling leagues
• better schools
• vibrant and robust downtowns with sidewalk cafes
• great pubs serving microbrews
• more kids playing outdoors
• fewer freeways, shopping malls, sprawl, television
• no more wars for oil or anything else"]]></description>
<dc:subject>davidorr small local growth 2026 teddymacker us community society slow consumerism consumption presence poetry life living howwelive humanism hope love gratitude speed scale scientism spirituality education technology science conservation agriculture citizenship civics localism politics land willaimcatton prosperity peace peacemakers healing healers restoration storytelling stories well-being wellbeing success careerism human humane humans earth ecology environment beagoodancestor kinship davidsteindl-rast georgesturt togetherness connection ellendavis joannamacy garysnyder wendellberry intelligence culture religion geography time longnow bighere longhere bignow ugliness sustainability unsustainability ecologicalliteracy knowledge wisdom destabilization climate climatechange globalwarming slowknowledge democracy economics economy deniselevertov vaclavhavel randolphseverson civilization modernity ai artificialintelligence power gandhi martinlutherkingjr mlk haroldrobbins henryadams decency reason responsibilit</dc:subject>
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    <title>Leanne Betasamosake Simpson - Wayfinding With Beavers: Generating Theory Together - YouTube</title>
    <dc:date>2026-04-10T01:30:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ONbP-zUKYRg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Leanne Betasamosake Simpson is a renowned Michi Saagiig Nishnaabeg scholar, writer and artist, who has been widely recognized as one of the most compelling Indigenous voices of her generation. Her work breaks open the intersections between politics,  story and song—bringing audiences into a rich and layered world of sound, light, and sovereign creativity. Working for two decades as an independent scholar using Nishnaabeg intellectual practices, Leanne has lectured and taught extensively at universities across Canada and the United States and has twenty years experience with Indigenous land based education. She holds a PhD from the University of Manitoba, and teaches at the Dechinta Centre for Research & Learning in Denendeh.

Leanne is the author of seven books, including her new novel Noopiming (US release from UMP February 2021), which was named a best book of the year by the Globe and Mail. This Accident of Being Lost,  won the MacEwan University Book of the Year; was a finalist for the Rogers Writers’ Trust Fiction Prize and the Trillium Book Award; was long listed for CBC Canada Reads; and was named a best book of the year by the Globe and Mail, the National Post, and Quill & Quire.  As We Have Always Done:  Indigenous Freedom Through Radical Resistance was awarded Best Subsequent Book by the Native American and Indigenous Studies Association.  A Short History of the Blockade: Giant Beavers, Diplomacy and Regeneration in Nishnaabewin was published by University of Alberta Press in February 2021, and her new project a collaboration with Robyn Maynard, Rehearsals for Living is forthcoming from Knopf Canada in 2022. Leanne’s new critically acclaimed and Polaris Prized short-listed album, Theory of Ice was released by You’ve Changed Records in March 2021.

In this presentation, award-winning writer Leanne Betasamosake Simpson uses Michi Saagiig Nishnaabeg stories, storytelling aesthetics, and practices to explore the generative nature of Indigenous blockades through our relative, the beaver—or in Nishnaabemowin, Amik. Moving through genres, shifting through time, amikwag stories become a lens for the life-giving possibilities of dams and the world-building possibilities of blockades, deepening our understanding of Indigenous resistance as both a negation and an affirmation."]]></description>
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    <title>Suzanne Simard says Indigenous knowledge must save the Earth | Psyche Portraits</title>
    <dc:date>2026-03-31T07:57:41+00:00</dc:date>
    <link>https://psyche.co/portraits/suzanne-simard-says-indigenous-knowledge-must-save-the-earth</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Her science revealed that trees look after one another in the forest. Now, Suzanne Simard says, the only way to save the Earth is to put Indigenous ecological knowledge first"

...

"Today, Simard argues that Indigenous knowledge can do what Western science often cannot: hold complexity without reducing it to parts. Western science excels at dissection, she says, but struggles to reassemble the living world. That makes it difficult to fully understand and address the nested crises of climate change and extinction. Indigenous knowledge, on the other hand, grounded in systems thinking, places people inside nature, not apart from it, so harm to land becomes harm to ourselves, and care becomes an obligation to future generations, human and nonhuman alike."]]></description>
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    <title>The Internet Has Not Killed Reading—or Attention Spans</title>
    <dc:date>2026-03-25T05:46:19+00:00</dc:date>
    <link>https://nautil.us/the-internet-has-not-killed-reading-or-attention-spans-1279171</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interview with Kevin Ashton, MIT technology pioneer and author of The Story of Stories"

...

"British author and technology pioneer Kevin Ashton has been puzzling over the nature of storytelling for the past 25 years. That’s how long it took him to research and write his latest book, The Story of Stories: The Million-Year History of a Uniquely Human Art.

The first seed of the book for Ashton lay in two seemingly contradictory questions posed by American philosopher and linguist Noam Chomsky. The first, known as Plato’s problem, asks how we can know so much with so little information. Babies, for instance, learn to speak based on what might seem like a poverty of inputs. The second question is known as Orwell’s problem, and it asks the opposite: How could we know so little, given that so much information is available to us?

Ashton—best known for coining the term “The Internet of Things” in 1999, to describe the rise of a whole economy of sensors and other objects connected to the World Wide Web—also began asking himself how the rise of the smartphone might transform the human relationship to storytelling and to the world. “By the mid 2010s, I could be pretty confident that by 2026, some 9 out of 10 people in the world would have a smartphone, and I wanted to know what that might mean,” he recently told me. “The smartphone was an incremental step in the developed world, but in the developing world, it was everything at once.” In the developing world, most people had skipped over radio, television, personal computers.

Ashton knew a revolution was coming. But to grasp what that revolution would look like required him to go back and understand the entire evolution of storytelling across human history—which was initially just a footnote in his research.

I recently spoke with Ashton about why cell phones are so revolutionary in the long history of storytelling technologies, why social media might not be as terrible for young people as some believe, why long-form narratives aren’t dead, and why he’s still hopeful about our newest storytelling technologies.

You divide The Story of Stories into two parts: the first act, which is a million years long and comes to its end with the smartphone, and then everything after that. What is so fundamentally different about the smartphone from earlier storytelling technology?

A lot of people are like, “New technology comes along, and kids can’t understand stories anymore. Kids can’t read, nobody talks, bad things happen, words change, and nobody’s got any attention.” And that didn’t stand up to research very well. But what I did realize was that these major new technologies, each change the scale of storytelling: How many people can tell stories, and how many people they can tell stories to. That started to look really interesting. I was beginning to realize that big new storytelling technology generally leads to big new revolutions.

Of course, one of the early ones is printing. We didn’t all read happily ever after because of printing. There were like 50 or so wars between Protestants and Catholics over whose story was right, and 12 million people were killed. That’s an example of the kind of revolution that happens when new stories become more broadly available. The smartphone really feels like the end of that arc, because now anybody can tell a story to anybody. There is someone in Mongolia right now using Facebook, and if they publish something viral enough and interesting enough that catches enough attention, it’s five shares away from being something everybody sees.

You write in the book that storytelling is uniquely human. Do we know for sure that other species don’t tell stories?

You don’t really see any symbolic behavior in other species. All species communicate, but very few species communicate through visual means. Crows do a little bit of pointing. Dogs can understand humans pointing. But wolves don’t use pointing in the wild. They will mark the ground and use urine for signaling behavior, most of which is olfactory. But what you don’t get is any rigid system where a scratch like this means one thing, or a scratch like that means another thing. And vocalizations are primarily calls and cries that convey warning or attraction. A lot of the information in those sounds is how big is the person making the call or the cry? How old or young is the person making the call or the cry? So there’s nothing remotely like storytelling or story comprehension in any species that we’ve ever studied or discovered.

Humans started telling stories when we sat around the fires. We were primates who wanted to socialize. We couldn’t see gestures. We started making sounds. The sounds we had were, “Look over there,” and “Oh my god, run.” And those sounds were actually very useful sitting around the fire. What you want to talk about around the fire is stuff that’s not there. Maybe it’s about tomorrow or yesterday or something you remember, or something you imagine or something you desire. Over a long period of time, hundreds of hundreds of thousands of years, those sounds start to evolve into something which becomes language. And the reason they evolved into language was so that we could have these conversations about things not present, which is storytelling.

You argue that a fundamental purpose of stories is to distribute glory and shame, in the form of heroes and villains. But literary critics might argue that good stories don’t have clear-cut heroes and villains. They have antiheroes. They have gray areas rather than certainties.

We have to distinguish between stories that tend to be long lasting and successful when told to large audiences—and ones that are not. In successful stories, the antiheroes are still heroes. Batman still saves Gotham City. He just does it wearing black. An antihero isn’t a villain. And there are no anti-villains. The antihero exists as a reaction to the heroic archetype, the pure goody-two-shoes heroes that were in earlier stories. The tweedy literary people in their Brooklyn brownstones who try to write stories where it’s very ambiguous who’s the good guy or the bad guy—it’s all a bit muddled, but there’s still someone you’re supposed to be rooting for. There’s still someone the author identifies with. You cannot tell a story that anyone will enjoy if there’s absolutely nobody doing anything virtuous at any stage. That wouldn’t be a compelling story. But really, the more emotion a story evokes, the better the story. Different things evoke different emotions in different people. But these more experimental white guy books that everyone pretends they read where nothing ever happens …

Like which ones?

I’m not going to name any names! But if you’re not evoking an emotion, you aren’t going to find a lot of readers. A lot of people who want to be high-art storytellers will experiment: “Well, what if they take out these elements? What am I left with? How does it work?” My answer is generally it’s an intellectually interesting exercise that I don’t want to return to. Depending on what kind of mood I’m in, I sometimes have some very salty conversations with literary critics.

Read more: “We Can Be Heroes”

If storytelling has been so utterly transformed by these new technologies, why do the earliest forms of storytelling stick around? People are constantly saying, poetry is dead, novels are dead, but they aren’t dead. They don’t go away even though we keep getting new storytelling technologies. Why do you think that is?

The real deep answer is we’re exactly the same people with exactly the same brains and behaviors that we were 100,000 years ago or more when storytelling first evolved. The things that appeal to us about stories today are the things that appealed to our ancestors. That hasn’t changed. The hard-wiring is the same. And more people can read than ever before. More novels are being sold than ever before.

I’ve been talking about this a long time because I get really tired of this old post-literate world thing. Marshall McLuhan was declaring the world post-literate when only 40 percent of people could read. Give me a break. We live in a world right now where there’s been a democratization of reading, an egalitarianism of reading. People who like romance and fantasy books are writing their own romance and fantasy books and they’re self-publishing them. And some of them get the attention of traditional publishers and become very successful.

I’m not generally very welcome on panel discussions, but you get, “The kids these days, they have no attention spans.” And: “The kids these days, they’re always looking at their phones.” And I’m like, “Well, hang on a minute. Both of those things can’t be true.” Either they have no attention or they can’t stop looking at their phones, by which you mean paying a lot of attention to their phones. What’s on their phones is words, most of the time, even if you go look at some dumb TikTok video, they put words on top of things. There are captions that help it make more sense when they’re communicating with one another. They’re sending text messages. Children today are writing more words than you or I did when we were teenagers.

The other day I was talking to an educator, and they asked, “What do you think about AI? It’s writing all the essays.” My reply is, “I think you should stop assigning people essays.” Why has nobody come up with this idea? Tell the students, “I want you to do the reading, and then you and I are going to sit down for five minutes, one-on-one, and we’re going to talk about it.” That solves the whole freaking problem.

But if our brains haven’t changed since we first started writing down and consuming stories, wouldn’t it be a good thing to continue to write essays? Evidence suggests writing is such an important part of the thinking process.

Writing is just a technology of story. It’s one of the earliest technologies of story. And older people always hold the things that they did when they were kids in higher regard. I’m a writer. I write books. I love writing. I can talk for days about why writing is good and why books are good, but are they better than everything else? That’s an unchallenged assumption based on the fact that it’s old and not based on the fact that it’s better.

The standard academic essay is an example of what Paulo Freire called banking education. The teacher deposits a question; the student retrieves content, formats it per conventions, returns it for grading. The product is assessed, not the thinking that was supposed to happen in the middle. What the essay actually measures is socioeconomic class and family income. Essay content and style correlate more strongly with household income than even SAT scores. Higher-income students deploy abstract reflection, complex syntax, and so on, not because they think more clearly, but because those conventions are part of their linguistic inheritance. Lower-income students write differently, not worse, but get marked down. And here’s the kicker: Rich kids have always been able to pay tutors, writing coaches, and consultants to help them write essays. AI has simply made that service free and universal. The scandal isn’t that students aren’t writing their own essays. The scandal is that we’re only worrying about the problem now that the cheat is available to everyone.

What about long-form versus very short-form storytelling? Can a 5-second post on a social media app really sustain attention or require you to think about ideas in the way that a novel or a nonfiction book would?

You can get equally enthralled by a short story and a 10-book series. Martin Luther’s 95 Theses was this one-page document. The first viral meme broke the world’s greatest power at the time—the Roman Catholic Church—in two. It really isn’t how you say it, it’s what you say. If you’re going to write long-form, you have to do it well. If you’re going to write short-form, you have to do it well. All of that stuff seems values-neutral to me.

But also, social media content isn’t always short-form. A teenager spending three hours on social media might be watching long-form YouTube essays, reading Reddit threads, participating in BookTok, or creating content. Collapsing all of that into a single variable and drawing conclusions about format isn’t justified. The most popular YouTube creators built massive audiences on long-form content. PewDiePie—110 million subscribers, nearly 30 billion total views—averages 28 minutes per video, more than double the platform average. Penguinz0, who has 17.5 million subscribers and 12 billion views, averages 27 to 60 minutes per video depending on measurement window. The generation supposedly incapable of sustained attention built two of YouTube's largest channels on content running 30-60 minutes per video.

And long-form reading is booming. United States young adult print sales went from approximately 23 million copies in 2018 when TikTok launched to a record 35 million in 2022, a 52-percent increase. Sales in 2024 remain 31 percent above 2018 levels. The primary driver of that growth, according to Circana BookScan, was TikTok. Those 30 million annual copies average roughly 70,000 words each, approximately 2 trillion words, of long-form reading per year in a single book category, from a generation supposedly incapable of sustained attention. That’s about the same number of words per capita as any other age group. Americans aged 11-18 read about one novel a year on average. So do Americans over 19.

Read more: “Our Brains Tell Stories So We Can Live”

What about recent studies that suggest kids’ social media use is linked to lower memory, vocabulary, and reading scores?
The claim that social media is measurably harming cognition isn’t supported by the evidence. The one genuinely controlled experimental result is a 2023 study, which found TikTok degraded prospective memory. Specifically, the ability to remember to execute a planned intention—in a between-subjects design—while Twitter, YouTube, and a no-activity control did not. This is a real finding. But it measures one narrow cognitive function under artificial lab conditions, not, say, reading, vocabulary, critical thinking, or abstract reasoning. 

Assessments like reading scores don’t measure things like narrative construction, persuasive communication, editing judgment, or audience awareness, all of which content creation develops. Participation matters. TikTok follows the 90-9-1 pattern common to all interactive media. One percent create, 9 percent interact and the rest read, watch, or whatever. But on a platform with 150 million U.S. users, even 1 percent is 1.5 million American content producers. And the 9 percent who comment, stitch, and duet are doing something cognitively active.

Research from University of Oxford experimental psychologists Amy Orben and Andrew Przybylski suggests technology use explains only around 0.4 percent of variation in adolescent well-being. The concern about bedtime screens, often treated as established fact, wasn’t supported when measured properly. Cognitive psychologist Lan Nguyen and colleagues reviewed some 100,000 participants and found a moderate correlation between short-form video and poorer attentional performance, but the causal direction isn’t proven: Children with pre-existing attention difficulties may gravitate toward high-stimulation short-form content, producing the observed correlation without any platform effect.

You write that critical literacy—the ability to look at the context of a story, to ask follow-up questions, to recognize that everybody tells you something with an agenda, is the only way to protect yourself from manipulation today. Is anyone successfully teaching critical literacy?

The way I conclude the book is, “No one is coming to save us.” We ourselves have to get more humble, more experienced, recognize our own cognitive biases, recognize when we’re mad about something because we forgot to eat breakfast, and actually understand that we see the world in stories. People often think, “What he’s saying to me is, ‘I’m already a good critical thinker, but I’ve gotta help the other people.’” But no, I’m saying “I, Kevin, have to get better at it. And you, Kristen, have to get better at it.” One of my favorite cognitive biases is bias blindness: People who know there are cognitive biases, but are absolutely convinced these biases don’t apply to them.

It seems like you’re hopeful, though, that this new era of storytelling can bring about progress of some kind.

It already has. I have a nice little chart that I show when I talk about the book. Even today, about 2 to 3 percent of the silent generation will identify as gay, lesbian, bisexual, or trans. It’s about the same for the Boomer generation, and it’s a little bit more for Generation X. But for millennials, it’s about 15 percent, and for Gen Z, it’s about 25 percent. A lot of that has roots in the Internet becoming a place where people could find one another and build community and learn to come out. You see supportive groups forming that allow people to be themselves.

The trans revolution, a historic movement that we’re now living through, is in many ways a result of the Internet and digital photography allowing people to tell their stories more loudly and more clearly than they could before. And a lot of the horrible things in the world are backlash against that. We look at this horrible Epstein situation and it’s all terrible, but the fact of the matter is that in the 1950s, that just would’ve been no big deal. We see a lot of progress. Particularly right now, we can rightly and reasonably get very focused on the backlash to the progress, but they can’t reverse it all the way. 

I can absolutely guarantee you that the Supreme Court will not reverse the miscegenation laws that prevented Black and white people from getting married in the late 1960s, because Clarence Thomas is a Black man married to a white woman. There are a lot of horrible, bloody, brutal things that happen because we made progress. And some of them push us back a little way, but they never push us back all the way."]]></description>
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    <title>You've Been Lied to About Addiction | The Gray Area - YouTube</title>
    <dc:date>2026-03-10T00:14:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=iUyQyfz_gtE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Addiction is one of those words that seems obvious until you try to explain it. We tend to fall back on two simple stories. Either addiction is a moral failure or it’s a brain disease that robs people of agency entirely. But neither of those stories feels complete.

Today’s guest is philosopher Hanna Pickard, author of What Would You Do Alone in a Cage With Nothing But Cocaine? Pickard argues that it’s a harmful mistake to treat addiction as either sin or sickness. Instead, it’s a form of behavior that’s shaped by trauma, isolation, identity, social conditions, and often deep psychological pain.

Sean and Hanna talk about her theory of addiction and why our society has built the cage that so many people are trying to escape.

Host: Sean Illing (@SeanIlling)
Guest: Hanna Pickard, author of What Would You Do Alone in a Cage With Nothing But Cocaine?

YouTube Chapter Titles
5:08 Writing about addiction
8:44 Defining addiction
15:23 Wanting something vs. being addicted
20:15 Agency and responsibility
31:15 Untangling blame and responsibility
38:33 Support structures and accountability"]]></description>
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<item rdf:about="https://www.frontporchrepublic.com/2026/02/88360/">
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is not an attempt to paganize the faith, but to re-situate it. “Inhabit the Time and Genesis of your Original Home,” he urges."

[See also:

"Mike Sauter and Martin Shaw
Mike Sauter talks with Martin Shaw about his new book, Liturgies of the Wild."
https://www.youtube.com/watch?v=Moykzg9ti3U ]]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["As AI’s endless clichés continue to encroach on human art, the true uniqueness of our creativity is becoming ever clearer"]]></description>
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<item rdf:about="https://www.nytimes.com/2011/09/18/books/review/train-dreams-by-denis-johnson-book-review.html">
    <title>Train Dreams - By Denis Johnson - Book Review - The New York Times</title>
    <dc:date>2026-01-05T19:40:57+00:00</dc:date>
    <link>https://www.nytimes.com/2011/09/18/books/review/train-dreams-by-denis-johnson-book-review.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Denis Johnson’s Tragedy-in-the-Woods Novella"

[archived:
https://archive.ph/sjcmN ]

"Sometimes, if you wander long enough out-of-doors, you look up and find yourself in a suddenly devastating place: on a glittering slab of granite, say, hanging a thousand feet above a mountain lake. Your blood quickens, the clouds stretch, the light turns everything to gold and something enters you, shakes you, seizes some root of your soul and pulps it. Maybe you make your way down to the lake for a swim, or just sit beneath the sky for an hour, dazzled, but what lasts is the feeling that you have found something important, something precious, something that would be world-renowned if only it weren’t so hard to find.

It’s a proprietary feeling, too, when you find a place — or a song, or a painting, or a sandwich — that you love, that moves you. You want to share it with only a few other souls, believers, maniacs, folks who won’t trample on it. Because who wants to see her sacred meadow flattened by the sandals of tourists?

I first read Denis Johnson’s novella “Train Dreams” in a bright orange 2002 issue of The Paris Review and felt that old thrill of discovery. The story concerns the life of Robert Grainier, a fictional orphan shipped by train in 1893 into the woods of the Idaho panhandle. He grows up, works on logging gangs, falls in love, and loses his wife and baby daughter to a particularly pernicious wildfire. What Johnson builds from the ashes of Grainier’s life is a tender, lonesome and riveting story, an American epic writ small, in which Grainier drives a horse cart, flies in a biplane, takes part in occasionally hilarious exchanges and goes maybe 42 percent crazy.

It’s a love story, a hermit’s story and a refashioning of age-old wolf-based folklore like “Little Red Cap.” It’s also a small masterpiece. You look up from the thing dazed, slightly changed.

Every once in a while, over the ensuing nine years, I’d page through that Paris Review and try to understand how Johnson had made such a quietly compelling thing. Part of it, of course, is atmosphere. Johnson’s evocation of Prohibition Idaho is totally persuasive. Grainier occupies a universe of “large old four-shot black powder revolvers” and “six-horse teams” and “jim-crack sawyers,” and Johnson’s dialogue is full of folksy plausibilities. In his youth, Grainier is witness and party to the great subjugation of the American West; he works on railroad trestles, sleds out giant trees and finds himself “hungry to be around other such massive undertakings, where swarms of men did away with portions of the forest and assembled structures as big as anything going.”

The novella also accumulates power because Johnson is as skilled as ever at balancing menace against ecstasy, civilization against wilderness. His prose tiptoes a tightrope between peace and calamity, and beneath all of the novella’s best moments, Johnson runs twin strains of tenderness and the threat of violence.

“The wolves and coyotes howled without letup all night,” he writes, “sounding in the hundreds, more than Grainier had ever heard, and maybe other creatures too, owls, eagles — what, exactly, he couldn’t guess — surely every single animal with a voice along the peaks and ridges looking down on the Moyea River, as if nothing could ease any of God’s beasts. Grainier didn’t dare to sleep, feeling it all to be some sort of vast pronouncement, maybe the alarms of the end of the world.”

In all the paragraphs of “Train Dreams,” one feels vaguely unsettled; one feels the seams of history might unravel at any moment and the legends of the woods come slipping through. The novella has flaws, of course: tufts of seemingly irrelevant material stick out here and there, miscellaneous fevers, peripheral anecdotes, a Chinese deportation, a big kid with a weak heart. But its imperfections somehow make the experience better, more real, more absorbing, and it might be the most powerful thing Johnson has ever written.

But I’ve decided now, after thinking it over for almost a decade, that what ultimately gives “Train Dreams” its power is simpler. It is the story’s brevity.

The novella runs 116 pages, and you can turn all of those pages in 90 minutes. In that hour and a half the whole crimped, swirling, haunted life of Robert Grainier rattles through the forests of your mind like the whistle of the Spokane International he hears so often in his dreams.

In an 1842 review of Nathaniel Hawthorne’s “Twice Told Tales,” Edgar Allan Poe said that apart from poetry, the form most advantageous for the exertion of “highest genius” was the “short prose narrative,” whose length he defined as taking “from a half-hour to one or two hours in its perusal.” Novels, Poe argued, were objectionable because they required a reader to take breaks.

“Worldly interests intervening during the pauses of perusal,” he wrote, “modify, annul or counteract, in a greater or less degree, the impressions of the book.” Because you have to stop reading novels every now and then — to shower, to eat, to check your Twitter feed — their power weakens.

Short stories and novellas on the other hand offer writers a chance to affect readers more deeply because a reader can be held in thrall for the entirety of the experience. They offer writers, in Poe’s phrasing, “the immense force derivable from totality.”

Whether you agree with Poe or not, that totality is ultimately what makes “Train Dreams” so good. Johnson’s 1997 novel “Already Dead” is 435 pages; his 2007 novel “Tree of Smoke” is 624 pages. They are big, pitted, expansive books over which one treks, evening after evening, sometimes hungry, sometimes sunburned — you are in them so long that worldly interests intervene on your right and left. The kids need to be fed; the dog needs to be walked; 50 other stories intrude on your life.

“Train Dreams,” though, presents an opportunity for a more unified experience. One airplane flight, or one shady afternoon in a chair somewhere, and you’ll have passed through the entire thing.

Maybe “Already Dead” and “Tree of Smoke” are big navigable Mississippi Rivers of narrative, and there are lots of times when a reader wants to float the Mississippi. But sometimes one wants only to walk for an hour or two, if only to look for that one intersection of place and hour where the trees whisper and the light streams and the water glows.

I’ve reread “Train Dreams” several times over the last years, and it hasn’t lost any power. Yet hardly anyone I know has read it. Writers who love and teach Denis Johnson’s work don’t always know it. Students who have composed whole graduate theses full of drug-muzzy paeans to Johnson’s story collection “Jesus’ Son” rarely have heard of it.

So it is with a heaping cup of pleasure, and a tablespoon of reluctance, that I tell you this little novella is finally its own book, with its own cover, as easy to find as a national park. Someone has finally put up a sign: Here Is Something Worth Seeing.

I console myself: Most good and private things eventually get shared. Cormac McCarthy visits with Oprah; Bob Dylan gives some of his best tracks to Starbucks. “Train Dreams” ought to be read. You can now go ahead and read it. "]]></description>
<dc:subject>2011 denisjohnson anthonydoerr traindreams nathanielhawthorne edgarallanpoe cormacmccarthy bobdylan idaho hermits recluses solitide regret americanwest forests nature unsettled brevity stories storytelling literature shortstories novellas novels totality</dc:subject>
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    <title>How AI Will Translate Human Creativity as Sci-Fi and Reality Converge | The Futurology Podcast - YouTube</title>
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In this episode of Futurology, Liu joins Berggruen Press’ Executive Editor Nils Gilman to explore how AI blurs the line between artist and audience, code and consciousness. They discuss why storytelling has always been humanity’s most powerful technology and how machines, by learning to tell their own stories, may change what it means to express emotion in the AI age."]]></description>
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<item rdf:about="https://www.classicshorts.com/stories/sgthing.html">
    <title>A Small, Good Thing--Raymond Carver</title>
    <dc:date>2025-10-11T02:50:22+00:00</dc:date>
    <link>https://www.classicshorts.com/stories/sgthing.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>small raymondcarver stories fiction 1983</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:29a9a2f4cacc/</dc:identifier>
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</item>
<item rdf:about="https://www.lrb.co.uk/the-paper/v36/n06/laszlo-krasznahorkai/there-goes-valzer">
    <title>László Krasznahorkai, translated by George Szirtes · Story: ‘There Goes Valzer’</title>
    <dc:date>2025-10-10T17:04:38+00:00</dc:date>
    <link>https://www.lrb.co.uk/the-paper/v36/n06/laszlo-krasznahorkai/there-goes-valzer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My name​ is Róbert Valzer and I like walking, not that I have anything to do with the famous Robert Walser, nor do I think it strange that walking should be my favourite hobby. I call it a hobby but I accept – or rather I am prepared to entertain the fact – that where I live in this Central European country I am considered to be too unstable to be regarded as a normal person and that my hobby is not to be compared with other people’s hobbies. It is not a hobby, they claim, but a symptom of instability. That’s the word they use: instability. But they never tell me that to my face. They whisper it behind my back. That’s what they are constantly whispering: I can hear them perfectly clearly – there goes Valzer, he’s off again."]]></description>
<dc:subject>walking fiction stories 2014 lászlókrasznahorkai</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6baf59b6c9ad/</dc:identifier>
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<item rdf:about="https://mail.cyberneticforests.com/human-literacy/">
    <title>Human Literacy</title>
    <dc:date>2025-08-29T19:56:19+00:00</dc:date>
    <link>https://mail.cyberneticforests.com/human-literacy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Something I Can Tell Students Now That I Am Not Teaching"

...

"You might be told that AI literacy, as defined by Tik Tok stories of productivity and efficiency hacks, is rewarded quite directly with money and power. The problem with human literacy is that it doesn’t give you something you can count up and compare to the last quarter's financial report. You will find that it comforts you in a far too easily ignorable background hum. It soaks into you and works its magic. If you find others on the same hum, you can share notes. You can share what made you feel OK about the things that were hard, find your own way to celebrate and appreciate the things that are good. You will feel more connected to things, happier with your struggles and choices, learn to learn even from the harshest of mistakes and random catastrophes.

It is weird then to get angry that others are not feeling good in the same way that you do, or not finding comfort in the things that comfort you. It is like insisting that enjoying the same food is essential to being friends with someone who is allergic to chocolate. Not every human shares the same hum. So the right thing to do there is expand your hum, not lock it in: "What's this guy humming about?" Maybe it makes your own hum grow. If it doesn't, that's fine too. It's not your hum. 

Ultimately the richness of a society is strengthened for us all, individually, when we share a deeper commitment to this human literacy. We live better lives when the people around us have empathy. Of course, people can exploit that empathy. It happens all the time. But human literacy doesn’t mean you have to be a sucker. It makes you better, actually, at identifying the politicians and the CEOs and the money they’re slipping into their pockets with their words.

AI generated text may offer up some half-hearted defense of human dignity, informed by thousands of corporate value statements. AI literacy can tell you how to generate bullet-point summaries of human rights statements and make a hodgepodge of why we might preserve “human uniqueness.”

But human uniqueness is not purely collective. It's individual, too. We are human together, but you are also human alone. You exist in the constantly shifting borders between these stories: the story of the sense you make, and the sense you were born into, and the things others see that you cannot. The sense made by your parents and your community can become your sense. You might embrace it all or reject it all or choose your parts. Sometimes it hurts. Sometimes you long for it anyway. But it all gets assembled and reassembled within you. You make the sense you make. Nobody else.

What can AI do for that? As with so much of the world: probably something, but definitely not everything. Stay critical of whatever it tells you, and learn to tell the difference between the words we use for knowing and preserving the loose uncertainty of actually knowing anything at all.

In the end AI is just a sampling of stories and pictures, stripped of the people who wrote them, presented to you as a new story at the center of all things. But AI isn't at the center of anything. It has no greater claim to truth than any one person does. It's a rough sketch of a voice made from a chorus of sketched out voices. Don't let it drown yours out."]]></description>
<dc:subject>eryksalvaggio 2025 education human humanism ai artificialintelligence teaching howweteach pedagogy ailiteracy humanliteracy chatbots generativeai llms society literacy affect humanity stories storytelling productivity efficiency optimization genai</dc:subject>
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    <title>Artist Tavares Strachan: Our Universal Currency is Storytelling - YouTube</title>
    <dc:date>2025-08-14T15:34:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=BTAl9cb8UKQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am afraid of being afraid.”

We met Tavares Strachan, one of the most interesting and exploratory artists of our time, in his New York studio for an in-depth conversation about his work and how he sees the world.

”I think there's a beautiful relationship, a poetic relationship, between fear and knowledge. And I think one’s relationship, one's proximity to fear has a lot to do with one’s proximity to knowledge.”

”There is so much work about how human beings are different. I'm interested in how we're the same, and one of the ways we're profoundly the same is the fact that our universal currency is storytelling. We tell each other stories to heal each other, soothe each other, get full, be empty, exercise, understand our mental and physical health, and understand our place in the universe. So, I think storytelling is essential to the human experience, and no matter where you're from, stories are going to ground you in some way. I think stories are the glue that holds this kind of human civilization together.”

Tavares Strachan’s artistic practice activates the intersections of art, science, and politics, offering uniquely synthesized points of view on the cultural dynamics of scientific knowledge. Aeronautics, astronomy, deep-sea exploration, and extreme climatology are but some of the thematic arenas out of which Strachan creates monumental allegories that tell of cultural displacement, human aspiration, and mortal limitation. Themes of invisibility, displacement, and loss are central to his work, which questions historically canonized narratives that marginalize or obscure others. His text-based neon sculptures are an anthem for our political and cultural moment, and his lexicon is an effort to mobilize community and societal change. Strachan’s ambitious, open-ended practice has included collaborations with numerous organizations and institutions across the disciplines.

”When you grow up in a place where everyone looks the way that you look and then you look in institutional books and you look at photographs of things that are perceived to be important, like the picture of the Last Supper in your grandmother's wall, one with the small amount of curiosity might want to ask the question, well why are these people in our house and why do they look so radically different from the way that we look, and why do they have this perceived idea of being elevated in some way beyond the way that we were understanding ourselves. If one allows oneself to ask the question, one starts to realize that the power is actually in the question. All of our magic is in our ability to be curious about the world around us.”

Strachan was born in 1979 in Nassau, Bahamas, and currently lives and works between New York City and Nassau. He received a BFA in Glass from the Rhode Island School of Design in 2003 and an MFA in Sculpture from Yale University in 2006. He draws on both the resources and community of his birthplace, dividing his time between his studio in New York and Nassau, where he has established an art studio and scientific research platform B.A.S.E.C. (Bahamas Aerospace and Sea Exploration Center) and OKU, a not-for-profit community project encompassing an artist residency and exhibition spaces, a scholarship scheme, and after-school creative programs.

Strachan’s work has been featured in numerous solo exhibitions, including You Belong Here, Prospect 3. Biennial, New Orleans; The Immeasurable Daydream, Biennale de Lyon, Lyon; Polar Eclipse, The Bahamas National Pavilion 55th Venice Biennale, Venice; Seen/Unseen, Undisclosed Exhibition, New York; Orthostatic Tolerance: It Might Not Be Such a Bad Idea if I Never Went Home Again, MIT List Visual Arts Center, Cambridge; among others. The Hayward Gallery in London recently featured Strachan in a solo exhibition, titled Tavares Strachan: There Is Light Somewhere, in summer 2024.

He has been the recipient of numerous awards including the John D. and Catherine T. MacArthur Foundation fellowship (2022), 2019-20 Artist in Residence at the Getty Research Institute, 2018 Frontier Art Prize, and the Allen Institute’s inaugural artist-in-residence in 2018, 2014 LACMA Art + Technology Lab Artist Grant, 2008 Tiffany Foundation Grant, 2007 Grand Arts Residency Fellowship, and 2006 Alice B. Kimball Fellowship.

Tavares Strachan was interviewed by Marc-Christoph Wagner in his studio in New York in March 2025.

Camera: Sean Hanley
Edited by: Jarl Kaldan Therkelsen
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2025"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=euahMnkSDiw">
    <title>Overthinking Why Dive Watches Are All the Same - YouTube</title>
    <dc:date>2025-07-30T22:49:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=euahMnkSDiw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You’ve seen it before — the rotating bezel, the luminous dial, the rugged steel case. Whether it’s a Rolex Submariner, a Seiko SKX, or a $200 homage, the dive watch has become one of the most iconic and instantly recognizable objects in modern design.

But how did we get here? Why does every dive watch — from luxury icons to affordable beaters — follow the same visual formula? And what does that say about us, about design, and about the myths we choose to wear?

In this video, we explore:

The history of the dive watch, from military tool to cultural icon

The aesthetic convergence that shaped its design language

The brands that dared to challenge the mold — and why most didn’t stick

How semiotics, philosophy, and social media help explain the sameness

And what the future might hold for one of horology’s most enduring forms

This isn’t just about watches. It’s about tradition, identity, nostalgia — and the power of design to become myth.

👇 Chapters
00:00 - Intro
00:58 - Origins
03:20 - Formula
05:16 - Rulebreakers
07:37 - Form follows function
09:31 - Design conservatism 
11:29 - Social media
13:26 - Progress
15:12 - The future"]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kyle Tam on the popularity of Japanese isekai stories as an escape from your crappy job."]]></description>
<dc:subject>kyletam 2025 isekai escape slow burnout japan games gaming videogames stories</dc:subject>
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    <title>Opinion | Jesus Has ‘More to Say Than Any Human Language Can Carry’: A Q&amp;A With Rowan Williams - The New York Times</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The New Atheists ‘Attack a God I Don’t Believe In, Either’: A Q&A With Rowan Williams"

...

"Rowan Williams is among the most important religious thinkers in the world. A theologian, poet, playwright and literary critic, he served as the archbishop of Canterbury from 2002 to 2012. I spoke to Dr. Williams about his journey of faith and doubt, why God allows the innocent to suffer and how to interpret the Bible (and how not to). He talked about the New Atheists and the influence on his theology of Fyodor Dostoyevsky, what makes Jesus such a compelling figure and what it means to pastor people through grief. Dr. Williams also talked about how, for him, the Christian faith is “the perspective that enriches.” Our conversation, which has been lightly edited, is the third in a series of interviews I am doing that explores the world of faith.

1. Dostoyevsky Led the Way

Peter Wehner: Let me start out by asking you to describe your journey of faith. As a young adult, what was the pull toward Christianity for you? Was it primarily intellectual or aesthetic or an appeal to the imagination or some combination of those? Did you experience what C.S. Lewis called “Sehnsucht,” an intense longing and divine spark for something that’s unattainable in this material world?

Rowan Williams: I’d grown up in a Christian environment but not a very intense one. It was really when I was a teenager that it began to speak to me, and it did so largely, to pick up your categories, at the imaginative level. It felt like a larger world to inhabit and at a time when I was discovering more and more about the literary world, about philosophical questioning, about the historical roots of our culture.

All of that seemed to me, as a student, enriching and exciting. But it was also brought alive — and here was my good fortune — through particular people who were very important to me at the time, especially my parish priest, who was a huge influence — encouraging, supportive, giving me the message all the time that there’s room for all that in the life of faith.

When I started as a university student — coming into contact with an awareness of human need and human suffering that I hadn’t quite registered before, meeting homeless people when I was a student in Cambridge, the sense that you needed to have quite a capacious picture of human nature in order to see the dignity and the need — that reinforced my feeling that the faith I’d grown into was something which actually allowed you to engage at depth with people.

Wehner: Is the draw of faith for you now essentially what it was when you were younger?

Williams: It’s probably pretty much what I grew up in, in many ways, which is not to say it’s not changed or developed. It’s certainly been battered and tested in various ways. But when I go back to what I was learning at that time, it’s still that same sense that this is the perspective that enriches. This is the perspective that enlarges.

Wehner: You’re a person of great theological depth, but I imagine, like many people of faith, you’ve struggled at various points with doubt. If so, how has that manifested itself to you?

Williams: Looking back, there have been very few times when I felt what you might call a substantive doubt of the whole thing. You know, “Is any of this true?” It’s much more, “Does any of this make sense where I am?” I’ve always resonated with the person who said, “God exists, but I don’t believe in him,” in the sense that the system’s there, the pattern’s there and it’s compelling. But how much am I actually inhabiting it? How much am I making it my own? How much is it really making sense of where I am? And there have been periods, especially of personal loss and personal awareness of struggle and uncertainty, where it’s been not so much I doubt that God exists but I don’t know whether I’m connecting with what’s there — and I don’t know how to.

Wehner: Those moments, that particular manifestation of doubt, how have you worked your way through that?

Williams: It’s a lot to do with doing the next thing. It’s a lot to do with trying to hold your position, and I don’t mean an intellectual position. I mean holding a place where you are standing firm and doing what you can do. I was very struck as a young man reading the fiction of Iris Murdoch, particularly her novel “The Bell.” At the end of that, you’re faced with a chapter about the experience of somebody who has been intensely involved in religious activity and has just had an absolutely traumatic shock to everything that he believes in and everything he holds dear.

He’s living next door to a convent, and all he can do is to go to Mass every morning. And I thought, “Yes, I see what’s going on there. He’s doing the next thing.” He’s treading water, you might say, but also he knows something can be done — not to keep the darkness at bay but to keep breathing, to keep moving, to keep open to something. I think that sense of wanting to keep open to something is probably quite near the center of what I believe about a spiritual life. You don’t pray or meditate or contemplate in order to get results, exactly.

Wehner: Sometimes doing the next thing is the best thing to do. You wrote a book on Fyodor Dostoyevsky. He’s one of the writers who have meant the most to you, and it’s understandable why. What is it about the work of Dostoyevsky, in particular, that has so impressed you in the context of faith? How has your theology been shaped by him?

Williams: I discovered Dostoyevsky as a teenager and read him fairly intensely as a student and as a graduate student. What struck me most was two things. One is he’s very good at depicting characters who are holy, who are in some sense transparent to the divine and also letting you see that they’re not going to have all the answers. They’re going to be the window that lets the light in. And I thought, “That tells me something about holiness. Don’t look for the leader, the controller, the problem solver. Look for where the light gets in.” In Leonard Cohen’s famous image, the persons who are part of the crack that lets the light in.

Throughout my life I’ve been privileged to see a number of individuals in whom I could say, “Yes, there’s the crack. They’ve let the light in.” They’ve been people of varied accomplishment or status, but the one thing in common is things look different in their light. So that was one thing I learned from Dostoyevsky.

I suppose the other thing was Dostoyevsky’s absolutely relentless commitment to making it as difficult for himself as he possibly could. He says: You want the grounds for atheism? I’ll tell you the grounds for atheism. Let me lay out to you all the good reasons for not believing in God.

Of course, in the famous chapters in “The Brothers Karamazov” where Ivan Karamazov talks about the suffering of children, that’s Dostoyevsky saying: Let me show you. You think you have reason for not believing? I can show even better reasons for not believing. And pushing through that, saying: I’m not going to pretend it’s simpler than it is. And saying at the end of that: I’m not going to pretend to give you an answer. I’m going to give you the fact that love is possible in the middle of this.

The moment of reconciliation, of love, of forgiveness, of acceptance is as real as all the nightmares that he describes. Dostoyevsky, as it were, flings down his pen and says: Well, there you are. You make your choice. The world is full of evidence against love, against reconciliation, against the possibility of a God who holds the world.

The probabilities stack up in a fairly unpromising way, and then a moment happens where the light gets in, where something in the world refuses to be crushed by that.

Nick Cave, the singer and songwriter, with whom I had a long conversation a couple of years ago, spoke about the impact on him of the tragic death of his teenage son. He said his main feeling was not that it made faith harder but that it made faith more imperative: I’m not going to be defeated.

I think there’s something of that in Dostoyevsky, when at the end of that astonishingly painful and difficult section of “The Brothers Karamazov” Alyosha kisses his brother. It’s as if Dostoyevsky is saying: Well, that is as real as any amount of suffering. Make what you will of it. I’m not going to tell you, but there it is.

Wehner: Let me stay on Dostoyevsky for a moment, because, as you said, his indictment of God was so searing in “The Brothers Karamazov” that he wasn’t even confident that he’d adequately refuted it. That raises the issue you touched on, which is theodicy, the effort to resolve the problem of evil with the existence of an all-powerful and all-benevolent God. You touched on this in your answer, but I want to home in on it a little bit more. What is Dostoevsky’s response to suffering? If I understand you right and if I’ve read Dostoyevsky correctly, the answer is not philosophical or theological. It’s primarily love. How would you respond to people who ask this ancient question: Why does a good God allow the innocent, the children, to suffer?
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Williams: The question I want to ask in reply — though, of course, I can’t ask it in quite these terms if somebody is actually in the middle of suffering — is: What would a satisfactory answer to that look like? What would our lives be like if I could say, “I’ll tell you exactly why your child died. I’ll tell you exactly why you suffered that terrible accident. I’ll tell you exactly why people are dying daily in Ukraine and Gaza and Congo. I can tell you, and it’ll all be clear, and you won’t have to worry about it any longer.”

What would that feel like? When people say they want an answer, it’s not that kind of answer they’re really looking for. I don’t know entirely what to make of that. But whenever people say, “Have you got an answer?” I say, “Do you really want that kind of answer?” Imagine the bereaved mother turns up at the parsonage door and says, “Why should my child die?” And you say, “Because of this, this and this. Satisfied? See you next week.”

No, that’s not it. And what is “it”? I don’t entirely know, except that people live with these horrors. People make personal sense of them. People are sometimes opened up by them to depths they hadn’t expected. That’s, again, as Dostoyevsky would say, it’s as much a part of the fabric of the world as anything else.

The other dimension was that he’s always nudging us to ask, “You talk about suffering. So what’s your complicity in this?”

He invites you to understand that you are part of the problem. You’re part of what tangles and embroils the world more and more in injustice and suffering. Just step up to that and say, “Yes, I’m part of this. I’m responsible. I’m answerable for the neighbor.” We’re not just talking about love in a vague and general way, but as he put it and as the great Dorothy Day liked to quote, this is a “harsh and dreadful love.” This is asking something really quite frightening of you, that you understand your solidarity in this.

Wehner: I imagine what some people might ask, what Ivan Karamazov might ask, isn’t simply, “Tell me the reason that this happened.” It might be, “Why did you allow it to happen in the first place?”

Williams: Of course. It essentially has to do with the basic question of why there is anything other than God. Because anything other than God is going to be, in some ways, unstable, in some ways flawed. If God made the perfect, God would make another God. So why does God invest in what isn’t God? And not being God, I don’t have a very clear sense of the answer to that, nor do any of us.

2. The Purpose of God’s Elusiveness

Wehner: Why would God deny tangible assurances — empirical and nearly incontestable proofs — to those whom he loves and who desperately cry out for it?

Williams: It’s not that God is deliberately making things difficult but that God is God. God is not a thing among other things. God is not an item in the world, and God is not a response to our mail order form. He doesn’t simply slot into what we think is intelligible or manageable. God is the infinite, unmanageable, unconditioned context of all that we are and we do, and so it’s not entirely surprising if we can’t boil that down into something we can manage. That’s why, of course, in Hebrew Scripture, when the people of Israel gather at Mount Sinai, the mountain is covered with cloud and fire, and God says to Moses: Keep your distance. I’m sorry. This is how I am. You’re not going to boil me down to something that’s manageable.

There’s always an innate depth, inaccessibility, unmanageability about this, and at times that comes home to us with enormous force when we would like there to be a simple answer — part of the burden of what Old and New Testaments alike say: Be careful of idolatry. You’re always prone to making a God you can manage.

That’s what idolatry boils down to. You can make that manageable God in any number of forms. You can make it in religious forms. You could make it in economic and social forms. Just be very conscious that, as the Lord says to Moses, “You shall have no other gods before me.” Don’t go putting in his place something which is a pseudo-God.

When you’ve got all that going on in the background, then it does seem to me that there’s always going to be that elusiveness, that “something around the corner of your vision” quality about God. At the same time you are talking about this elusive and unmanageable, unimaginable God there have been lives and signs and nudges and hints everywhere you look. In the work of some great mystical writer like St. John of the Cross you have that sense that at one and the same time, there’s nowhere you can pin God down in the world and there’s nowhere where God isn’t. And you are always poised on the knife edge.

Reinforcing that, look at the basic story of Christian faith, the story of Jesus Christ, and you see that Jesus himself, as he moves toward his death, stares into the darkness and says: Well, can’t you do something to stop this? “Let this cup pass from me.” On the cross he asks, “Why have you abandoned me?” And those things have always been profoundly difficult for Christians to get their mind around but also profoundly important in helping us see that Jesus’ humanity is real. It’s as three-dimensional as ours. And also, when we feel those dark moments of rebellion, we’re not alone. Those words have been spoken by the son of God himself, so don’t be too surprised. As St. John of the Cross says in one of his works: Don’t imagine that God is going to make things so much easier for you than they were for Jesus.

Wehner: It sounds like what you’re saying is God is elusive but deeply present.

Williams: Deeply present, yes. Absolutely that, and I love the Jewish image of the divine glory, the Shekinah, being present everywhere in the world but present as if it were a beggar in the street, as if scattered, exiled, obscure. Yet around every corner is this presence, this insistent reminder.

Wehner: Early in my Christian journey, I was struck by the exchange that Jesus had with Thomas, when Jesus told Thomas, after Thomas asked for evidence, “Blessed are those who haven’t seen and believed.” I thought, “Now, why is that? Why would it be better to believe not having seen?” I was never fully able to answer that question, but I came to understand that there was something in the nature of faith that was important to God, that Kierkegaard’s leap of faith meant something to him.

Williams: It’s a real theme in St. John’s Gospel, isn’t it? Because it’s not only the story of St. Thomas but also earlier on, at the Last Supper, when Jesus says, “It is expedient for you that I go away,” as if Jesus is saying, “If I stay around, it’ll be all too easy for you to be comfortable with the assurance of the love of God and the healing power of God that I have embodied for you. But actually, for you to be open to the full range and depth of what God is going to give through the life of the Holy Spirit, then you’ve got to let go of having me around as a best friend. It’s more than that.”

“The point of my going away is that immeasurably more will open up. If I don’t go, the Holy Spirit won’t come,” says Jesus, in effect. “If you cling to me as a human friend, a warm presence, that’s not it.” There’s a joy and a fullness beyond that.

That’s the good news. The bad news is that in order to open up to that fullness, you’ve got to let go of pretty well everything you think makes you feel better, which is why Christian spirituality has a very complicated relationship to joy and fulfillment. It’s all about joy and fulfillment, and it’s all about the fact that joy and fulfillment, if they’re real, if they’re durable, cost you.

Wehner: You’ve debated some of the most prominent New Atheists, as they were referred to some 15 years ago. One of them is the evolutionary biologist Richard Dawkins. What do you think they might have missed in their understanding of faith or of God?

Williams: It’s been an interesting experience, being in debate with Richard, with others like A.C. Grayling and Philip Pullman. I always learn from those encounters, and I have respect and affection for them. I think what’s missing sometimes is precisely that sense that when we talk about God, we’re not just talking about a thing or a person, in the sense of an individual. As a Christian, I believe in God as Trinity. I believe in God as an interweaving of personal agencies, the love and mutuality of what we call the Father, the Son and the Holy Spirit. In that sense, I’m not saying I believe in an impersonal God. Far from it.

But very often the God who’s being attacked and questioned by the Dawkinses and the Graylings and the Pullmans of this world is a God I don’t believe in, either: an individual who sits in the remote parts of the universe and treats the rest of the universe as an intriguing hobby for himself, rather than the God who is much more like the ocean that soaks through everything that is and yet is infinitely beyond it.

I found recently in the work of a 17th-century Welsh Catholic writer, Augustine Baker, a wonderful image: that the soul without God, the soul cut off from God, is like a whale stuck in a pond. It longs for the ocean, he said. It can’t be in the depths where it belongs. Now, I don’t hear very much of that sense in the New Atheists. They come up with all sorts of very neat and, as far as they go, perfectly rational arguments about how difficult it is to believe in some chap out there in midspace.

I want to say, “Well, yeah. I have no interest in a chap out there in outer space, none at all.” But I am quite interested in what the infinite, unconditioned life of generosity is within which I and everything else live. And I have every interest in the story of how that life astonishingly comes to fruition in the middle of our history in the life of Jesus. Now, that’s something I do think I can spend my life thinking and praying about and something that transfigures the horizons in which we live.

So the old chestnut about talking about the existence of God is like saying, “Well, there’s a chocolate teapot infinitely circling the earth, and it happens to be invisible and intangible and incapable of offering any evidence at all for its presence, and I still believe in it.” Well, no. Open a page of St. Augustine or George Herbert or T.S. Eliot or Dostoyevsky, and chocolate teapot doesn’t quite do the work there.

Wehner: It sounds like you reject the God of the New Atheists but your God is not their God.

Williams: Indeed, and there’s a very interesting paper by a French writer, Olivier Clément. He was a convert to Russian Orthodoxy, and back in the late ’60s he wrote a very interesting essay called “Purification by Atheism,” in which he said, long before the age of Dawkins and the others: When people talk about the death of God, when people talk about the impossibility of belief, one thing we might say in response is, “Well, thank God, you’ve been delivered from a particular kind of idolatry in mythology. Thank God, you’ve broken through the chocolate teapot level and realized that it’s much more exciting than that.”

Wehner: Let me ask you an interpretive question related to Christianity. How would you recommend Christians think about situations in which they’re convinced the Bible is teaching something that their moral conscience would otherwise say is horrifying? For example, the slaughter of the Canaanites, including children and other innocents, or God predestining people before time to eternal conscious torment.

Many American evangelicals argue that our moral consciences are fundamentally flawed and often unreliable and therefore we have to let the Bible shape our moral consciences rather than the other way around. Their view, as I understand it, is 1) the Bible, inerrant and infallible, clearly teaches these things and 2) human beings are in no position to question any action of God. They’d much rather have God’s revelation — or what they believe to be God’s revelation — be the source of what they consider to be true and good. They don’t want to rely on human logic or moral intuition, even if God’s revelation seems to endorse genocide or God creating individuals predestined to experience unceasing agony. What problem, if any, do you see with this fairly widely accepted approach to the Bible and moral reasoning?

Williams: I’m familiar with the approach, and I’ve come across it in parts of my own church from time to time. The problem that strikes me is that it takes the Bible completely out of any sort of human context, as if the Bible had fallen from heaven as a self-contained unit, as if it were exactly like what the Quran claims to be. But the Quran, of course, is radically different. The Quran was composed in one short period and proclaims itself to be direct revelation. The Bible doesn’t seem to work like that. The Bible is the accumulation of what you might call the interaction of God with a succession of human societies.

Within the Bible itself, you have little bits that are in tension with one another. To take one of my favorite examples: You have God apparently telling Elisha to go and anoint a new king for Israel, Jehu, and to overthrow the dynasty of Ahab, and there’s a blood bath that follows. And then, at the beginning of the book of Hosea, a century or so after that, you have a statement essentially that that blood bath was an offense in the eyes of God.

So you have already — and this is the really important thing — you have the self-critical element within Scripture. The one thing you don’t have is a revelation you can grasp hold of and say, “Now I can weaponize this against whoever I choose.”

Now, that means if you read the Bible as it stands — literally, if you like — what you have is a painful, protracted conversation on who the God is that is engaging with you. There are moments where you will draw radically mistaken conclusions from that.

There are also moments where you can see a continuity you hadn’t expected. I love the idea that the Book of Ruth was written as a pushback against an excessively exclusive racial policy in the Judaism of the postexilic period, where somebody said: All right. You may be very unhappy with the Jews returning from exile and marrying the people of the land. But don’t forget that King David’s great-grandmother was a Moabite.

Even within the New Testament, you can see the gradual emergence of a recognition that this new community doesn’t work by quite the same standards and quite the same protocols as the Jewish world. It’s continuous, but it’s also fresh. What does that mean? You have sometimes the painfully difficult language of antisemitic hatred that appears in pages of the New Testament. At the same time, you have in St. Paul the clear affirmation: Well, I’m proud to be Jewish, and the future of the world is somehow connected with the history that begins with Jews, and don’t forget it.

So a process is always going on, a lively exchange, a discovery over time. Now, I think that is how to read the Bible literally, and I think that is quite consistent with saying the Bible is the Word of God, in the sense that the Bible tells us what God needs us to know. And looked at as a whole, it says what we need to know is that we are made freely by God, in God’s image. That we are from the very first moment of being made in God’s image also capable of an almighty train crash of misunderstanding and misrepresentation. Our massive misinterpretation of who God is and what God is up to doesn’t frustrate the purpose of God. God is faithful. Any Jew would say that. A Christian would add that faithfulness is embodied once and for all in the event where the worst thing possible is done to the incarnate representative of God and God is not defeated by it — the cross and the Resurrection.

Now, I think that gives you quite a bit to go on, and I think it does indeed shape a moral perspective on things. What it doesn’t do is say anything and everything that is described in Scripture as good must be accepted as good and anything that Scripture describes as bad has to be accepted as bad — never mind the context, never mind the place it holds the unfolding story that I’ve mentioned. I just don’t think it can be quite that simple.

That’s not putting our values or our principles in the place of the will of God. It’s much more saying: Let the whole of that story shape my principles and my vision. Because when that happens, I don’t see that it’s consistent to believe in a God who deliberately endorses genocide, a God who deliberately creates people for damnation. Is that the God who is at work in the story of faithfulness, the story of a constant radical reclaiming of the human world through compassion and absolution, the God of Jesus?

So, yes, I think the idea that we just park our instinctive moral reactions and accept what the Bible says is a travesty. And I would use that strong a word, because of course, our moral instincts are faulty, but they’re faulty because they are self-protective, self-serving, idolatrous, short term, based on fictional views of who we are and what we are. Yes, they’re faulty in all sorts of ways. But when I say I can’t imagine God commanding genocide, then my inability to believe that God commands genocide is precisely not a failing to do with my selfishness or my idolatry. I think it’s the beginnings of a sense of where the true God is at work and where he isn’t.

So I want us to read the Bible again and again. I want us to read it literally and closely and intensely and prayerfully and to read it as a whole and not just to say, “It’s a sort of monolithic block.” It’s much more interesting, much more challenging, much more transformative if we can get into the conversation that the Bible embodies.

Wehner: It sounds like what you’re saying is that the Bible is both the Word of God and a dialectic and that God has invited human beings into the process in an intimate way beyond simply being transcribers.

Williams: Absolutely, yes. Because of course, if you say that the whole of the Bible is the Word of God, then you are saying that, for example, the passionate protests against God that you find in the Book of Job are the Word of God. That the Psalms — where the psalmist says: Where are you? What are you doing? I can’t come to you. Are you deaf? — that’s the Word of God. The words of protest and pushback against God, that’s also what God wants you to know. He wants us to hear: It’s all right to express that anguish and frustration. Don’t panic. I’m not going to go away because you shout at me.

3. The Jesus Who Never Stops Asking Questions

Wehner: The theologian David Bentley Hart said that he finds Jesus to be “infinitely compelling.” Hart says he finds the Christian religion is “a dogmatic and institutional reality” secondary and even marginal to his faith. It’s the person of Jesus, “the presence of God in time,” he finds impossible to abandon. I wonder if you could talk about what aspects of Jesus you might find infinitely compelling.

Williams: Let’s begin with Jesus as a storyteller. One of the things that people seem to have remembered about Jesus is that he told extremely good stories and stories which left you with an enormous agenda of self-discovery. So with the great classical stories like the good Samaritan and the prodigal son, you are left not with a neat answer to the question. You are left with a question to you: Who do you identify with? Where do you stand in this? And what are you going to do? Are you going to be the sort of person who resents the generosity shown to another, like the elder brother in the prodigal son? Are you going to be the sort of person who finds a good religious excuse for not crossing the road to attend to suffering?

So the first thing that strikes me is that the compelling distinctiveness of Jesus has a great deal to do with the stream of powerful, disturbing stories which put you on the spot, which make you ask: So who am I? Where am I? And do I know who I am yet?

The second thing is — it’s an odd thing to say about the figure of Jesus in the Gospels, but I’ve always been struck by it — from time to time there’s a deep impatience in Jesus: How can I make this clear to you? You’re an unfaithful generation. He bursts out in exasperation at the disciples. Do you understand nothing? Even in exasperation of the crowds. Jesus said: You’re all looking for miracles.

In a strange way, I feel that’s a rather compelling aspect of the story of Jesus. There’s more going on in him than he can express, and sometimes it kind of bursts out. And when I think of what the divinity of Jesus means in that context, one of the signs of it is that feeling he’s got more to say than human language can carry. As he says in St. John’s Gospel, “I have many things to say to you, but you cannot bear them now.”

And it’s almost as if Jesus goes to the cross saying: The only way of telling you what the love of God is like is to absorb this monumental violent injustice and show you that God is not crushed by it.

Not words but the act of redemptive self-giving. The image I’ve sometimes used, especially with St. Mark’s Gospel, is it’s almost as if you’re looking at a Jesus who stands at the mouth of an enormous dark cave. Behind is a mystery you can’t get at and express. He’s trying to tell you something about it, and it doesn’t always come through. But it comes through finally in the act and the suffering rather than in the words. And that I’m completely compelled and haunted by.

But on top of that, the more obvious things — the instinctive compassion for the rejected and the forgotten — and the deeper tension when people come for healing and Jesus turns to them and says: So what do you want me to do? You have to say it. You have to tell me. It’s as if he’s saying: Step out. Let me know where the pain is. Let me into that.

I find it so deeply moving that he doesn’t wave a wand. He attends. He spends the time. And of course, famously in the story of the woman taken in adultery where he, in effect, enacts an enormous joke. Addressing professional teachers of the law, you could paraphrase his response: So you are very keen to uphold the standards of the law, right? You’re clear the law says such behavior is sin. So fine, go ahead. If you’re confident that you deserve better from God than this person does, just go ahead. I’ll watch.

And that profoundly convincing and compelling moment when nobody quite has the nerve to say: I deserve a reward from God. And they all drift away. You have that almost comical moment where Jesus looks up from doodling on the ground in the dust and says: Oh, have they all gone? It’s one of those moments which to my mind just shines through with a sense of the eyewitness recollection of something very, very unusual.

Wehner: You mentioned Jesus entering into the pain of others. I want to ask a question about Rowan Williams entering into the pain of others. You’re a renowned scholar, but you’re also known as a man with a pastor’s heart. So I want to ask you this: When you’ve pastored people in the midst of grief — a terminal diagnosis, the death of a dream, the death of a child — what have you found is most helpful for them to receive from you? Is it something you say? Some perspective you can offer? Or perhaps it’s mainly your presence, listening to them, weeping with them, reassuring them, even giving them the space to rage at God. So what does it mean for you to be a minister of the Gospel in those moments?

Williams: The main thing is always accompaniment. You’re not there to answer questions at the theoretical level. You are there to try to embody the God who is not going away. And that does mean sometimes sticking through times when people rage not only against God but against the church, against you personally. And the challenge is: Can you take a deep breath and absorb that as some kind of sign that God is not to be written out of this encounter, this event, and God will not turn his back?

And that’s hard. It’s hard in individual pastoral terms at times because you’d quite like people to go away saying, “Oh, he was so helpful.” And when people say, as occasionally they do, “Well, that’s no help to me at all,” you just have to digest that.

But it’s also something about the church, isn’t it? Because people rage at the church, and I don’t blame them. They rage about its history of exclusion of various kinds of people. They rage about its record on child abuse. They rage about its wealth, its indifference, all sorts of things. And here am I, ordained in the church. So I’m part of that system against which they’re raging. And it’s not part of my job to say, “Oh, it’s not as bad as you think,” but to say, “Yep, it’s pretty bad. And the only thing I can tell you is that we’re still here not because we’re succeeding but because God is present.”

What the church does is not to point to itself as an example of impeccable behavior and triumph and success but to point to the faithfulness of God who won’t let go of even this very unpromising human material. So all of that somehow comes into this business of accompanying, accepting the pain and the anger and trying not to be crushed by it.

Wehner: That’s very moving.

If faith was not a part of your life, how would Rowan Williams be different? And I mean as a person, not vocationally, what part of you that is essential to who you are would be missing? And would the world be less enchanting to you without your faith?

Williams: I certainly believe that the world would be less exciting without my faith. I’ve been blessed with so many examples of people whose faith has, as I said right at the beginning, enlarged and enriched what I see and what I sense.

But what would be different about me? The main thing that came to my mind was I think I’m very much a perfectionist, in the sense that I like to think that I’m doing well, that I can polish my image successfully. And I can be very unforgiving of myself when I get that wrong.

And I think, without faith, that would have made my life even less edifying than it is. I’d have been trapped in that mixture of self-punishing and self-aggrandizing that is so easy to slip into. I aim at a polished self-image, and at the same time, I’m brutally unforgiving of myself if that doesn’t work and unforgiving of others who make it difficult for me.

There are personalities around us, even in some very high places, who seem to be trapped in something of that kind of hall of mirrors. And I guess I would be much more trapped in that without faith, with how to manage the reality of failure, the reality of having to start again, the reality of knowing one’s limitations, the reality of needing to be forgiven.

Wehner: When people have asked me about faith, I’ve said it’s almost as if you’re dropping food coloring into water. It changes everything. It’s not compartmentalized. Over time you may not even be aware how you’re different. So when you think of the question “How would I be different without my faith?” in some respects you think very little would be different, and in other respects you think everything would be different.

Williams: Everything would be different. Yes, that’s right. That’s right.

Wehner: It’s the prism, I think, through which people of faith see things.

Williams: Interesting, isn’t it? That we turn to these images of life in the water, like the whale in the pond once again. Everything’s different if the whale is in the ocean.

Wehner: When you think about your vast work over the course of your life, which traverses so many disciplines and genres, what are the unifying themes? What are some of the things you’ve most wanted to convey to others?

Williams: What I’ve most wanted to convey, I suppose, is that sense of the enrichment just around the corner of your vision, the perspective of that eternally overflowing source of love and mercy and how that lights up everything. I’d like people to see the world afresh. I suppose that’s why my other vocation, if you like, as a poet, has come in there. And I see what I do as a poet and what I do as a theologian or a preacher as absolutely bound up. I’ve been — I still am, to some extent — an academic theologian. I preach regularly. I write poems. They’re all about this new landscape, trying to get people into a new landscape. And if anything that I’ve said or done has somehow kept the door open to the depth and the richness of that new landscape, then I might not have been wasting my time.

Wehner: Well, you’ve helped a lot of people keep a lot of doors open through your life and ministry. So thanks for doing that, and thanks for doing the interview. It was moving and enlightening — and helpful to me on a personal level.

Williams: Thank you very much."]]></description>
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</item>
<item rdf:about="https://www.workingtheorys.com/p/the-craft-neal-agarwal">
    <title>In the age of slop, craft is rebellion</title>
    <dc:date>2025-05-08T19:37:37+00:00</dc:date>
    <link>https://www.workingtheorys.com/p/the-craft-neal-agarwal</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Craft 001: A conversation about craft, code, and creative freedom with indie game artisan Neal Agarwal, creator of Neal.fun."]]></description>
<dc:subject>slop games creativity craft nealagarwal resistance rebellion 2025 anuatluru gaming videogames stories storytelling ai artificialintelligence generativeai genai</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c679e42b7111/</dc:identifier>
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<item rdf:about="https://dark-mountain.net/about/manifesto/">
    <title>The Manifesto - Dark Mountain</title>
    <dc:date>2025-05-04T23:42:49+00:00</dc:date>
    <link>https://dark-mountain.net/about/manifesto/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE EIGHT PRINCIPLES OF UNCIVILISATION

‘We must unhumanise our views a little, and become confident
As the rock and ocean that we were made from.’

1. We live in a time of social, economic and ecological unravelling. All around us are signs that our whole way of living is already passing into history. We will face this reality honestly and learn how to live with it.

2. We reject the faith which holds that the converging crises of our times can be reduced to a set of ‘problems’ in need of technological or political ‘solutions’.

3. We believe that the roots of these crises lie in the stories we have been telling ourselves. We intend to challenge the stories which underpin our civilisation: the myth of progress, the myth of human centrality, and the myth of our separation from ‘nature’. These myths are more dangerous for the fact that we have forgotten they are myths.

4. We will reassert the role of storytelling as more than mere entertainment. It is through stories that we weave reality.

5. Humans are not the point and purpose of the planet. Our art will begin with the attempt to step outside the human bubble. By careful attention, we will reengage with the non-human world.

6. We will celebrate writing and art which is grounded in a sense of place and of time. Our literature has been dominated for too long by those who inhabit the cosmopolitan citadels.

7. We will not lose ourselves in the elaboration of theories or ideologies. Our words will be elemental. We write with dirt under our fingernails.

8. The end of the world as we know it is not the end of the world full stop. Together, we will find the hope beyond hope, the paths which lead to the unknown world ahead of us."]]></description>
<dc:subject>manifestos darkmountainproject myth resilience civilization poetry collapse dougaldhine paulkingsnorth darkmountain 2009 ralphwaldoemerson robinsonjeffers fragility josephconrad bertrandrussell politics karlmarx enlightenment christianity progress salvation history overdevelopment development environment sustainability socialbreakdown crime humanity humanism class convention individualism understanding existence climatechange climate globalwarming powerlessness technology slow small bubbles fossilfuels ecocide philiplarkin consumerism consumption capitalism greens greenparty ecosystems ecology denial johnberger transcendence relgion secularism science mysticism myths rationalism scientism stories storytelling reason rationality entertainment reality narrative uncivilization degrowth inhumanism writing howwewrite wendellberry wsmerwin maryoliver cormacmccarthy geoffdyer geoffreydyer maps mapping stoicism humility questioning criticalthinking williamwordsworth morethanhuman multispecies nonhuman place roots ide</dc:subject>
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</item>
<item rdf:about="https://map.simonsarris.com/p/in-praise-of-the-gods">
    <title>In Praise of the Gods - by Simon Sarris</title>
    <dc:date>2025-04-30T01:22:34+00:00</dc:date>
    <link>https://map.simonsarris.com/p/in-praise-of-the-gods</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>simonsarris 2020 rationalism rationality awe wonder descartes religion proof humnanism authoritarianism modernity modernism environment urban urbanism urbanplannign buildings architecture ritual rituals liturgy supernatural science alchemy delusions delusion socialsciences consensus scientism education mythology traditions tradition stories storytelling humanities aristotle wisdom literature myths fables understanding tv television experience intuition reasoning embodiment soceity modernart art design cities aesthetics lecorbusier heartlessness gkchesterton</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:397a69cd475c/</dc:identifier>
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</item>
<item rdf:about="https://www.bbc.co.uk/programmes/b01sg4kg">
    <title>BBC Radio 4 - Wireless Nights</title>
    <dc:date>2025-04-12T16:24:13+00:00</dc:date>
    <link>https://www.bbc.co.uk/programmes/b01sg4kg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jarvis Cocker explores the human condition after dark, with stories of night people"

[See also:
https://www.bbc.com/audio/brand/b01sg4kg
https://podcasts.apple.com/us/podcast/wireless-nights/id520488825
https://open.spotify.com/show/2qzPWX0v7IxPKOAb6opDvO

https://archive.org/search?query=wireless%20nights&and[]=mediatype%3A%22audio%22 ]]]></description>
<dc:subject>jarviscocker bbc podcasts via:morgan night nighttime stories storytelling human humancondition nightpeople</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:bba54a82062b/</dc:identifier>
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<item rdf:about="https://psyche.co/ideas/hollywoods-fixation-on-the-wrong-stories-wont-help-our-world">
    <title>Hollywood’s fixation on the wrong stories won’t help our world | Psyche Ideas</title>
    <dc:date>2025-04-10T03:47:53+00:00</dc:date>
    <link>https://psyche.co/ideas/hollywoods-fixation-on-the-wrong-stories-wont-help-our-world</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today’s global problems are caused by broken systems, but the studios still feed us a diet of movies focused on individuals"]]></description>
<dc:subject>film storytelling hollywood culture media collectivism systemsthinking individuals individualism 2025 manirkhaliq movies aaronsorkin humans systems morality ethics hungergames adammckay thebigshort michaellewis us isaacasimov foundations albertcamus stories literature change changemaking camus dostoevsky</dc:subject>
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<item rdf:about="https://www.librovacio.com/">
    <title>Libro Vacío</title>
    <dc:date>2025-04-01T23:53:43+00:00</dc:date>
    <link>https://www.librovacio.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Somos una librería en línea especializada en cuento y relato."

...

"Vendemos libros de cuento y relato

Pero también tenemos novelas, poesía, ensayo y otros géneros que te pueden gustar mucho."

...

"Quién o qué es Libro Vacío

Uno pensaría que, tratándose de una librería que intenta especializarse en cuento y relato, tuviéramos el nombre de uno que nos gustara mucho, pero no, es imposible decidirse sólo por uno (ya sé, ya sé, es extraño hablar en plural cuando sólo 1 persona es la que maneja esto, pero es más cómodo también pensar en montón). Sobre el nombre, acá les cuento porque.

En el 2022 redescubrí lo maravilloso que es el cuento cuando fui becaria del Centro de Escritores de Nuevo León, pero esta librería empezó a ser una posibilidad por ahí del 2023, después de un viaje a Costa Rica. Hasta hace varios años yo, Victoria, pensaba que las personas que inician negocios son personas diferentes a mí, que incluso tenían habilidades extraordinarias que yo creí que no tenía. Pasa que luego esta narrativa del emprendedor y de la gente de "negocios" casi siempre se traslada a pensar en que sólo unos cuantos pueden serlo y que el “éxito” (lo que sea que eso signifique) sólo sucede si cumples con ciertos requisitos.

Después de trabajar como redactora creativa con muchas marcas y negocios en diferentes agencias (y uno que otro corporativo), un día me convencí de que podía usar mis ideas para que todo esto saliera a flote. Y aquí estamos, intentándolo.

Unos meses más tarde (y otro viaje más que terminó por convencerme), me gradué como librera del diplomado de la RELI (Red de Librerías Independientes) y la UANL. Y así es como llegamos al día de hoy, a esta página.
En resumen

Libro Vacío es una librería de Monterrey (por ahora en línea), especializada en libros de cuento y relato. También contamos (o contaremos pronto) con libros de novela, ensayo, poesía y otros géneros. Puedes encontrar libros nuevos y también usados de todo lo anterior.

Hacemos envíos locales y nacionales, tratando de que el precio sea el más justo.

Tenemos 2 empleados gatunos, Benny y Shiva. Escríbenos para que no se queden dormidos todo el día.

¡Gracias por estar aquí!"]]></description>
<dc:subject>books bookstores booksellers monterrey mexico stories</dc:subject>
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<item rdf:about="https://aeon.co/essays/before-you-define-fiction-check-your-metaphysical-assumptions">
    <title>Before you define fiction, check your metaphysical assumptions | Aeon Essays</title>
    <dc:date>2025-01-22T00:02:41+00:00</dc:date>
    <link>https://aeon.co/essays/before-you-define-fiction-check-your-metaphysical-assumptions</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What distinguishes fiction from nonfiction? The answer to this perennial question relies on how we understand reality itself"
]]></description>
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<item rdf:about="https://aeon.co/essays/the-french-modernists-loathed-and-loved-the-mass-media-of-their-day">
    <title>The French modernists loathed and loved the mass media of their day | Aeon Essays</title>
    <dc:date>2025-01-20T03:25:15+00:00</dc:date>
    <link>https://aeon.co/essays/the-french-modernists-loathed-and-loved-the-mass-media-of-their-day</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How French modernists from Proust to Mallarmé were alarmed and inspired by the voracious dynamism of the newspaper world"]]></description>
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<item rdf:about="https://sarahendren.com/2025/01/06/object-lessons/">
    <title>object lessons | sara hendren</title>
    <dc:date>2025-01-07T00:05:21+00:00</dc:date>
    <link>https://sarahendren.com/2025/01/06/object-lessons/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I share so many foundational commitments with this doctor [https://www.plough.com/en/topics/community/education/schooling-me-the-surgeon ], but when will well-meaning Christians learn to discipline their thinking about disabled people? The person-as-object-lesson is just too tidy to resist, it seems:

<blockquote>[T]hey live closer to the cross than the rest of us. They carry their disabilities all the time. They don’t get a day off. They don’t get a minute off… And so I find they bring me closer to the cross. They feel it; they sense it; they’re part of it more than I am. I sometimes have to think my way there, whereas they simply guide me – they take me by the hand and bring me there.</blockquote>

They show us, they teach us, they tell us — this language runs through the whole piece. Really? Who is this they? People with Down syndrome will always be trotted out in these narratives, I find. What about a man who’s had a sudden significant hearing loss in his 60s? A woman in her twenties who had rheumatoid arthritis that’s now in remission? An amputee? Someone living with a low-lying malaise of depression for decades on end? Are these people the same in any meaningful sense?

To be sure: the Christian framework does offer sacrifice as an inevitable part of any human life and an invitation. We hold our many sufferings and, by grace, let them be united with the sacrificial Love that precedes and subsumes them. And yes, disabling conditions may well show up in the Venn diagram of our suffering and our sacrifices; like all givenness in life, those conditions can also be gifts if seen in light of that same Love. All of that mix — our gifts and our suffering as sacrifice — conjoins us to one another as no more and no less than human. If some abstract they is used to teach an edifying lesson, you can be sure that we’re dealing with flat characters: cardboard cutouts and allegorical symbols, not human beings.

But of course we do teach other. A person might say: People with cognitive disabilities remind me that I am too impressed by the genetic lottery distribution of book-smart cleverness. But one might also say: People with very few material resources show me that I too often hoard ephemeral pleasures. People in recovery teach me that idolatry lurks everywhere. And we’d also have to say: People with twice as much courage as me — twice as much compassion, twice as much magnanimity — they teach me that virtue. The old idea from Iris Murdoch endures: the most important revelation that stories offer is that other people exist. Stories in fiction and stories unfolding right before our eyes. Other people exist! A miraculous banality, half comedy and half tragedy, and a truth that takes rituals and habits to take seriously. We calibrate our inflated sense of self by learning from others’ gifts and from their suffering, and perhaps we learn the most when those two are almost irreducibly mixed. We — we, all of us — teach each other, insofar as we have the capacity to really learn."]]></description>
<dc:subject>sarahendren disability disabilities christianity 2024 objectification josephdutkowsky irismurdoch existence stories storytelling literature genetics cleverness fiction learning howeelearn</dc:subject>
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<item rdf:about="https://troquel.cl/contenidos/gato-en-el-camino-un-cuento-juvenil-de-nicanor-parra/">
    <title>“Gato en el camino”: un cuento juvenil de Nicanor Parra - Troquel</title>
    <dc:date>2025-01-03T04:33:47+00:00</dc:date>
    <link>https://troquel.cl/contenidos/gato-en-el-camino-un-cuento-juvenil-de-nicanor-parra/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>nicanorparra 2024 poetry antipoems antipoesía antipoetry antipoemas stories storytelling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:523bad3aea2b/</dc:identifier>
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<item rdf:about="https://daily.jstor.org/was-the-story-of-cortes-plagiarized-from-arabic/">
    <title>Was the Story of Cortés Plagiarized from Arabic? - JSTOR Daily</title>
    <dc:date>2024-12-07T01:06:35+00:00</dc:date>
    <link>https://daily.jstor.org/was-the-story-of-cortes-plagiarized-from-arabic/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The mythic stories of the Spanish conquest of Mexico seem to have been largely taken from earlier tales of the Muslim conquest of southern Spain."

]]></description>
<dc:subject>hernáncortés 2024 spain españa mexico liviagerson latinamerica history myths arabic stories storytelling mohamedabdelrahmanhassan andalusia umayyadcaliphate conquest ottomanempire cuba tariqibnziyad andalucía</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=JMeuMznCMgo">
    <title>El futuro de las historias - Javier Argüello y Rafael Gumucio | Valparaíso 2024 - YouTube</title>
    <dc:date>2024-11-23T20:00:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JMeuMznCMgo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En esta conversación, los escritores Javier Argüello y Rafael Gumucio abordarán el oficio de escribir y cómo las narrativas configuran nuestra visión del mundo. Se explorará el poder del relato científico como la narrativa dominante en la actualidad, así como el papel de la memoria en la reconstrucción de la realidad familiar y social. 

En un contexto marcado por la inteligencia artificial, las redes sociales y los modelos generativos, se reflexionará sobre el papel y el futuro de las historias en una era de transformación tecnológica, invitando al público a repensar la creación literaria en el mundo contemporáneo.

Presenta Colbún y Coopeuch. Proyecto financiado por PAOCC"]]></description>
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</item>
<item rdf:about="https://daily.jstor.org/the-whip-poor-will-has-been-an-omen-of-death-for-centuries/">
    <title>The Whip-Poor-Will Has Been an Omen of Death for Centuries - JSTOR Daily</title>
    <dc:date>2024-11-16T07:04:36+00:00</dc:date>
    <link>https://daily.jstor.org/the-whip-poor-will-has-been-an-omen-of-death-for-centuries/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What happened to this iconic bird of American horror?"

]]></description>
<dc:subject>birds nature us 2024 whip-poor-wills animals horror washingtonirving thelegendofsleepyhollow multispecies morethanhuman hplovecraft stephenking thoreau susanfenimorecooper jenniferprice passengerpigeons sparrows cuckoos conservation uk omens folklore stories storytelling literature</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d98270d01971/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=2-y7ToCAvYU">
    <title>'The Philosophy of Movement: An Introduction' with Thomas Nail - YouTube</title>
    <dc:date>2024-11-13T02:48:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2-y7ToCAvYU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Buy Thomas' book:
https://www.upress.umn.edu/9781517917456/the-philosophy-of-movement/

About 'The Philosophy of Movement: An Introduction': 

Why are city dwellers worldwide walking on average ten percent faster than they were a decade ago? Why are newcomer immigrant groups so often maligned when migration has always constituted civilization? To analyze and understand the depth of the reasons, Thomas Nail suggests that it serves us well to turn to a philosophy of movement. Synthesizing and extending many years of his influential work, The Philosophy of Movement is a comprehensive argument for how motion is the primary force in human and natural history.

Nail critiques the bias toward stasis at the core of Western thought, asking: what would a philosophy that began with the primacy of movement look like? Interrogating the consequences of movement throughout history and in daily life in the twenty-first century, he draws connections and traces patterns between scales of reality, periods of history, and fields of knowledge. In our age of rapid movements shaped by accelerating climate change and ensuing mass global migration, as well as ubiquitous digital media, Nail provides a contemporary philosophy that helps us understand how we got here and how to grapple with these interlocking challenges.

With a foreword by philosopher Daniel W. Smith, The Philosophy of Movement: An Introduction is a must-read for scholars and students not only of philosophy but also history, anthropology, science and technology studies, mobility studies, and other fields across the humanities and social sciences. "]]></description>
<dc:subject>acidhorizon thomasnail via:javierarbona philosophy movement humans 2024 history anthropology science technology mobility humanities socialsciences socialscience walking migration climatechange aristotle alberteinstein archimedes physics sciences change constancy unchanging lawsofnature materialism knowledge matter immigration civilization human naturalhistory capitalism westernism prejudice state capital reason subordination michelserres thomasaquinas slavery life living hierarchy hierarchies nature domination metaphysics eurowest cosmology universallaws ontology spacetime inferiority superiority impassivity passivity karenbarad quantumphysics god indeterminacy kant immanuelkant lucretius karlmarx relational process deleuze alfrednorthwhitehead herniberson gillesdeleuze stasis flow quantitative qualitative discontinuous discontinuity continuity cambridgechange bertrandrussell carlorovelli becoming identity self transcendentalism stability relation relativism relations transformation substance essence flows fi</dc:subject>
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    <dc:date>2024-11-03T22:42:46+00:00</dc:date>
    <link>https://psyche.co/ideas/your-life-is-not-a-story-why-narrative-thinking-holds-you-back</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our stories help us make sense of a chaotic world, but they can be harmful and restrictive. There’s a liberating alternative"
]]></description>
<dc:subject>stories storytelling narrative philosophy karensimecek life living literature self howwethink perspective jean-paulsartre petergoldie carolfox childhood martinpayne elisabethcamp events wallacestevens poems poetry sartre</dc:subject>
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    <title>To understand physics, we need to tell – and hear – stories | Aeon Essays</title>
    <dc:date>2024-11-03T22:25:49+00:00</dc:date>
    <link>https://aeon.co/essays/to-understand-physics-we-need-to-tell-and-hear-stories</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Don’t be intimidated by physics: it is made of stories and metaphors. Learn these and the field will open up to you"]]></description>
<dc:subject>physics 2024 jamiezvirzdin stories storytelling metaphor metaphors science historyofscience literature ethics behavior understanding howwelearn learningn robertresnick alberteinstein scientificmethod history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>Simple Yet Profound: On the Timelessness of Aesop’s Fables ‹ Literary Hub</title>
    <dc:date>2024-10-29T19:22:32+00:00</dc:date>
    <link>https://lithub.com/simple-yet-profound-on-the-timelessness-of-aesops-fables/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Robin Waterfield Explores Some Little-Known Aspects of These Ancient Bite-Sized Tales"]]></description>
<dc:subject>robinwaterfield fables stories storytelling howwewrite 2024 aesopsfables</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:958d9f421c96/</dc:identifier>
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    <title>La muerte viene estilando - Novela de Andrés Montero - La Pollera</title>
    <dc:date>2024-10-08T05:04:05+00:00</dc:date>
    <link>https://lapollera.cl/libros/muerte-estilando-montero/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Quedarse en pana en medio del campo chileno es también enredarse en su mitología. Abrir este libro es eso: escapar de la angustia cotidiana para desprenderse hacia un mundo anacrónico, desconocido.

El fundo Las Nalcas, los patrones y sus hijos, arrieros, potros chúcaros, pescadores, bandoleros y viejos que antes de partir siguen jugando al truco. Sus historias, cruzadas a través de todos los relatos, bajo el manto de una prosa líquida tan fluida como refrescante, discurren sin formas, sin predestinaciones, pero con un sentido único. Lo cierto es que la muerte, como la lluvia, siempre caerá.

Después de publicar las novelas Tony Ninguno y Taguada, el narrador chileno Andrés Montero, ganador del Premio Iberoamericano de Novela de la Ciudad de México Elena Poniatowska 2017, continúa profundizando desde la literatura en la tradición oral y los fantasmas que esperan lejos del tejido urbano y las oficinas."

[via:
https://www.youtube.com/watch?v=z-MneutsGps ]]]></description>
<dc:subject>andrésmontero chile death 2021 stories</dc:subject>
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    <title>Why main character syndrome is philosophically dangerous | Aeon Essays</title>
    <dc:date>2024-10-06T23:29:14+00:00</dc:date>
    <link>https://aeon.co/essays/why-main-character-syndrome-is-philosophically-dangerous</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why romanticising your own life is philosophically dubious, setting up toxic narratives and an inability to truly love"

[See also:

"Stories to Live By
If politics is your life, then you must tell yourself a political story in order to live."
https://hedgehogreview.com/web-features/thr/posts/stories-to-live-by ]]]></description>
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<item rdf:about="https://ellierobins.substack.com/p/reading-is-a-psychedelic-drug">
    <title>Reading is a psychedelic drug, and medieval monks knew how to do it best</title>
    <dc:date>2024-10-06T05:32:26+00:00</dc:date>
    <link>https://ellierobins.substack.com/p/reading-is-a-psychedelic-drug</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On a millennium of change in the way we read, what we've lost, and how to read to meet god on the page"]]></description>
<dc:subject>reading howweread 2024 ellierobins ivanillich books knowledge monasticism deepreading williamblake vaklentingerlier literature language experience poetry stories storytelling imagination humans human otherworld wisdom monks christianity enlightenment text lectiodivina hughofstvictor meditation prayer contemplation</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=4irzKPuvcAI">
    <title>José Donoso sin máscaras - YouTube</title>
    <dc:date>2024-10-01T16:41:42+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=4irzKPuvcAI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El escritor chileno José Donoso (1924-1996), Premio Nacional de Literatura en 1990, fue una de las figuras centrales del boom latinoamericano y autor, entre otras, de la imprescindible novela "El obsceno pájaro de la noche". A 100 años de su nacimiento, su figura se ha enriquecido en gran parte gracias a la publicación de sus diarios. Fue primero la hija del escritor, Pilar Donoso, quien publicó algunos fragmentos de los diarios de su padre en "Correr el tupido velo" (Alfaguara), y luego la periodista y académica chilena Cecilia García Huidobro, quien continuó la tarea. El año 2016 García publicó en Ediciones Universidad Diego Portales los diarios tempranos de José Donoso, "Donoso in progress", y el 2024, los diarios centrales, "A season in hell". En esta conversación, García relata su experiencia editando los diarios de Donoso y explica su valor: "En estos diarios hay una subjetividad desarrollada de una manera extraordinaria".

Frases destacadas de Cecilia García Huidobro:

"Cuando empecé a editar los diarios de Donoso fue una experiencia de aprendizaje. No existe un manual sobre cómo editar un diario íntimo e hice varios ensayos para saber cómo ordenar el material apropiadamente. Me puse como desafío que los diarios debían ser una obra interesante para un lector avezado; no sólo para especialistas. Debían ser una obra con valor en sí misma, presentada como una narrativa. Aprender a hacerlo fue complejo y fascinante".

"En estos diarios hay un yo, una subjetividad, desarrollada de una manera extraordinaria. Hay pocos diarios que alcancen este grado de internalización, de desarrollo de una subjetividad con un protagonismo tan desenfadado (...) Es impresionante la honestidad consigo mismo de Donoso, la capacidad de desvestirse de todo maquillaje".

"Para Donoso sus diarios son muchas cosas. Son una suerte de gimnasio literario. Ejercita diariamente su escritura en ellos. Son también diarios de lectura y son también domésticos. El registro de una vida cotidiana. Son como una segunda piel de Donoso, en realidad".

"Donoso escribe con el cuerpo. Esto que parece ser una metáfora, una imagen elocuente, en el caso de Donoso es una descripción practica. El realmente escribía de forma visceral. Se enfermaba cada vez que terminaba una novela. Me parece que en su caso no hay distancia entre lo físico y el escritor. No hay espacio entre la vida y la obra. Es un caso único".

Libros citados:

"Donoso in progress: 1950-1965" (Ediciones UDP, 2016), diarios de José Donoso. Edición de Cecilia García Huidobro. 
"A season in hell: 1966-1980" (Ediciones UDP, 2024), diarios de José Donoso.  Edición de Cecilia García Huidobro.  
"El obsceno pájaro de la noche" (Seix Barral, 1970), novela de José Donoso. 
"Correr el tupido velo" (Alfaguara, 2009), de Pilar Donoso. 
"Correspondencia entre Carlos Fuentes y José Donoso" (Alfaguara, 2024). Edición de  Cecilia García Huidobro y Augusto Wong. 
"Diarios", de John Cheever (Random House, 2018). Edición de Robert Gottlieb. 
"Los diarios de Emilio Renzi" (Anagrama), de Ricardo Piglia.

Archivo sonoro:

Palabras de José Donoso: Archivo de la Palabra, Biblioteca Nacional de Chile, 1994.
Entrevista a Pilar Donoso: Casa de América, España, 2015. 
Entrevista a Donoso por Joaquín Soler Serrano, programa "A fondo", de Televisión Española (TVE), 1976."]]></description>
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<item rdf:about="https://www.hcn.org/issues/56-10/how-do-you-describe-a-sacred-site-without-describing-it/">
    <title>How do you describe a sacred site without describing it? - High Country News</title>
    <dc:date>2024-09-28T03:46:44+00:00</dc:date>
    <link>https://www.hcn.org/issues/56-10/how-do-you-describe-a-sacred-site-without-describing-it/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Western journalism puts Indigenous reporters in a tricky position where values don’t always align."

...

"In the Native world, we tend to view each other -- and all living things -- as relatives."

...

"Tribal cultures don’t put such a premium on transparency. In many Indigenous cultures, information is carefully guarded by storytellers, shared orally and only with select people or at certain times, if at all."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=imNtSPM3-r4">
    <title>All Tomorrows: the future of humanity? - YouTube</title>
    <dc:date>2024-09-27T05:58:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=imNtSPM3-r4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What will humanity become, millions of years in the future?
This video is an abridged retelling of All Tomorrows, a story written and illustrated by C. M. Kosemen. Here's an interview with Kosemen on the Alt Shift X Podcast"]]></description>
<dc:subject>2021 cmkoseman sciencefiction scifi stories altshiftx</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://hazlitt.net/longreads/tailpipe-katabasis">
    <title>Tailpipe Katabasis | Hazlitt</title>
    <dc:date>2024-09-23T20:19:27+00:00</dc:date>
    <link>https://hazlitt.net/longreads/tailpipe-katabasis</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Oil Stories and/as Underworlds"]]></description>
<dc:subject>2024 davidhuebert oil oilage stories storytelling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9d28c24e7253/</dc:identifier>
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<item rdf:about="https://emergencemagazine.org/interview/documenting-shifting-landscapes/">
    <title>Documenting Shifting Landscapes – A Conversation with Kalyanee Mam</title>
    <dc:date>2024-09-14T20:43:49+00:00</dc:date>
    <link>https://emergencemagazine.org/interview/documenting-shifting-landscapes/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this conversation, recorded live at our Shifting Landscapes exhibition last year, Emergence executive editor Emmanuel Vaughan-Lee speaks with award-winning Cambodian-American filmmaker Kalyanee Mam about her process of creating Lost World—a short film that shares the story of a Koh Sralau community whose livelihood is threatened by ruthless sand dredging. Talking about the importance of documenting the shifts in our outer landscapes as a way to understand our changing inner relationship with the Earth, Kalyanee shares how her intimate experiences with people and places while filmmaking have rooted her in spiritual connection with the landscapes of Cambodia."

[See also:
https://emergencemagazine.org/film/taste-of-the-land/ ]]]></description>
<dc:subject>kalyaneemam 2024 emmanuelvaughan-lee cambodia place film filmmaking slow senses allthesense taste time land mangroves sanddredging singapore experience migration immigration photography people memory presence sensing perception stories storytelling belonging connection khmerrouge education reading culture wisdom control individualism collectivism community interconnectedness interconnected identity howwelive living landscape landscapes mourning cities homeland change listening grief spirituality loss erasure displacement pain numbness numbing suffering healing wholeness forests rivers feeling</dc:subject>
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<item rdf:about="https://emergencemagazine.org/film/the-last-ice-age/">
    <title>The Last Ice Age – Emergence Magazine</title>
    <dc:date>2024-08-31T02:18:41+00:00</dc:date>
    <link>https://emergencemagazine.org/film/the-last-ice-age/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For storyteller Andri Snær Magnason, climate change is like a black hole: it’s larger than language. Retracing his grandparents’ annual journey to Iceland’s Vatnajökull glacier, he seeks stories that can help him understand our crisis.

As storyteller Andri Snær Magnason puts it, climate change is like a black hole: so big it’s larger than language. We understand it not by looking straight at its center, but by looking at its edges. On a journey retracing his grandparents’ annual spring pilgrimage to Iceland’s Vatnajökull glacier, Andri searches for the stories that lie at the edges of our climate crisis in both scientific data and his family’s memories. Witnessing the inevitable decline of Europe’s largest ice cap with his son Hlynur, Andri pulls on the ties of love that connect past and future generations to grasp what the immense changes he has seen in just one lifetime will mean for the future of the planet.

Director
Adam Loften is an Emmy- and Peabody Award–nominated filmmaker and producer of virtual reality experiences and podcasts. His films include Sanctuaries of Silence, The Atomic Tree, Counter Mapping and Welcome to Canada. His work has been featured on PBS, National Geographic, The Atlantic, and The New York Times.

Director
Emmanuel Vaughan-Lee is an Emmy- and Peabody Award–nominated filmmaker and a Sufi teacher. His films include Earthrise, Sanctuaries of Silence, The Atomic Tree, Counter Mapping, Marie’s Dictionary, and Elemental. His films have been screened at New York Film Festival, Tribeca Film Festival, SXSW, and Hot Docs, exhibited at the Smithsonian Museum, and featured on PBS POV, National Geographic, and New York Times Op-Docs. He is the founder and executive editor of Emergence Magazine."]]></description>
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<item rdf:about="https://psyche.co/ideas/to-thrive-children-need-to-experience-awe-and-you-can-help">
    <title>To thrive, children need to experience awe – and you can help | Psyche Ideas</title>
    <dc:date>2024-07-17T18:32:04+00:00</dc:date>
    <link>https://psyche.co/ideas/to-thrive-children-need-to-experience-awe-and-you-can-help</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alongside love, sleep and play, awe is precious for children. There are small, everyday ways to make it a part of their lives"]]></description>
<dc:subject>children awe artemisiao'bi fanyang abrahammaslow williamjames experience 2024 pause observation curiosity noticing scale power inspiration transformation everyday sublime wonder transcendence adolescence adolescents childhood parenting education learning howwelearn stories storytelling nature world imagery zoomininandout</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://blog.ayjay.org/moonbound-revisited/">
    <title>Moonbound revisited – The Homebound Symphony</title>
    <dc:date>2024-07-10T04:50:26+00:00</dc:date>
    <link>https://blog.ayjay.org/moonbound-revisited/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>robinsloan 2024 moonbound alanjacobs williamgibson williamfaulkner future past present stories storytelling</dc:subject>
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<item rdf:about="https://www.picuki.com/media/2435043377963589144">
    <title>Added by @havenwatchco Instagram post It’s another day+you have the same important work before you as you did yesterday. Keep at it. Rukeyser’s good for today with lines like ‘The universe is made of stories, not of atoms,’ and, as important (in m</title>
    <dc:date>2024-07-01T07:46:52+00:00</dc:date>
    <link>https://www.picuki.com/media/2435043377963589144</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s another day+you have the same important work before you as you did yesterday. Keep at it. Rukeyser’s good for today with lines like ‘The universe is made of stories, not of atoms,’ and, as important (in my head anyway), ‘I am working out the vocabulary of my silence.’ You don’t need to know what to say. It’s okay to take time. It’s critical to keep doing the good work you’re here to do. Get to it. #havenwatches #havenwatchco #indiewatches #midwestmisfits #instawatch #dailywatch #wotd #womw #watchesofinstagram #chronograph #wristi #horology #orologi #watchfam #wis #wus #hodinkee"]]></description>
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<item rdf:about="https://www.ibby.org/index.php?id=900">
    <title>Reading in Crisis Areas, by Michèle Petit</title>
    <dc:date>2024-06-20T21:07:39+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["God morgen, good morning, buenos dias, kαλημέρα σας !

I would like to thank Vagn Plenge and the organizers of this meeting for inviting me to be with you today. I am also grateful to Nathalie Beau and Jacqueline Kergueno, from IBBY-France, and to Mireille Vachaumard who translated the text of this talk. For a long time, I wondered whether I should give it in English or in Spanish as a tribute to the people in Latin America whose stories enabled me to study the topic which I will speak about. But English being our lingua franca, I decided to use it even though I don't feel as comfortable with it as with Latin languages. Please excuse me if I happen to stumble along the way…

Looking back through history, we notice that reading has helped resist adversity, even in the most horrible circumstances. Let's think of the part that reading or literary memories played for so many deportees. However, most of these people had already been immersed in written culture from an early age.

Today, programs in which reading plays a key role are implemented in various parts of the world that have to face up to countless adversities, and some of them were initiated or supported by IBBY. It was in Latin America that I discovered amazing literary experiments shared and developed in areas struck by armed conflicts or violence, economic crises, more or less forced population displacements or great poverty. These experiments are conducted by teachers, librarians, people promoting reading or psychologists, and are proposed to young ex-guerilla and paramilitary fighters, refugees, drug addicts who live on the streets, detained teenagers, abused children etc. In brief, to children, teenagers or adults coming from poor, marginalized backgrounds with dominated cultures and who grew up far away from books.

Most of the time, such experiments remain ignored or unknown in Europe. But they are likewise unknown even a few kilometers away from where they are conducted. This is why I tried to study about fifteen of them in Argentina, Colombia, Brazil and Mexico: ”best practices”, as they say today, and those who initiate these programs are very talented.

I listened to them, visited some of the places they run, read texts they wrote, and examined documents in which they had recorded their observations. As a counterpoint, I gathered data on a number of other experiments and accounts within different cultural environments.

Most of the people I met claim they do not use ”bibliotherapy”, a concept that is rarely used in Latin countries. Although they know that their activity has healing effects, they seek to achieve something that goes beyond care, something related to culture, education and, in some respects, politics. For them, access to written culture, knowledge, information too often turns out to be a spurned right. So does the appropriation of literature. In many respects, they consider it desirable to have access to literature as it would enable people to use a language in a more skillful way, develop a more subtle, critical intelligence and permit them to explore human experience and give it a meaning and a poetic value.

The art of mediation …

The mechanism lying at the heart of the mediators’ action is apparently very simple: written material is proposed to those who are usually deprived of it, and someone reads aloud to them. Then stories, discussions or silence crop up among the participants. Obviously, there are countless variations. Some of the mediators dedicate the whole length of their meetings to reading and oral exchanges deriving from them, while others mix reading with writing. Others alternate or combine reading, writing and other practices such as visiting museums, theatre, music, dance, making graphic or audiovisual works, etc.

However, apart from their distinctive features, several common characteristics are to be found in a number of these experiments that reveal the real art of reading, but first and foremost the art of welcome and hospitality. Indeed, mediators are highly accessible and confident in everyone’s capabilities and creativity. In these meeting places, each person’s rhythm, culture or background is respected and everyone is considered as a person worthy of being listened to in a specific way. Children's and teenagers' statements are received as something valuable in contrast to many ordinary schools, where teachers often tend to identify what is wrong in the pupils' oral or written production. These young people are often asked to become book facilitators themselves, and are trained as such.

The art of mediation is also the quality of being present, the ability to be there with one's body and energy. Mediators prefer to resort to oral expression, to the voice which enlivens the texts, and to the look which goes from one participant to the other. They combine literary knowledge with intuition, flexibility, particularly when they have to select the proposed works. But I shall come back to that later on.

The art of mediation is also the ability to question oneself: people involved in these programs thought out their own routes and their relationship with books. During the sessions, they watch what is going on in a subtle way and elaborate their reflection through writing or by comparing their work with others who practice the same art. 
 
Lastly, the art of mediation is the ability to move heaven and earth in order to obtain grants to pursue the programs and fight endlessly, without losing heart, despite the hazards due to political changes, possible whims of regulatory authorities, etc.

When mechanisms similar to those I mentioned earlier occur on an ongoing basis, children, teenagers – and adults too – manage to seize some fragments of the works that have been read to help them construct or reconstruct themselves, even though they grew up far away from books.

... and the art of reading

Reading involves a specific appropriation, otherwise books go unheeded, even though we learn how to decipher them. Now, such a talent is characteristic of readers: texts do not construct readers, but readers construct something by appropriating stories and words that they read or heard and by transforming them.

If children are lucky enough to have access to books at an early age, they try to question them and steal what they consider to be secretly related to their own questions and what will provide them with a personal version of their intimate dramas. And the way they achieve this is often disconcerting.

For instance, I remember this little boy who, after hearing an extract of The Odyssey when Ulysses spends years with the nymph Calypso, noticed that his father, like Ulysses, had abandoned his mother to go and live with another woman. At this point, the children started a spontaneous discussion and went through the different family forms in which they could grow up: recomposed, polygamous, one-parent, homoparental etc. What about this adopted little girl who, day after day, was asking to be read about Tarzan. Especially when baby Tarzan finds himself in the arms of Kala, the female gorilla. The characters and sceneries described in Tarzan's adventures, mixed with those she had borrowed from other albums, could be found in the games she invented and in which she staged her own story in an active, creative way.

Children write their stories between the lines they have read, just like us. By filling their games and thoughts with stories, pictures and sentences, they build a shelter where they will not depend on anyone. Hence, reading boils down to constructing a space for oneself, provided this can be done without too much fear or too many constraints. Take Christine, whose life was punctuated by exile periods from an early age: ”Reading is my country. I do not miss anything when I read. Time disappears. And I do not depend on anyone.”

Or Martin: ”My family was torn away from their homeland and moved to many different places. At least, books and serials made me feel at home.”

Books are so many borrowed homes and a means to re-create one's lost land. This is why they are so precious during exile periods and for those whose living environment was destroyed or altered, as in Colombia. In Medellin's suburbs, librarians developed a program entitled ”Shelter of tales” when part of the population was chased away following fighting by armed groups. Consuelo Marín recalls one morning as she was reading aloud in a high school in which the population had taken refuge and young listeners had insisted on hearing the end of the story while shots were coming closer: ”Those children who spent their nights crying in the high school hallways, fearing the dark, did not want to miss the end of the tale, like a second skin, the skin of the soul that cannot be removed .”

A book is a kind of shelter that we can take with us, in which we can hear the distant echo of the voice that soothed us and the body in which we stayed. Such a space, though intimate and secret, has many links leading to many others: the author, those who read or will read the book, those who produced or submitted it and the characters that are to be found through the pages. At this point, we are very close to what psychoanalysts have been calling, since Winnicott, the ”transitional space” , a playing area which opens up between the infant and the mother – provided the child feels confident – in which he can start to liberate himself and construct himself as a subject. From the very first years through to advanced age, such a space is crucial as it helps live in a somewhat creative way and in relatively good psychic health. Especially in crisis situations, when life has been punctuated by break-ups, abandonments, separations or exile periods.

Books are a means to make room for a new or renewed margin of freedom and suggest another possible future. As Rosalie says, “Books made me happy and allowed me to discover another distant world where I could live. If it were not for the library, I would have gone mad, what with my father who kept shouting and making my mother suffer. The library allowed me to breathe. It saved my life.”

The space to which reading introduces us is regulated by a specific time-period when daily activities are interrupted and daydreaming is given free rein. For thinking and creativity cannot exist without daydreaming.

When reading or listening to a story, a child discovers another language that differs from that used for designating living beings and things; i.e. the story language where contingent events take a meaning inside a narrative with a beginning, a development and an end. It is as if the chaos of the inner world could take shape through the book's secret order. Let’s remember that what human beings fear the most is to be nothing but chaos, a divided body, a discontinued series of fragments; to lose the feeling of continuity, of unity, which is not given at birth but has to be achieved through a very complicated process that consists in linking together different life events as and when they arise. Each encountered book comes to the rescue of children or teenagers who endeavour to establish a link between their life events held together not only by a story, but also by the page format and the book as an object, made of bound pages.

Whilst the need for stories may be at the heart of our human specificity, it becomes particularly intense in times of crisis, when the feeling of continuity is given a rough time. Vladimir Propp said that stories represented an attempt to face up to unexpected or unfortunate events. As for Pascal Quignard: “Our species is enslaved by stories. […] The need for stories is particularly intense at certain times during individual or collective lives, e.g. during a depression or a crisis. This is when stories provide an almost unique remedy.”

However old we are, the stories that we listened to, read in the secret of our loneliness, or even glanced through, help put some unspoken parts of ourselves into words, shape them in a symbolic way that can be shared, and transform them. They revive each person’s narrative, sustain the development of stories about their own lives which always need to be reconstructed. The people I met in Colombia, Argentina and Brazil make the same comment: reading prompts children, teenagers, or the elderly to talk. There may be moments of silence, but this is when everybody is deeply absorbed in their thoughts and inner stories.

Thus, reading is useful also for developing links between the people who – as they feel emotions when being read a text together and exchanging words and stories – become closer to each other. Women who were entirely taken up by their struggle for survival and who were no longer capable of telling their babies nursery rhymes, nor singing songs to them, rediscover how to use words in a free, poetic way. Sometimes, they remember legends or forgotten songs from their childhood, and the emotional and symbolic exchanges with their babies get more intense. In a broader sense, shared reading turns out to be a useful structure for facilitating the free circulation of ideas inside a group. Beyond friendship, those who take part in readers’ circles say they learn tolerance and democracy. They find new ways of living together, where everyone has a say in the matter while being respected.

What to read?

These are some of the ways reading can help individuals reconstruct themselves, whatever their social or cultural background. There are other ways that I won't be able to mention as Vagn would like me to focus on the following question: what sort of texts can give people strength, help them get on with their lives, think of a way to position themselves in the world? The answer is obviously complex. Readers are so different and the unexpected so present that what makes someone happy might be boring or worrying for someone else. What readers choose to read is often very surprising, whether they are trying to find words that will reveal themselves, give a meaning to their life or recharge their heart.

What's even more amazing is that human beings use all means available to find words, stories and metaphors. So much so that we could wonder, in the first place, whether all kinds of material could not be suitable to this purpose.

Here are a few examples. As a child, Edward Said kept reading three ill-printed pages about a fakir girl doing feats of strength in a circus… For him, this was a way to “come out of the many cages” in which he felt like a prisoner and to create a space to face up to the environment . One of my colleagues who was assigned domestic chores from her childhood managed to find such a space as she looked greedily at the newspaper pages receiving the vegetable peelings. When he was ten years old, Volodia Tchistokletov found peace between two bombings through animal pictures: “It’s a big book with beautiful pictures... I spent the night reading it and I couldn’t stop... I remember that I didn’t borrow war stories: I didn't want to read them anymore. Animals and birds were something different .” Sacha Kavrous says that the first book he found after the war was a collection of arithmetic problems: “I was reading those problems the way I would have read poems...”

Every single genre has been of help to someone one day, from dictionaries to detective novels, from the One Thousand and One Nights to Dostoyevsky and Mickey Mouse. If we draw up a list of books that caused a rescue shock, the greatest texts of world literature go hand in hand with ordinary adventure novels whose authors can't be remembered by readers. The materials I have gathered do not allow me to ascertain whether the impact of a work and its healing capacity depend on its literary quality. It is particularly difficult to make this analysis because the essentials of the process take place unconsciously ... and what readers see in a text often differs from its contents (or so it seems). It is wonderful to see how our spirit seems to be ready to connect any symbolic material that comes its way, with the substance of our experiences; how it seeks any form of echo, any structure that could represent our unspoken core – particularly if it is painful, give some continuity to our life, make the world more habitable, and add a few sentences or pictures to form the bridge between ourselves and reality.

Obviously, I would readily assume that works with an emphasis on aesthetics are more likely to bring about a psychic activity, provided that their form is no definite obstacle for deciphering them and that they involve some mystery, opacity and secrecy, without which desire cannot possibly exist. But this cannot be proved because powerful encounters with cheap novels do also occur.

However, most mediators whose work I have been following choose to give the best, and in my view, they are right. Everyone has the right to have access to the most beautiful things and many people say they are happy and proud to have been given the keys to something universally recognized. Like this teenager of a stigmatized neighbourhood who told a lady who had proposed a medieval legend to him: “So, this is a real book? Not just a book for us?”

The book facilitators I met aim rather high while trying not to depreciate the initial tastes of their audience. Books are often selected according to the way the participants have been listening and by using associations that come to the mediator’s mind. Intuition plays a part, although it is based on a sound knowledge of literature.

But it is not easy to “pass on” demanding texts to people unfamiliar with written culture, who have difficulties in deciphering them and whose attention is sometimes difficult to hold for a long period. This is why short texts that can be read in one go are often used.

In this respect, there are various favoured genres.

The reading of myths and tales is already widely practiced with children, teenagers and adults. They are partly taken from every place's heritage, thus opening up a link to oral tradition and reviving memories of stories heard during childhood. Through them, hot issues are recalled, but nonetheless it is possible to retain a certain distance. However, those using such genres insist that they can only have a healing value if they are read within an environment where intersubjectivity plays a prime role, so much so as they can be a source of anxiety. Besides, the way they are appropriated differs according to the context and the people. This is when the book facilitators' art – made of observation, curiosity, intuition and culture – takes its full meaning.

Poetry is also a favourite genre among participants, and there again whatever their age. It is used by mediators to uncover a hinterland of sensations, a movement, a rhythm that lie hidden under the text. Texts produce multi-level effects through their contents, the associations they suggest and the discussions they induce, but also through their melody and their tempo. The rhythm supports us and breathes life into us the way hands hold a young child.

High-quality contemporary literature for young people, particularly picture books and sometimes comic strips are mentioned on a regular basis as, there again, they are not only popular with children, but also with teenagers and adults.

Whatever genre they choose, many mediators spontaneously propose texts which do not refer directly or explicitly to the situation of the people they work with. Although some of them had first gone for “mirror” texts, they often had to alter their choices.

In Argentina, Gloria Fernández mentions a workshop in which mediators had first tried to stick to the experience of detained teenagers and their alleged tastes . Facilitators were surprised when, at the second meeting, the participants asked if they could leave or else be read something different. Were the characters not close enough to them? Didn't they live the same kind of life? The fact is that the mediators' subsequent attempts to propose this corpus again failed. Listeners felt too close to the protagonists as the books chosen mainly dealt with poverty, misfortune, bad luck and used the same crude words as these young people. They couldn't cope with so much distress and either walked out or interrupted the reading and asked:

“Do you have that of the fairy who transformed a pumpkin into a carriage?” or “Read The Black Cat to me! And the story of the cockroach who was a man”.

The mediators whose work I followed closely never said they used texts that were explicitly “intentional” or tailor-made to help listeners face such and such crisis. Just like therapists who also use reading, they don't trust books written with a specific purpose.

Day after day, they notice that surprise and the unexpected are perfect ingredients for breathing life into a reader's story. By using metaphors, in remote lands or times, tragedies are given a meaning without being mentioned directly, painful events go through a transformation that allows the sufferers to work through their loss, while creating relationships with others, instead of keeping to themselves.

In praise of detours

Looking into these experiments leads to praise the use of detours. Most of the experiments I examined regularly take place in liberty, with no marking systems or assessments involved, and for which productivity or quantifiable results are of no concern.

The people who launched them did not seek to achieve one single goal only. They would rather focus on something undetermined and many-sided. Although this could be considered a weak point, it seems to me that these programs are efficient because they are not definitive and are not limited to just one function or one field such as education, civic training, health, transmission of a specific cultural good, even though each of these also plays a part in the programs. There is a bit of ”play” – in all connotations of the word – fluidity and room for the unexpected to appear. Being many-sided, flexible (even though there is a rule-governed ”framework”), these programs are particularly suited to enriching the participants’ psychic activities and exchanges.

People attending these programs don't only enjoy a warm and respectful welcome, but also cultural assets which radically open up time and space and allow them to make a detour. Such a detour is vital as it leads toward the unknown by enabling people to break away from their daily lives and rediscover desire, find secret emotions and feelings beneath the words they read or hear, remember the first years of their life. It stimulates thinking, makes them forget about pain, fear or humiliation, even for a short period of time. A sort of magic spell.

A refuge that offers protection and enables them to dream about other futures. Under certain circumstances, people who went through painful life experiences can work symbolically through them.

All forms of literature provide an outstanding basis for awakening one’s inner life, breathing life into one’s thoughts, stimulating one’s narrative activity, creating new meanings while people are encouraged to share unexpected things. Literature is not only an educational tool. It is a resource that can be drawn on for creating or maintaining interludes for breathing, for giving a meaning to our life, for dreaming and thinking.

Writers take whatever time is necessary to give a meaning to individual or collective events, to singular or universal experiences. They have a talent for observation and use the subconscious to shape the language and remove its clichés – good writers at least. Many of their works were created out of deprivation, loss and transfigured pain. The act of creation freed the author and even allowed him or her to find joy in the transformation of pain to a work of art. Such words, then, when read, echo through listeners’ and readers’ minds to soothe them, to render their own tragedies intelligible and sometimes to give them a certain feeling of happiness. This process is especially calming when offered with transpositions and metaphors: again the detours.

These days, everything needs to be quantified and everyone is obsessed with getting immediate returns, and we easily tend to forget that making detours is crucial from an anthropological and psychic point of view, particularly in critical times. According to Bernard Chouvier, “it is necessary for our psychic life to find indirect ways and give something a meaning that otherwise could only exist against our own existence. ” Making a detour is vital when we need to be clever to get around pain or fear rather than face them. It is also essential for thinking and creativity. For those who spent their early youth far from written culture, taking shortcuts might be indispensable for truly learning new things, and similarly for reconciling with written materials those who consider books as a hostile, colonizing authority and a means of exclusion. They won’t necessarily become great readers, but books will no longer put them off or frighten them. Sometimes, they will even find it worthwhile and easier to appropriate written culture.

This just shows how precious and difficult the art of mediating is, how this activity would deserve to get some support, be encouraged, taken over from others so that everyone could get a chance to discover new worlds. A woman living in the French countryside used to say: “With books, there is not only us as we watch our life pass by”. Young people and teenagers from Brazil who had been able to appropriate books and hand them over to others thanks to skilled mediators told me the same thing with different words: “Perhaps the most important thing is that I felt part of something larger, something that went beyond myself”.

Thank you for your attention.        

Michèle Petit, 31st IBBY Congress, Copenhagen, Denmark.

September 2008"]]></description>
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    <title>Robin Sloan: Moonbound Pre-Publication Launch - YouTube</title>
    <dc:date>2024-06-11T04:57:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=VZpDbe8Thvk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[event page:
https://www.greenapplebooks.com/event/9th-ave-robin-sloan-moonbound-launch

"About Moonbound
Robin Sloan expands the Penumbraverse to new reaches of time and space in a rollicking far-future adventure.

In Moonbound, Robin Sloan has written a novel with the full scope and ambitious imagination of the classic books that lit the engines of Mr. Penumbra’s 24-Hour Bookstore, an epic quest as only Sloan could conceive it, mixing science fiction, fantasy, good old-fashioned literary storytelling, and unrivaled enthusiasm for what’s next.

It is thirteen thousand years from now . . . A lot has happened, and yet a lot is still very familiar. Ariel is a boy in a remote village under a wizard’s rule. Like many adventurers before him, Ariel is called to explore a world full of eye-popping discoveries and challenges: unknown enemies, a mission to rescue the world, a girl. Here, as they say, be dragons. But none of this happens before Ariel encounters an entity from an earlier civilization, a sentient, sensitive artificial intelligence with a special perspective on all of human history—who becomes both Ariel’s greatest ally… and our narrator.

Moonbound is an adventure into the richest depths of Story itself. It is a deeply satisfying epic of ancient scale, blasted through the imaginative prism of one of our most forward-thinking writers. And this is only the beginning.

About Robin Sloan
Robin Sloan grew up in Michigan and now splits his time between San Francisco and the internet. He is the author of Mr. Penumbra's 24-Hour Bookstore and Sourdough.

About Mike Krieger
Mike Krieger is an entrepreneur who co-founded Instagram, and is now Chief Product Officer at Anthropic. While at Instagram, Mike served as CTO, where he focused on building a broad range of products to help people connect with their interests & share their passions. Additionally, as CTO, Mike grew the engineering organization to more than 450 employees across Instagram’s offices located in Menlo Park, San Francisco, and New York."]]]></description>
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    <title>We Will Teach You How to Read | We Will Teach You How to Read - Lightspeed Magazine</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Author Spotlight: Caroline M. Yoachim"
https://www.lightspeedmagazine.com/nonfiction/author-spotlight-caroline-m-yoachim-5/ 

"Collaboration?
BY KEN LIU & CAROLINE M. YOACHIM IN UNCANNY MAGAZINE ISSUE FIFTY

Content Note: This story uses unusual formatting and fonts that may not be accessible to screen readers. A screen reader- and accessibility device-friendly version is located in this link here."
https://www.uncannymagazine.com/article/collaboration/

via:
https://kottke.org/24/05/0044591-we-will-teach-you-how ]

]]></description>
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    <title>John Berger and Susan Sontag To Tell A Story 1983 - YouTube</title>
    <dc:date>2024-04-22T16:23:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=MoHCR8nshe8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["John Berger and Susan Sontag speak about story telling and about the ethic of photography"]]></description>
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    <title>Folktales like philosophy startle us into rethinking our values | Aeon Essays</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Both folktales and formal philosophy unsettle us into thinking anew about our cherished values and views of the world"]]></description>
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<item rdf:about="https://aeon.co/essays/how-smells-can-boost-childrens-learning-and-pleasure">
    <title>How smells can boost children’s learning and pleasure | Aeon Essays</title>
    <dc:date>2024-02-24T22:38:28+00:00</dc:date>
    <link>https://aeon.co/essays/how-smells-can-boost-childrens-learning-and-pleasure</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When scents are used to intensify a narrative, they heighten young readers’ emotions and enrich their memory banks"
]]></description>
<dc:subject>2024 smell senses scent storytelling memory narrative nataliakucirkova children childhood learning howwelearn teaching howweteach stories literature</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=E-OFnHwuTBg">
    <title>&quot;Anything that comes out of a writer is fiction.&quot; | Writer Benjamín Labatut | Louisiana Channel - YouTube</title>
    <dc:date>2024-02-01T02:45:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=E-OFnHwuTBg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Fiction is a human tool we developed to give reality a human shape to understand what is presented to us, and that goes on at all levels. It is part of perception. There is a large part of fiction in perception itself." Meet the award-winning Chilean writer Benjamín Labatut.

It has been said that Benjamín Labatut writes fiction that, from the first page, questions the parameters of reality and what we understand by literature. For instance, in his bestselling novel 'When We Cease to Understand the World' (2020), which weaves a web of associations between the founders of quantum mechanics and the evils of two world wars, where it is hard to distinguish the borders between fiction and reality.

"Anything that comes out of a writer is fiction. In non-fiction, they are really kind of naïve. Fiction is something that is not appreciated for what it is. It is not the making up of a story; it doesn't have to do with imagination. Fiction is a tool, it is a human tool we developed to give reality a human shape to understand what is presented to us, and that goes on at all levels; it is part of perception. There is a large part of fiction in perception itself; it is not just stories. It goes on all the time; we just don't notice that it is going on", says Labatut.

Therefore, Labatut's writing process is very much driven by research: "I don't worry much about the shapes of the stories; it is all about research; I try to find things. To me, finding some other person's phrase is more important than coming up with it myself. It is the part that I enjoy. In that sense, writing has become more akin to walking and picking stuff above the ground." 

"While I am researching it, it will determine many things. I am not just looking for data, I am looking for the shape of the story, and that's got to do with what is available. For example, in certain texts, there are scraps of information, lesser-known characters, and people who left no mark on history. Then I must create fiction around it, but the heart of the story is something that comes out of the research. So, to me, it is more akin to looking at the world than to thinking about it," he says.

What is most important to Labatut as a writer is 'fascination': "Fascination is the key to all of this, and I think that is what writing should aspire to at its best. And the Latin root of the word comes from 'fascinus', which means the male sexual organ. To be aroused is something art does in a very special way. It is an excitement; it is not just entertainment. It should touch you very deeply." 

"You should be moved by what you are investigating. You should be moved by the world and transmit that. That feeling you get when you perceive or bump into something hard to believe or so beautiful that it is hard to put into words. Fascination lies at the root of everything that I try to do. The world is becoming so that it is very hard to feel fascinated. We are dulled down." 

Benjamín Labatut is a Chilean author born in Rotterdam, The Netherlands, 1980. He spent his childhood in The Hague, Buenos Aires, and Lima, before settling in Chile, where he currently lives and works. His first book of short stories, 'Antarctica starts here', won the 2009 Caza de Letras Prize in Mexico, and the Santiago Municipal Prize, in Chile. His second book, 'After the Light', consists of scientific, philosophical, and historical notes on the void, written after a deep personal crisis. His third book, 'When We Cease to Understand the World' has been translated into more than 20 languages. The English edition of the book was shortlisted for the International Booker Prize in 2021. In July 2021, Barack Obama included the book in his last reading list for the summer, which Obama shared on his Twitter account. It was selected for the New York Times Book Review's "10 Best Books of 2021" list.

Benjamín Labatut was interviewed by his Danish translator Peter Adolphsen in connection with the Louisiana Literature festival in August 2022 at the Louisiana Museum of Modern Art in Denmark."

[also here:
https://vimeo.com/837912943
https://channel.louisiana.dk/video/benjam%c3%adn-labatut-fiction-gives-reality-a-human-shape

Goes with another video:
""Writing should give access to the world." | Writer Benjamín Labatut"
https://www.youtube.com/watch?v=ohsQ3WtdWoM ]]]></description>
<dc:subject>2022 benjamínlabatut writing literature fiction nonfiction science howwewrite research wonder fascination reality robertobolaño pascalquignard eliotweinberger williamburroughs wgsebald form stories storytelling citation cv canon information text texts knowledge art entertainment despair inspiration boredom books reading howweread references stealing ideas excitement pace speed style beauty poetry publishing audience audiencesofone relationships discovery self-expression blogs blogging obsessions self identity writers crisis brain howwethink nature jabaker theperegrine spirit soul meaning meaningmaking sensemaking expression makingsense universe thinking philosophy life living</dc:subject>
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<item rdf:about="https://mapofstories.scot/">
    <title>Map of Stories</title>
    <dc:date>2024-01-30T19:36:43+00:00</dc:date>
    <link>https://mapofstories.scot/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Oral storytelling is one of Scotland’s most deeply-rooted, and yet underappreciated art forms. Map of Stories is a collection of 113 stories to explore, celebrate and promote oral storytelling traditions in Scotland, and the rooted sense of place from which they emerge. Find out more about the project and its associated live events."]]></description>
<dc:subject>maps mapping stories storytelling scotland oraltradition</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:36bd3474ef19/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=YdPxU0X9E3Y">
    <title>Jeremy Dutcher Preserves Indigenous Language &amp; Stories on 'Motewolonuwok' - YouTube</title>
    <dc:date>2023-10-10T21:21:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=YdPxU0X9E3Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

https://www.kexp.org/podcasts/sound-vision/2023/10/10/jeremy-dutcher-preserves-indigenous-language-stories-on-motewolonuwok/ ]

"Jeremy Dutcher is a Polaris Prize and Juno Award-winning Wolastoqiyik artist from Canada. They speak with Emily Fox about their new album, 'Motewolonuwok,' the two spirit Cherokee poet who inspired some of the songs, the Indigenous issues addressed in the record, and language revitalization.

Listen to Jeremy Dutcher’s 2021 interview with Sound & Vision’s Emily Fox about their first album: https://www.kexp.org/podcasts/sound-vision/2021/11/23/preserving-indigenous-language-through-music/ "]]></description>
<dc:subject>language music jeremtdutcher 2023 indigenous indigeneity oraltradtion languages gender identity memory stories storytelling cherokee twospirit</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://speakingoutofplace.com/2023/09/13/on-the-obligation-to-killjoy-sara-ahmed-on-the-feminist-killjoy-handbook/">
    <title>On the Obligation to KillJoy: Sara Ahmed on the Feminist Killjoy Handbook | Speaking Out OF Place</title>
    <dc:date>2023-09-14T17:04:07+00:00</dc:date>
    <link>https://speakingoutofplace.com/2023/09/13/on-the-obligation-to-killjoy-sara-ahmed-on-the-feminist-killjoy-handbook/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today we talk with Sara Ahmed about her new book, The Feminist Killjoy Handbook. How and why is it that complaining about sexism, misogyny, homophobia, transphobia, and other forms of bigotry, is considered impolite?  How is civility uncivil, and the mandate to be “happy” a tool for silencing grievances? Sara Ahmed tackles all those questions, and gives us strength and courage to keep on killingjoy and speaking truth.

Sara Ahmed is an independent queer feminist scholar of colour. Her work is concerned with how power is experienced and challenged in everyday life and institutional cultures. Her first trade book, The Feminist Killjoy Handbook is coming out with Seal Press next month. Previous books (all published by Duke University Press) include Complaint! (2021), What's The Use? On the Uses of Use (2019), Living a Feminist Life (2017), Willful Subjects (2014), On Being Included: Racism and Diversity in Institutional Life (2012), The Promise of Happiness (2010) and Queer Phenomenology: Objects, Orientations, Others (2006). She is currently writing A Complainer’s Handbook: A Guide to Building Less Hostile Institutions and has begun a new project on common sense. She blogs at feministkilljoy.com"]]></description>
<dc:subject>saraahmed feminism joy happiness marginalization civility bigotry sexism misogyny homophobia transphobia truth misery stereotypes killjoys silencing racism power inequality violence society socialviolence solidarity discomfort worldmaking 2023 via:javierarbona academia diversity imperialism handbooks modernity companionship howwewrite wisdom conflict confrontation connection whiteness harm identity whitefeminism exclusion inclusivity appropriation elitecapture opposition negation theseconcsex emotions emotionallabor gratefulness oppression chance neoliberalism queerness expectations unhappiness resistance revolution socialjustice martinseligman cia positivepsychology psychology learnedhelplessness politeness policing empire abolitionism abolition institutions prisons prisonabolition justice race gender polish andrewjdilts appearances accessibility police surveillance availability universities colleges passing angeladavis ginadent healing transformativejustice therapy trauma subversion failure michaelhardt rob</dc:subject>
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<item rdf:about="https://www.nybooks.com/articles/2014/07/10/ghosts-in-sunlight/">
    <title>Ghosts in Sunlight | Hilton Als | The New York Review of Books</title>
    <dc:date>2023-09-03T19:35:00+00:00</dc:date>
    <link>https://www.nybooks.com/articles/2014/07/10/ghosts-in-sunlight/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[access here:
https://archive.ph/3yIrP ]

"I wonder if you, like me, feel, just now, like a ghost in the sunlight, awash in memories as your life shifts from student to professional, and your professors become your colleagues. I’ll pull rank now—but just for a moment—and say that my ghosts are probably older than yours. I mean almost Madonna old, and her 1980s music is there in my reminiscences along with so much more as I recall that the majority of my ghosts became just that during the AIDS crisis, which I first read about while I was a student at Columbia—in 1981 or so. I met those now gone boys at Columbia some time before I met you. In memory they wear what they wore then: Oxford button-downs, and they smoke and gossip in the sun that always makes the steps of Low Library—the very steps you’ve sat on yourself—look like a sketch in a dream. Tomorrow was faraway then. And then it wasn’t.

I see those gone boys and hear their laughter and love them even more as I watch you all now in your sunlight. For your time at Columbia and your life in this particular section of Manhattan is becoming part of your past very quickly now, all the moments of making your self—your artist self—mixed up these final days and hours before you face other realities, other dangers, other hopes, and other presents that are destined to become the past, too. And undoubtedly you will try to make art out of this beautiful ephemera, the merging of the past with the present, because you’re artists, chroniclers of who you are, and who you might be, and who we all are, together.

In order to achieve that—that is, to push further into being the kind of truth-telling artists I already know you are—I should tell you something about myself, so that we are better friends, and you can accurately transform this moment or the next into one of your stories. Let’s begin with my time at Columbia. I loved studying with great scholars ranging from Elaine Pagels to Kenneth E. Silver—I was an art history major in the General Studies program—but I must confess that I wasn’t much of a student.

It didn’t take Elaine and Ken long to suss out that I wasn’t an academic, I was a writer. I didn’t know how to call myself that; that is, I didn’t know what you now know: that there are professors out there, at the School of the Arts, for instance, who can help nurture your voice. So I just bungled along, finding much to love along the way, including authoritative reading lists that gave me a frame to begin understanding not just emotionally, but philosophically and intellectually as well, how the past leads to the present and beyond. By reading I discovered that art-making was a tradition that was bigger and no bigger than myself.

I did not feel crippled by this knowledge; in fact, I was liberated by it: being an artist meant you were connected to other people—ghosts—who had been as moved by the enterprise of creating as you are now; evidence of their love was all the movies and performances and books and dances and music that informed your present so deeply and indelibly, acts of creation that stirred your imaginings to the point of making you wonder: How do I make the kind of film I want to see, write the kind of story or poem I want to read, perform the music, play, or dance that is expressive of the artist I’m meant to be?

In her lovely memoir, Smile, Please, the Caribbean-born writer Jean Rhys says that she considered her writing to be the tiniest stream, one that trickles into the vast ocean that is world literature. But without those streams there would be no ocean, and if there is no ocean there is no shore, and if there is no shore there is no place for our ghosts to gather in the sunlight, those artistic forebears who wave us back to dry land when a project seems beyond us and we lose our way, which is at least half of the time.

As I’ve said, I was a terrible student. Or put in a different way: I was a miserable student, a dropout at heart who didn’t know how to look for, let alone find, what you found: a conservatory-like atmosphere that affords one the freedom and discipline to do one’s true life work. I didn’t come from a world filled with much worldly information, other than how to survive. I grew up in a family of West Indian women who raised their children in what social workers used to call “socio isolation.” First we lived in East New York, and then in Crown Heights, and then in Flatbush. When I stepped through those gates on Broadway, that was all I knew. I was a student at a time when the school was segregated by gender, and also you could smoke in class.

This was not the world I knew, certainly not at home. In order to acclimate myself, I took a great many classes at Barnard. Still, I didn’t give myself a chance to take advantage of the opportunities Columbia offered up because I didn’t know how to: it takes a long time to make it to the welcome table if you’ve been standing at the sink of making do.

Part of what makes your experience so valuable to me is that you allowed yourself this experience, you are graduating with the license or degree you’ve already conferred on yourself—to be artists, to be thinkers, to be. As the artist Kara Walker noted once vis-à-vis her experience as a woman artist of color, it just takes a lot to give yourself permission to get into the studio, to claim that space.

If anything, your education, the conservatory-like atmosphere the School of the Arts has built over the years, has helped minimize those kinds of complications, no matter what your race or gender, and anyway all artists feel “other.” There’s not an artist on God’s green earth who feels, emotionally speaking, that he or she has been invited to the prom. It’s in our DNA—to stand to the left or outside of life’s fray, in our tennis shoes, in our painter’s smocks, in our director’s caps, in our moth-eaten writer’s sweaters, awash in memory even as it becomes that in the just-now past. Your various educators understand the humility of creation, and something more: how to encourage and coax you into greater accuracy. What does your past look like, what does the present say, and what do your ghosts look like in the sunlight?"

...

"The artist’s memory is a dangerous, necessary thing. Never disavow what you see and remember—it’s your brilliant stock-in-trade: remembering, and making something out of it. Artists remember the world as it is, first, because you have to know what it is you’re reinventing; that’s a rule, perhaps the only one: being cognizant of your source material.

I’ve never believed, not for one second, that art is created out of avoiding the world and its various realities. If you avoid that, you avoid life, which is your source material, you dishonor all your ghosts in the sunlight, including the person you were when I began this speech, the Columbia boys I knew and loved long ago, the politically oppressed poet who changed a face, and you, dancing with my former self before we part, and you walk proudly into your sunlit hope, ghosts and all."]]></description>
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<item rdf:about="https://emergencemagazine.org/essay/the-inward-migration-in-apocalyptic-times/">
    <title>The Inward Migration in Apocalyptic Times – Alexis Wright</title>
    <dc:date>2023-07-16T14:52:38+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/the-inward-migration-in-apocalyptic-times/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As the world falters, threatening native ecosystems and Indigenous lifeways, acclaimed Australian Aboriginal author Alexis Wright turns inward to the dwelling place of ancestral story. From here, she considers how her ancient culture has responded to ongoing destruction—and how to bear witness to the creation of a post-apocalyptic world."

...

"This inward migration can be described as being locked in a prison of the mind. It can also be described as retreating to the dwelling place of stories: a return to country, going home to where the stories of our culture are kept in the mind—for the mind that knows how to read country. The inward migration is most often a solitary journey, a turning away from the bombarding speed of reality hitting your very sense of being and destroying your soul. Returning to the place of country held in the mind is a way of figuring out how to deal with the powerlessness we sometimes feel from having to continually hold back the end-of-the-world times and confront ongoing realities. It’s where we go to slowly pick things apart, to reimagine our world in new ways, and sometimes we come out the other side with a map of how to make some sense of our world.

An inward migration can also be thought of as closing one’s country, closing the door, sealing off the home place in the mind from others. It is through an inward gaze that we go back to country in thoughts and in dreams. We return to talk with the spirits about how the deep feelings of culture can be thought through, cared about, and compared with our knowledge of the world. It is where we examine truth, and it is through our soul-searching that art and beauty can grow, regenerate, deepen the connections—just as country renews and fulfills its own stories. “Catch the beauty before it fades away,” said Mandawuy Yunupingu, the beloved singer of the band Yothu Yindi from the Yolngu homelands near Yirrkala in Arnhem Land. You can see the power of this beauty, of being in the precise place of vision, running through all of our art and stories, in both traditional and contemporary forms.

This inward place is where we work with our own thoughts—our own sovereignty of mind, our own sovereignty of imagination—and where we keep our own knowledge safe. This is where we fashion, and refashion, and imagine the stories we want told, where we catch the essence of a story before it drifts away, or before it is overrun by the power of those other stories, created by the score in this country to distract our thinking. In the inward place, we can speak the truth more easily, and often with humor, because of the ease we feel being in the family home of traditional country. This is also where we flourish by making new stories: bringing new sagas of the “all times” into our world and dealing with the stories of consolation, redemption, and reckoning."

...

"In my work as a writer, I have endlessly thought about the depth of ancient cultural knowledge and how to create a more enriching, self-governing literature that is totally inspired by and built from our own thinking and belongs to this place. When you move into the realm of your own sovereignty of mind by shielding yourself from the kinds of interferences that rob you of the ability to think straight, that sap your spirit, or block you from seeing and making your own judgment, then you are able to govern your own spirit and imagination. This is where a writer must dwell, within the storehouse composed from your own thinking and creativity, where you can develop strengths that will not be defined by how others believe you should think. This is where you can visualize and work with knowledge more imaginatively, and relate to and grow the complexity of all that you have carried within you, which was originally nurtured in your heart, mind, and spirit by your elders, family, and communities.

This inward migration—removing oneself to a place of concentration, imagination, and wondering—is the mind working and sifting through the essence of things; it’s where you begin to try to comprehend the complexity of the endless interconnectedness of place, and what it means to be in place with your homeland, and to visualize faraway places and all of the ideas that arise from curiosity.

The world desperately needs powerful storytellers to help us make sense of the unfathomable events taking place. Where are these future writers? Perhaps they will once again learn from the ancestors—the old ones from all over the world who kept the wisdom with them. We need to call the ancestors back, to bring forth the wisdom of the ages, to help us figure out how we can be saved from ourselves. These future writers need to build, as Rainer Maria Rilke writes, “a temple [for our] hearing” to break the poor shelters “nailed up out of [our] darkest longing.”6 I imagine that we will need ancestors from every part of the world to communicate with those who are perhaps already sitting in solitude, each using some old discarded cardboard box, dragged out of the dump of our consumption-addicted minds, for a writing table—any of those billions of cardboard boxes that have carried the tin cans, the plastics, the technology, the machinery. And while sitting in eternity, the very old ones will be impressing into the minds of these future writers a way of figuring out how to bring life back into the laws of the creative beings in the sand desert and the seas; how to bring life back into the waters, the mountains and skies, the flatlands and plains, back into the bushlands, the forests, the thunder and winds, back into the trees, and the animals.

We will need the bravest of writers, those who will search ceaselessly through the backwaters of their minds, hearts, and souls to find ways to powerfully articulate the new stories, the new sagas, the new imagination, and the new epics of the world, inspired by their doubt, fear, love, longing, and wondering. They will need to see beauty despite the destruction, experience deep sorrow, and find that incorruptible truth amid the growing dust storms.

These visionaries must be capable of seeing that all time is intertwined, important, and unresolved, just as Aboriginal people see time immemorial in our culture. The literary mind of the type of storyteller I am talking about will be borderless and bountiful in the way it creates the world anew each and every time it tells a story; it will work with the unimagined, or unimaginable, to build on what we know, and to rebuild what has already been imagined in the stories we tell of ourselves. By this I mean their stories will tell of all life being of equal value, how the light shines not just on ourselves (and our own personal address) but on the whole.

We—all of us—can do this in the dreamlike state of imagining by being continually curious about the wonder of the world and by shifting and reshaping the positioning and influence of what we have known, or understood—just as our ancestors did."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[text:
https://granta.com/go-ask-the-time/ ]]]></description>
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    <title>Colores de una infancia migrante: Francisca Yáñez - YouTube</title>
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