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Owen Jackson
Category: TRACK
Owen Jackson of Flint Central was one of Flint’s finest sprinters. In 1945 in all of Flint Central’s Triangular meets, he finished first in the lO0 yard dash. He was the indoor city 60 yard dash champion (6.6 seconds), and the indoor champion at 6.6 seconds.
The smooth striding sprinter continued to dominate the outdoor season. He set the city record in the 220 yard dash at 22.7 seconds. In the Regional Track Meet, he won the 100 yard dash in 10.1 seconds and the 220 yard dash in 22.3 seconds.
Owen was the only double event winner in the Michigan High School State Meet. He won the 100 yard dash in 10 seconds and the 220 yard dash in 22.3 seconds. He was a consistent second and third place broad jumper of 19 feet 9 1/2 inches. He anchored the 880 relay to many victories.
Owen was Flint Central’s Most Valuable player in Track. In 1946 he was the South Atlantic AAU 100 yard dash champion (10 seconds), and the 220 yard dash champion.
In Kobe, Japan, he was the 100 and 200 yard dash champion. In the All Service Meet in Japan, he was second in the 100 yard dash. Owen was selected to the All Japan track team, and in the Japan Invitational Meet he finished second in the 100 yard dash and was on the winning 400 meter relay team.
Before retiring from Chevrolet Manufacturing in Flint, Owen held many positions in the U. A. W.
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Area in the 1760s
Domestic building increased from the 1760s. Bird's Buildings (later nos. 60-5 Colebrooke Row) were built on the north side of River Lane in 1767, and the houses originally called Colebrooke Row were said to have been built in 1768, becoming nos. 55 to 41, although nos. 54-5, much altered, may have been older. They are three-storeyed with attics, and had pedimented Doric doorcases; three were given an extra storey. Nos. 40 to 37 (later demolished) may have been built at the same time or c. 1775 with nos. 36 to 34, and the row ended on the south where the junction with the later Gerrard Road lies. (fn. 34) The last house at the southern end, then no. 1 Colebrooke Row, was originally the Colebrooke Arms but became a girls' and by 1828 a boys' school. A white plaster house behind the row was occupied for some years by William Woodfall (1746-1803), parliamentary reporter. At the north end of the row one of the houses facing south was the Revd. John Rule's school in the 1760s and 1770s and next to it were the Castle inn and tea-gardens. (fn. 35) The land on the east side of Colebrooke Row was let to William and James Watson as a nursery garden in 1770. (fn. 36)
Source: Quoted from http://www.british-history.ac.uk/report.aspx?compid=1281#n22
As Exercise Ground of Archers' Division
Area in 17th century
Area in early 18th century
Area Map - 1846
Charles Booth's Map of Social Economic Status of the Area Around 1898
Charles Booth's Entries on Social Economic Status of the Area Around 1898
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SteamFunk, CyberFunk, Afrofuterism, Oh My! Our Top Reasons to Funk it Up at BLACKTASTICON 2018!
BLACKTASTICON 2018 shouts “Welcome to the Future!” as co-founders Kool Kat Balogun Ojetade and Milton Davis bring you, Atlanta’s top-notch spec-lit convention (formerly The State of Black Science Fiction Con), this Saturday and Sunday (June 16-17) at GA Tech’s Ferst Center. This event is chock full of Afro-futurism, steamfunk, cyberfunk, dieselfunk, sword and soul, rococoa, Afrikan martial arts, and then some! Come see why we think you should come on out and celebrate the diverse and ultra relevant voices of current Black writers, artists, filmmakers, and creators of all kinds delivering some of the most dynamic and ground-breaking speculative fiction today!
1) THE MAHOGANY MASQUERADE. Get your steamfunk, dieselfunk, Afrofuturism fix as BLACKTASTICON kicks off the weekend with a night of funktastic shenanigans! Get gussied up cosplay-style (or don’t, your choice) and boogie down to the Auburn Avenue Research Library on African American Culture & History Friday, June 15 from 6-9pm!
2) PATTERNMASTER: THE LEGACY OF OCTAVIA BUTLER. Multi prestigious award-winning (Hugo and Nebula Awards to name a few) “Grand Dame of Science Fiction”, Octavia Butler’s life and legacy is the sole focus of this much-anticipated event. Come celebrate one of the most influential Black Science Fiction writers with poet and author Linda D. Addison, Guest of Honor/author Sheree Renee Thomas, Guest of Honor/artist John Jennings, author Troy L. Wiggins and author/screenwriter Kenesha Williams, Saturday at 12pm.
3) WOMEN IN BLACK SPECULATIVE FICTION. The WBSF panel, a.k.a. “2016’s most popular panel” (standing room only!) returns and with good reason. Explore the roots of Black Women in Speculative Fiction while celebrating the Black women authors, publishers and more with one helluva line-up featuring author/publisher Kool Kat Nicole Givens Kurtz, poet/author Linda D. Addison, author Sheree Renee Thomas, author Valjeanne Jeffers, author/screenwriter Kenesha Williams and author Christine Taylor-Butler, moderated by Kool Kat and BLACKTASTICON co-creator Balogun Ojetade, Saturday at 4:30pm!
4) THE RENAISSANCE: FROM HARLEM TO SATURDAY MORNINGS. Who doesn’t love comics, cartoons and animation? Roosevelt Pitts Jr., a thirty-plus year comic book industry vet and creator of PURGE, hosts this riveting exploration of the Black independent comic book scene, along with Guest of Honor/artist Mshindo Kuumba and Author Heru. Get ready to dig deep into the industry’s checkered past of Black representation in the animated medium and the exciting future that awaits generations to come, Saturday at 4:30pm!
5) FROM BLACK PANTHERS TO THE BLACK PANTHER. If you missed the historic event this past March, now’s your chance to experience a powerful discussion on the history, impact, importance and need for Creative Resistance and Heroic Black Imagery in film, fiction and artwork. Join authors, activists, actors and Hip Hop icons along with hosts and BLACKTASTICON co-creators Balogun Ojetade and Milton Davis, Saturday at 2pm!
6) LINDA D. ADDISON. Guest of Honor, Linda Addison is a poet and writer of horror, fantasy and science fiction. She is the first African-American winner of the HWA Bram Stoker Award, which she won four times for her collections CONSUMED, REDUCED TO BEAUTIFUL GREY ASHES (2001); BEING FULL OF LIGHT, INSUBSTANTIAL (2007); HOW TO RECOGNIZE A DEMON HAS BECOME YOUR FRIEND (2011); and FOUR ELEMENTS (2014). She was also recently announced the winner of the HWA Lifetime Achievement Award.
7) FROM ROMANCE TO THE VAMPIRE HUNTRESS. Celebrate the life and legacy of author L.A. Banks, known for creating diverse perspectives in horror, sci-fi, fantasy and romance. She was also involved in the creation of the popular television series, TRUE BLOOD. Catch this riveting panel discussion of the life and continuing influence of Banks with author K. Ceres Wright, author B. Sharise Moore, Diane Williams, author Stafford Battle and William Jones, Saturday at 3pm.
Linda D. Addison
8) IRON-AUTHUR. Let the wild rumpus start! Witness five authors compete for the title of IRON-AUTHOR, in the vein of IRON-CHEF (5 authors. 5 rounds. 5 minutes. 5 stories). Authors will have a chance to turn five Mystery Ingredient Words into a Science Fiction, Horror, or Fantasy short story in less than five minutes per round. Who will reign supreme? Get competitive on Saturday at 12pm!
Blacktasticon main con hours are Sat. June 16 from 10 a.m. to 10 p.m.; Sun. June 17 from 10:30 a.m. to 6:30 p.m. For more info, visit the BLACKTASTICON official website here.
Category: Features | Tags: afrikan martial arts, afrofuturism, author heru, balogun ojetade, Black Panther, black speculative literature, Blacktasticon, christine taylor-butler, comics, cyberfunk, dieselfunk, horror, john jennings, kenesha williams, L.A. Banks, linda addison, milton davis, mshindo kuumba, nicole givens kurtz, octavia butler, rococoa, roosevelt pitts, science fiction, sheree renee thomas, speculative fiction, steamfunk, sword and soul, the black panthers, the state of black science fiction, troy l. wiggins, True Blood, urban fantasy, valjeanne jeffers
Kool Kat of the Week: Weird Worlds and Twisted Tales: Spec-Lit Author Nicole Givens Kurtz Talks Diverse Voices, Representation and BLACKTASTICON 2018, Coming to Atlanta This Weekend
The State of Black Science Fiction shouts “Welcome to the Future!” as co-founders Kool Kat Balogun Ojetade and Milton Davis bring you BLACKTASTICON 2018, Atlanta’s top-notch spec-lit convention (formerly known as The State of Black Science Fiction Con), this Saturday and Sunday (June 16-17) at GA Tech’s Ferst Center. This event is chock full of Afro-futurism, steamfunk, cyberfunk, dieselfunk, sword and soul, rococoa, Afrikan martial arts, and then some! So come on out and celebrate the diverse and ultra relevant voices of current black writers, artists, filmmakers, and creators of all kinds delivering some of the most dynamic and ground-breaking speculative fiction today, including our Kool Kat of the Week, Nicole Givens Kurtz.
Kurtz, Dream Realm, EPPIE and Fresh Voices in Science Fiction award finalist, delves deep into the speculative literature genre (sci-fi, horror, weird westerns, urban fantasy, etc.). Her short stories have been published in thirty plus anthologies including “KQ” (LOST TRAILS: FORGOTTEN TALES OF THE WEIRD WEST, VOL. 2 – wild west/horror), “Death’s Harvest” (STREET MAGICK ANTHOLOGY – urban fantasy); “Kanti’s Black Box” (THE MARTIAN ANTHOLOGY – science fiction), just to name a few. Kurtz is also the mastermind behind the CYBIL LEWIS and MINISTER KNIGHTS series. In addition to her prolific writing career, Kurtz is publisher and owner of Mocha Memoirs Press, brought to life in order to bring more diverse voices to the land of speculative fiction.
ATLRetro caught up with North Carolina-based writer and frequent Atlanta visitor, Nicole Givens Kurtz, to find out more about her influences, her career in spec-lit, the need for diversity and representation, and the importance of BLACKTASTICON.
ATLRetro: The first annual State of Black Science Fiction Convention was a hit with over 500 attendees and 40 vendors. Atlanta welcomes it back for another exciting year as Blacktasticon 2018 invades the south once again! As a guest and panelist at last year’s event, can you tell us a little about your experience and what you hope to gain this year?
Nicole Givens Kurtz: The first annual State of Black Science Fiction Convention was an awe-inspiring event. It also felt like a homecoming. Many of the people there I’ve known virtually via social media. There were hugs, laughter, and a great deal of support. One of the beautiful things about the convention resided in the warmth and promotion of black science fiction. It was ours. Here we were not the fringe of the convention, but the center, its heart. That paradigm shift hit me hard, and there were times when I looked out at the sea of black faces–faces like mine–that I wanted to weep in joy. I’ve never felt so included in a convention before.
Blacktasticon welcomes us to the future, a boundless and complex yet beautiful future. With the current state of politics, of the #metoo movement, of the societal woes and bloody wounds still saturating the present-day, what message do you hope current writers and creators bring to the table for future generations?
The overriding message I hope Blacktasticon delivers to future generations is that we (African-Americans) aren’t going anywhere. The future is full of black people, including women. We are a creative force, in all aspects of media, comics, movies, novels, and animation. This convention shows the future generations what we are capable of and what they can do. Those creative doors aren’t shut to them because of traditional gatekeepers. This goes beyond simply diversity, but the nuisances of the black collective. African-Americans aren’t a monolith, and here at this convention, all of those various talents are displayed.
Black Women in Sci-Fi Panel 2016 (l-r) Nicole Givens Kurtz, Alicia McCalla, Penelope Flynn, Kyoto M., Rennie Murphy
Do you feel it is the job of artists, writers and creators to represent what this world should be and could be? If so, which speculative fiction writer past or present would you say represents the most comprehensive ideal of how the world and its inhabitants should be?
Science fiction has always been political. Mary Shelley‘s FRANKENSTEIN is an absolute novel about hubris. So, yes, I do feel it is our job to tell stories, as humans have done since the beginning of time, since before written language. We tell stories to explain the world around us. That’s the role of artists, writers, and creators to continue to tell those stories, including what the world should be and what it could be. Past fiction writers that I feel offered the most comprehensive ideal of our world are classics such as Octavia Butler, Ray Bradbury, Ursula LeGuin, Zora Neale Hurston, and of course, Mary Shelley. There are modern writers of science fiction and fantasy who are representing the world as is or how it could be as well. N.K. Jemisin, Daniel Jose Older, Max Gladstone and anyone at Rosarium Publishing is presenting fabulous visions of the future.
Can you tell us how you got started writing? Did you start writing as a little girl? Or were you older when the writing bug bit you?
I’ve been writing stories before I could actually write words. When I was little, I would go up to my room and continue the stories I saw on television with my dolls or in my head. Once I learned to write, I would scribble the stories down, but it wasn’t until high school where I won a district wide essay contest that I realized I could make money from writing. I read everything I could get my hands on from elementary school onward. My mother encouraged me to keep reading and we spent many weekends at the public library checking out books. When I became a teenager, I would skip the mall and spend my Saturday buried in books, gaining knowledge, and losing myself in other worlds.
Your Mocha Memoirs Press mission statement is “We believe representation in speculative fiction (science fiction, horror, fantasy) is not only important, but a necessity.” Can you tell our readers a little bit about Mocha Memoirs Press, LLC, and why you feel representation is essential?
Mocha Memoirs began as a way for me to funnel more diverse works into the world, where at the time, I saw a huge gap. The company began in 2010, and at that time, I did not see vary many science fiction works that reflected people of color, women, or black women in particular. Often when I attended conventions with my first novel, I was the only black person there at all, let alone actually selling my published novel. In an effort to give back but also bring awareness to the diverse stories we can tell, I started Mocha Memoirs Press. Representation is essential because it provides positive self affirmation. Essentially, seeing oneself in media as a hero, heroine, or protagonists demonstrates to the reader/viewer, “You matter. You exist. This future is yours and you have a place in it. This story could be your story.” Everyone wants to be valued. Representation should reflect the diversity of our world.
We see that you’ve had work published in LOST TRAILS: FORGOTTEN TALES OF THE WEIRD WEST, LAWLESS LANDS, and STRAIGHT OUTTA TOMBSTONE, to name a few. Can you tell us about your love of westerns (the weirder the better) and how living in New Mexico influenced your writing?
Prior to moving to New Mexico, I lived in a variety of other places (San Diego, Chicago, Louisville) but nothing took root inside me the way the Land of Enchantment did. My mother was always a western fan, and in our household, I grew up with Clint Eastwood, SHANE, and THE RIFLEMAN. To this day, my mother still sits and watches westerns. Imagine a young black girl in a housing project watching these men settle scores with the fastest pistols in the west. As a writer, my weird western stories are rooted in the theme of freedom. This place, the west, specifically, the southwest, thrived with a diverse group of people–Native Americans, Chinese immigrants, freed slaves, and of course, wealthy Eastern whites; each having to work together to scrape out a life in this harsh, new environment, and in doing so crafted an entirely different way of life, of culture, unlike those in the East. Those differences still resonate through to this day. That’s why I write weird westerns.
You’ve had short stories published in over thirty anthologies ranging from science fiction to horror and have had your novels become finalists for several awards, such as the EPPIES, Dream Realm and Fresh Voices in Sci-Fi. If you had to choose a favorite short story or novel from your bibliography, which would you choose and why?
This is like asking me to pick my favorite child! Of all the short stories I’ve written, “Belly Speaker,” is my favorite. It’s my favorite because it is a weird western, but it is about finding one’s voice when others threaten to silence it. My favorite novel, of the ones I’ve written, is DEVOURER. In this second MINISTER KNIGHTS OF SOULS novel, Akub seeks to redeem herself from her violent past by doing something criminal. I’m interested in redemption and how we overcome the actions of our past.
Which writer from the past and which writer from the present has influenced and continues to influence you the most and what is it about them that draws them to you?
The writer from my past that influenced me the most is Stephen King. Most of my stories have their roots in weird, strange horror. Even if they’re science fiction stories, horrific things happen in them. Robert B. Parker, Sue Grafton, Zora Neale Hurston, and classic literature such as Shirley Jackson, Alice Walker, and of course, Octavia Butler have all influenced me.
Having had the pleasure of experiencing your panels at last year’s convention, we know you’re not only a killer storyteller, but you’re also a spooky horror film junkie and fanatic like us! Can you tell us your favorite horror movie and why it ranks at the top of your list?
My favorite horror movie of all time is MY BLOODY VALENTINE, the remake. Don’t judge me! Prior to that movie, my favorite horror films were from the 1980s: LOST BOYS, FRIGHT NIGHT and HELLRAISER. I still watch these films on streaming media whenever I need a good scare.
As a writer working in the science-fiction, fantasy and horror genres, what challenges have you personally faced that seem to be a common theme among women, especially women of color in the industry?
When I began my career in science fiction publishing in 2005, the challenges were getting past the gatekeepers at major publishing companies to even look at my work. So many rejections of “Cannot identify with this character,” and “Nice concept, can’t sell it.” The perception that black protagonists wouldn’t sell or that readers who weren’t black couldn’t identify with a non-white protagonist in science fiction was astounding to me. This same genre where people could identify with shapeshifting tigers, but not another human being, continues to be the drumbeat for certain editors and publishers today. The difference today (14 years later) is the convenience of small press publishing, electronic book publishing, and self publishing options that allows my work to by-pass some of those gatekeepers. Conventions like Blacktasticon help me market and connect to readers who are hungry for those stories.
Can you give us five things you’re into at the moment that we should be watching, reading or listening to right now— past or present, well-known or obscure?
Five things I’m in to right now are: 1) CLOAK & DAGGER on Freeform/Hulu; 2) ALTERED CARBON-the series with Kovacs is a good cyberpunk series; 3) Sting’s TEN SUMMONER’S TALES is always in rotation; 4) Andrea Botticelli is also in heavy rotation; and 5) ROUTE 3 by Robert Jeffery is a comic series that I’m eagerly awaiting the next installment.
Any advice for women writers out there trying to get their foot in the door?
Nicole Givens Kurtz and SOBSFC guest 2016
DO.NOT.SETTLE. I wish I would’ve stuck to this advice at the onset of my career. Don’t settle. Do your research because this business requires a great deal of patience. Know what you want and do not settle for anything less.
Getting back to what brought us here, Blacktasticon 2018! Is there anything exciting you have planned for attendees? Can you give us a sneak peek into the panels you’ll be sitting on?
My press, Mocha Memoirs, will have special package pricing just for the convention. I’m on the Women in Black Speculative Fiction panel, which I’m very excited to be a part of again. Last time we had standing room only!
And last but not least, what are you currently working on and how can we get our hands on it?
I’m currently working on finishing a novella, that’s romance and fantasy. Afterwards, I’m diving back into my Cybil Lewis Science Fiction Mystery series. Then later this year, I’ll be working on my weird western short story collection.
Photos courtesy of Nicole Givens Kurtz and used with permission.
Category: Kool Kat of the Week | Tags: afrikan martial arts, afrofuturism, Alice Walker, alicia mccalla, Altered Carbon, balogun ojetade, black speculative literature, Blacktasticon, Cloak & Dagger, cyberfunk, Daniel Jose Older, dieselfunk, Fright Night, Hellraiser, horror lit, kyoto m., Lost Boys, Max Gladstone, milton davis, mocha memoirs press, My Bloody Valentine, N.K. Jemisin, nicole givens kurtz, octavia butler, penelope flynn, Ray Bradbury, rennie murphy, Robert B. Parker, rococoa, rosarium publishing, science fiction, Shirley Jackson, spec-lit, speculative literature, steamfunk, Stephen King, Sue Grafton, sword and soul, the state of black science fiction, ursula leguin, zora neale hurston
Kool Kat of the Week: Atlanta Author Michael Wehunt Dishes on the Grotesquery That is Humanness and Ventures Out into The Outer Dark Symposium on the Greater Weird, Saturday March 25
Posted on: Mar 21st, 2017 By: Anya99
Catch up with our Kool Kat of the Week, Michael Wehunt, and a plethora of other Weird and speculative fiction writers at the inaugural The Outer Dark Symposium on the Greater Weird, crash-landing at Decatur CoWorks on Saturday, March 25, and proudly sponsored by ATLRetro. And eat, drink and exchange oddities with the writers during The Outer Dark Symposium Pre-Party at My Parents’ Basement, Friday, March 24, 8-11 pm, where you also can gather ‘round for readings by Michael Wehunt, our own publisher and bloggeress in charge Anya Martin (“The Un-Bride or No Gods & Marxists,” Eternal Frankenstein) and Selena Chambers (World Fantasy Award nominee for “The Neurastheniac,” Cassilda’s Song).
The Outer Dark Symposium is brought to you by The Outer Dark podcast and its host This Is Horror! and features eight hours of panels, readings and signings centered around Weird and speculative fiction. Admission will be limited to 50 attendees, but all programming will be featured on The Outer Dark. Other confirmed guests include Daniel Braum (Night Marchers and Other Strange Tales), Gerald Coleman (When Night Falls: Book One of The Three Gifts), Milton Davis (From Here to Timbuktu), Kristi DeMeester (read her ATLRetro feature here where she discusses her upcoming novel Beneath), John C. Foster (Mister White), Craig L. Gidney (Sea, Swallow Me and Other Stories), Orrin Grey (Painted Monsters and Other Strange Beasts), Valjeanne Jeffers (Immortal), Nicole Givens Kurtz (The Cybil Lewis Series), Edward Austin Hall (co-editor of Mothership: Tales from Afrofuturism and Beyond), Scott Nicolay (World Fantasy Award winner for “Do You Like To Look At Monsters?”), Kool Kat Balogun Ojetade (The Chronicles of Harriet Tubman: Freedonia), Eric Schaller (Meet Me in the Middle of the Air), Grafton Tanner (Babbling Corpse: Vaporwave and the Commodification of Ghosts), and Damien Angelica Walters (Sing Me Your Scars).
Wehunt, a transplant from North Georgia (just a stone’s throw from the Appalachians), has set up roots in the lovely urban weirdness that is Atlanta. His short fiction has appeared in Cemetery Dance, The Dark, The Mammoth Book of Cthulhu: New Lovecraftian Fiction, The Year’s Best Dark Fantasy & Horror, and Year’s Best Weird Fiction, among others. His debut fiction collection, Greener Pastures, was published in 2016, and he’s currently working on his first novel, which is sure to please the maniacal masses. ATLRetro caught up with Wehunt for a quick rundown on what inspires him to put pen to paper, his admiration for the truly bizarre and why you should always follow your dreams, no matter how weird.
(l-r) Gerald Coleman, Nicole Givens Kurtz, Anya Martin, Michael Wehunt
ATLRETRO: It’s the usual state of things for a writer, or any artist to be honest, to be pigeonholed into clear-cut tried-and-true genres. Your work has been described as horror, weird horror, sci-fi, all wrapped up in a bizarre Southern Gothic blanket filled with the strange and bizarre. What are the pros and cons of being classified in such a way? And do you feel it’s better to not quite fit in any specific genre?
Michael Wehunt: I definitely prefer not fitting into any one tidy box. It really depends on an author’s ultimate goal, however. Sometimes the best way to make a name for oneself and become commercially successful—often a pipe dream, but what else are dreams for?— is to willingly climb into that single genre box. Your brand, so to speak, can be conveniently labeled. In my opinion, the label on the box is for the readers, not the author. But mixing genres is wonderful, too, and can have its own rewards. I likely won’t ever be a chameleon type of writer, using a wholly different form each time out. Instead, I’m more focused on that section of the Venn diagram where all these different areas overlap and exploring what’s there. The convergence could be subtle here or it could be stark there. Ultimately, these elements all serve the same purpose.
We see that you’ve had a long (and hopefully torrid!) love affair with Flannery O’Connor, the mother of grotesque discomfort. What is it about her tales and her writing that inspires you the most?
Flannery O’Connor was my third literary love. I discovered Stephen King when I was 8 years old, then Poe shortly after. It wasn’t until early in high school that I was introduced to O’Connor—and later still to Southern Gothic in general— and all these years later I’ve yet to read an author who could find that seam between ugliness and transcendence so perfectly. There are other authors who write beautifully in a Southern voice—Carson McCullers!— but none like she did. She mined the deep-running spiritual power of the South and smelted it with the grotesquery of petty humanness, and horror, black humor, and great beauty emerged in her work. Much later—only a handful of years ago, in fact—I would immerse myself in weird fiction and discover another love of my life. Robert Aickman and Algernon Blackwood, alongside contemporary authors such as Lynda E. Rucker and Laird Barron, showed me that O’Connor had been frequently writing a sort of weird fiction, though she was never credited with such. The only difference was that the spirituality in her work was the sort that America embraces, and it was all the more powerful to show what was under its rock while still remaining devout. The same cosmic strangeness is often right there in her books—why would we think our minds can fathom God with a capital G, after all—and this only deepened my love for her…and, yes, made it more torrid.
Stereotypically, the south, or “southerners” to be exact, is known the world over for its ability to bury deep dark secrets while flaunting its ignorance with a discomforting ease. How important would you say is the written word when it comes to exposing societal atrocities and do you think it is a writer’s duty to bring about change through their published works?
The South has a large closet filled with skeletons, to be sure, and the metaphor is uglier than it would be in most other cases. Not only have slavery and the foul mistreatment of Native Americans been largely papered over in our history books—not ignored, of course, but spruced up to look less unattractive—but poverty and the machine that perpetuates poverty bring out the worst in people sometimes, and a fierce sense of piety and Southern pride can sweep these things under the rug with a defiant pride. The word “demure” comes to mind. That rug has been peeled back even more in recent years. Not just in the rural South but in other analogous areas of the country. And things are squirming in the light. Fiction can be escapism, pure and simple. It can be socio-political in a direct way or in an indirect way. It can focus on philosophy and ideas. It can examine what it means to be human, with all a human’s transcendence and trappings. It can be one of these things or it can be all of these things at the same time. The best of it makes you think about the world without really letting you know it’s doing so, and in that way, change can come simply by engaging the reader with the self and then with the world around them. I know that much of my worldview (and self-view) came from reading dark fiction, and it’s no coincidence that compassion and kindness are the things I seek out in a political candidate or organization or friend.
Your debut collection, GREENER PASTURES, was published in 2016. Can you tell our readers a little about the collection and what inspired you to put together these particular tales in one grouping?
Greener Pastures contains 11 of my favorite short stories as of late 2015; those I felt worked the best together to carry a general theme while also providing just enough variety in subject matter and tone. When they were all together, I realized how prominently trees figure into my work, something I’d never truly noticed before. They’re everywhere, either in the foreground or background, but this was mostly accidental. Less accidental was the theme of loss. There are a lot of stories here that deal with various shades and types of loss, and how people cope with it. Write what you fear, they say, and that’s exactly what I fear. But I wanted a variety of moods and voices to bear these losses and keep things interesting for the reader. And, of course, a variety of darkness, including some good old-fashioned terror. In the end, I would say most of these stories speak from and of the human heart. There’s nothing suppler and earthier than humanity. I plan to dig in that dirt as long as people will let me. I’ll do my best to scare and unsettle them while I’m at it.
We’re also excited to see that your story, “October Film Haunt: Under the House” is featured in THE YEAR’S BEST DARK FANTASY & HORROR 2017 collection. Can you tell us a little about what inspired you to write this story and what it means to you to be a part of this collection?
Thank you! This will be my second time in Paula Guran’s yearly best-of-the-dark-stuff anthology, and I feel very grateful and fortunate for that. “October Film Haunt: Under the House” is an interesting and special story for me. It has two origins: The first is that I wanted to write a love letter of sorts to horror and weird fiction fandom. Four guys from different walks of life who met at a fan convention and found a common passion for horror films take a road trip once a year to the setting of a famous scary movie, documenting their findings and sensations. Since I’m a sucker for the found-footage genre of horror (à la THE BLAIR WITCH PROJECT), I wanted to try my hand at translating this medium into the written word, only switching into video camera mode when the story earned it. But I also wrote it specifically as a reaction to the majority of my work dealing with, as alluded to above, emotion, grief, and the joys and pains of being a regular person. I wanted no complex back-story, no real character development…just pure, unadulterated terror and craziness. It was a lot of fun to write, and I think it really did turn out to be a love letter.
You’ve made it very clear that “flesh and blood” characters are of utmost importance in your writing. What do you mean when say you write these types of characters and why are they important to you and your writing?
It’s crucial to have relatable characters that the reader—and the author—can easily imagine off the page. Even in the story I just discussed, “October Film Haunt,” in which I consciously stayed away from the importance of character arcs, the reader still has to care about the characters, what they do, and what they gain or lose. Antagonists, antiheroes and even the henchmen who die in the second scene should feel like real people…except, since this is horror we’re talking about, when they’re not actually people at all. When a story focuses on character and seeks a “depth,” that flesh and blood is all the more important. There’s no point in hanging curtains if there’s no window.
Short fiction and short fiction collections seem to be taking the stage and leading the charge, especially within the realm of Weird fiction. What do you think is it about the short story or novella that draws the Weird writing crowd?
Since Weird fiction relies primarily on the unknown intruding upon the known world—to simplify things—it can be difficult to sustain that sense of uncanny dread across the length of, say, a 90,000-word novel. Ambiguity is often the bread and butter of the Weird; that sense of awe and uncertainty is important to carry the fiction’s effect beyond reading. This isn’t to say there are no Weird fiction novels. It’s just that the ratio is skewed more toward its effectiveness as a short form. Horror typically works better than Weird fiction in novel form because its monsters are most often explained. There’s a clear path and intent: figure out the monster so that you can survive it. In Weird fiction, the “monster” is sometimes so inscrutable and vast (the universe itself or something so alien that the human mind can’t truly process it) that over the course of a novel, it becomes difficult to get away with that inscrutability. I also feel that short fiction is making a comeback in its own right, which is a wonderful thing. The novel is important, but there’s absolutely no reason for it to claim such a vast majority of the reading public. Short fiction can paint moods and tones and use forms and structures the novel simply cannot.
Speaking of the Weird writing crowd, you are scheduled to be a guest at the inaugural The Outer Dark Symposium on the Greater Weird this weekend (March 25). Anything special planned for this event?
My plans are essentially the same as with any other convention: go and have fun. We’re having a dinner with readings the night before the Symposium. It’s at 8:00 p.m. at My Parents’ Basement in Decatur, and though there is limited seating, it’s open to the public. And we are looking for weird and creepy things to do on Sunday, too, before everyone ships out. The best part of any convention is meeting and hanging out with people I usually only know on social media. They’re like family.
Any interesting stories on how you discovered Weird fiction and what specifically drew you to this particular group of writers?
It’s interesting to me—and a little embarrassing—how late I came to Weird fiction. I read horror as a kid but for some reason never explored it much beyond Stephen King. I have no idea how different I would have turned out if I’d stuck with it beyond my teenage years. But the darkness never left. I found it in other things. And when I finally, too many years later, decided I couldn’t put off trying to write fiction anymore, I reread some Stephen King stories and bought a copy of Ellen Datlow’s Best Horror of the Year, Volume Three just based on Amazon browsing. The latter book was a revelation to me. I discovered Laird Barron, John Langan, Tanith Lee, Stephen Graham Jones…it was a door opening, and soon I was an addict. These people thought about fiction the way I did, and I had no idea! I wrote my first story soon thereafter, and ever since I’ve been trying to pretend I knew about this stuff all along, even after admitting in interviews that I didn’t.
Do you have any advice for those writers just starting out?
There’s a post on my blog called “On Turning Five.” I wrote it last year to share my thoughts about what I felt was the first chapter in my career. It goes into more detail than I can here, but I shared six bullet points that I think are important for a beginning writer: talent (you gotta have some of that); time (use what you have and don’t worry if others have more of it); wisdom (rely on your own, seek others’); kindness (support other authors, pay it forward); persistence (keep doing it, keep fueling the fire of your passion to write in any way you can think of); and resiliency (there will be a lot of rejection—it’s as important a part of the reality as success is).
Can you fill us in on what you’re currently working on? And where can our readers get their hands on your published works?
I’m currently in the middle of my first novel. There’s some weird fiction, some horror, some literary sensibilities, and some ore from other mines. I have that Venn diagram taped over my desk with a thumbtack pressed into the center. As for my published works, my novella, “The Tired Sounds, A Wake,” has sold out forever, sadly, as it was a limited-edition pressing, though it will live again down the road in my next collection. Greener Pastures is available through Apex Book Company or Amazon and other online retailers. My blog has links to all my stories that aren’t in the collection as well.
Can you give us five things you’re into at the moment that we should be reading, watching or listening to right now—past or present, well-known or obscure?
Reading: Julian Barnes’ novel The Sense of an Ending. I’m reading it for the third time right now. It’s a very short literary novel that takes an uncomfortable look at memory and its reliability, both intentional and unintentional. Beautiful and unsettling. There’s a film version coming out soon, so now would be a good time to discover the book. Watching: I’m terribly behind on films. These days my partner and I are watching The Golden Girls in its entirety, and I’ve been having fun reliving my childhood—it was the last show my grandmother and I watched regularly together— and coming up with fake occult theories about Sophia and the girls. Listening: Mica Levi’s film scores. I listen to a lot of ambient, drone, and classical, and Levi’s work for recent films is wonderful to write to. UNDER THE SKIN and JACKIE are both great and very different from each other.
And last, but not least, care to share anything weird and bizarre we don’t know about you already?
This isn’t particularly weird, but I used to have a fairly profound fear of public speaking. For some reason, back in 2010 I got it into my head that I wanted to try amateur standup comedy, which is pretty much the opposite of what I do now. I did it three open-mic performances. It was utterly terrifying but fun—I can clearly remember the swelling panic in my chest—and I’m convinced it was the first step toward writing fiction, which was my other big fear. And while I still have that old fear of public performance in me, it did wonders for it, and it made me an advocate for those scared to put themselves out there: Just do it. Follow your dreams no matter what shape they ultimately take. You’ll be glad you did.
ATLRetro is proud to be a sponsor of The Outer Dark Symposium on the Greater Weird on Saturday March 25. Attending memberships to the symposium are $25 and limited to 50. A few are still available at press-time. Contact atlretro@gmail.com. There’s also a pre-party with author readings on Friday March 24 at My Parents’ Basement in Avondale Estates from 8-11 pm.
Category: Kool Kat of the Week | Tags: algernon blackwood, Anya Martin, apex publications, balogun ojetade, carson mccullers, craig l. gidney, damien angelica walters, daniel braum, decatur coworks, Edgar Allan Poe, ellen datlow, eric schaller, Flannery O'Connor, gerald coleman, grafton tanner, greener pastures, jackie, john c. foster, julian barnes, kristi demeester, Laird Barron., lynda e. rucker, mica levi, michael wehunt, milton davis, my parents basement, nicole givens kurtz, orrin grey, paula guran, robert aikman, Scott Nicolay, selena chambers, stephen graham jones, Stephen King, Tanith Lee, the blair witch project, the outer dark, the outer dark symposium, under the skin, valjeanne jeffers, we are horror, weird fiction
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Home Greek History Class And Status
Greek History – Class and Status
This essay was produced by one of our professional writers as a learning aid to help you with your studies
Class Structure and Status in Greek History
Are there any special insights to be had from analysing Greek history in terms of either class or status?
Greek history cannot be viewed as complete without analysing the class structure and status, as most of the historical evidence we have acquired from the classical period have come from inscriptions and sculptures made by one particular class of people, who had a high status in society.
Thusly it is not necessarily about gaining special insights as it is gaining as complete an insight into Greek Ancient history as possible, though special insights will inevitably present themselves.
This side of Greek history has only been focused on since these issues have come to the fore in modern times what with Marxism and communism rising in the 20th Century; these issues of class and status come under classical scrutiny because it is inevitable that they were as relevant then as they are now because human nature does not change and you will see clear comparisons.
Only men native to a particular city-state who were free and owned land were entitled to the full protection of the law in a city-state and be considered citizens. The Athenian social structure consisted of the population being divided up into four classes based on wealth.
This differs from Sparta where all male citizens who finished their education were considered equal. So it is clear that insights can be gained from analysing Greek history because both class and status are issues that classical historians must understand in order to have as complete as possible outlook on Greek history.
People who were not part of the free land owning citizens were known as metics. Foreigners who moved into the city were part of this group, so too were slaves who had been freed. It can certainly be argued that this is exploitation of and looking down on certain groups of people showing us a special insight into how the different classes saw each other and the status each acquired. This insight could not be attained without analysing the class or status.
Because they did not have the technology we have today in antiquity, G. E. M. de Ste. Croix argues in his book ‘The Class Struggle in the Ancient Greek World’ that the dominant wealthy classes continued to dominate by demanding a lot more than was actually necessary from the lower classes. Such things as slavery, serfs, debt bondsmen and many other methods were employed to stop the lower classes from rebelling by keeping them busy.
This is backed up by people such as Aristotle, who wrote in his ‘Politics’ that men (meaning citizens of the state) were rational animals but slaves and women were not capable of reason. He called slaves “animate tools” whose only use was to obey the commands of the rich masters. In his ‘Politics’ work he writes, “But among barbarians no distinction is made between women and slaves, because there is no natural ruler among them: they are a community of slaves, male and female. Wherefore the poets say,
It is meet that Hellenes should rule over barbarians; as if they thought that the barbarian and the slave were by nature one.”
This gives us some clear insight into the mindset of the citizens of Greek city states.
There is a common misconception amongst people that “Greece” was a unified nation that thought as one. But, I have already displayed a difference between two different cities in Greece and their social structures were quite different and these differences do offer us special insights.
Greece was not one nation operating under the same thinking, but it contained many different identities, it is both a Mediterranean and a Balkan country. In fact, an official Greek state did not come into being until Rome united it as one. There were hundreds of different states across the area which contained the people who became known as the Greeks. Loyalty was held to their own city states, rather than ‘Greece’ as a whole.
We can also gain some insight into daily life when analysing Greek history in terms of class or status. Most of the population were forced to work on the soil by those that were free citizens who were a small number of wealthy landowners and owned a lot of land. The slaves would work on the wealthy landowners’ land, there was little alternative to this. So they were viewed as mere tools, as the aforementioned quote from Aristotle shows, describing them as “animate tools” as if they were modern day tractors or any other tool that makes agriculture easier, for the wealthy landowner at least.
There is also another area of study, apart from the relationship between the wealthy landowning citizens and the metics and slaves which is about how business in general was conducted in Ancient Greece that is opened to us once we study Ancient Greece from the perspective of status and class. Paul Millet suggests that patronage has had so little written about it that one might think it did not even exist in the Ancient Greek World.
However, it must be said, with what little evidence we have; Sparta is the city-state we have the most evidence for patronage, but below this is Athens. Athens was viewed as the most advanced democracy of the time, and the aforementioned Aristotle also viewed it as such, despite its inequalities.
This quote from Aristotle’s ‘Politics’ is relevant here as, remembering his previously quoted view on barbarians, here he is talking about the citizens of the perfect democracy, which does not include slaves, women, metics and others: “Democracy arose from the idea that those who are equal in any respect are equal absolutely. All are alike free, therefore they claim that they are all equal absolutely.”
Athens has always been said to have been the first true “democracy” by mainstream classical historians, special insight can be gained here from studying Ancient Greek history from a class and status perspective to denounce that myth. Though all members of the citizenship of Athens could vote at the assembly, the vast majority of the people who actually lived in Athens, like the metics, women, slaves and others could not vote or have any say in political life.
Comparisons can be drawn to today here as, before Solon’s reforms slavery was given as a punishment for debt. This is comparable to today and offer special insight because today personal debt is at an all time high, particularly in America and Britain and if the debt becomes too high the banks send bailiffs to seize your property and your home effectively removing you from the ‘citizenship’ and making you a metic.
Using the Marxist ideology adopted by de Ste Croix in his aforementioned book, more comparisons can be drawn to today as a small minority of the people still maintain all the wealth. The means of production concept is also as relevant then as it is now and the owners of the means of production, the bourgeoisie still control it thus forcing the common man or the proletariat into working in order to survive. This in effect is slavery as they have no other choice but to work and feed the means of production to keep the wheels of democracy and capitalism turning.
Analysing the status of women also offers special insights into Greek History that would otherwise have gone unnoticed by the male dominated classical period. The role of the female in Ancient Greece was one of purely being a housekeeper and a mother to any children she may have. As I have said, there was no way for them to get involved in political life. Plays like Aristophanes’ ‘Lysistrata’ shows that the very idea of women being in power was considered completely ludicrous and was only relevant when they wanted to make a joke.
Like slaves, women could hold no possessions as they belonged to her father and then once she is married to her husband. Their primary function of looking after the home included the use of many slaves, sorting out finances, spinning, bread making and of course weaving which is the epitomy of the feminine thing to do as in evidence from Homer’s ‘The Odyssey’. They lived and ate in separate quarters from the men, nor could they go out in public on their own.
Spartan women had it better as they were allowed to take part in athletic competitions and generally had more freedoms. Comparisons can be drawn here with modern times also as in the Islamic faith women are encouraged not to be seen in public and in the Christian faith women have always been vilified. This is clearly special insight being drawn from Greece’s Ancient history as studying the status or class both offer the opportunity to compare social issues from ancient times to today, as they are clearly still relevant.
We can also gain insight from this because Athens’ direct democracy may not have worked if it weren’t for it’s usage of such strict requirements to be allowed to participate. This creates insightful debate over this very reasoning meaning that it was not a democracy per se, but rather a democracy for the few where only a small section of society could participate and be elected. Comparisons can also be drawn to today with the long Bush-Clinton dynasty heading towards their fourth straight president, who comes from the same elite wealthy section of society. But the only difference is that the debt “slaves” of modern times actually choose not to participate instead of being forced not to as was the case in Ancient Athens.
A more obvious comparison to modern times and what we can learn from the Ancient Greeks is the modern examples of literal slavery as opposed to the economic enslavement I have spoken of. Slaves in near modern times are quite comparible to those of Ancient times and thus offer an interesting insight into Greek history and what we can learn from it in terms of their mistakes, before slavery was abolished in 1863 in America many people were taken from Africa and elsewhere to America to work as slaves.
This is quite reminiscent of the barbarians I quoted Aristotle speaking of earlier, saying how they were less than human. This was the kind of attitude that allowed slavery to continue for as long as it did, and as Western society takes it’s origins from classical history it is then easy to understand why it was so readily accepted. The same comparisons can be drawn about the treatment of women and minority groups whose racism they had to endure is similar to the treatment and opinions of barbarians at the time.
In conclusion, what constitutes “special insight” can be interpreted many different ways but I feel that it relates to the information we can gain that has previously been ignored by the classical history establishment, in favour of focusing solely on the elite wealthy landowners without considering the slaves and the people who did not necessarily have a voice. This is why I feel de Ste. Croix’s use of Marxist ideology in his book ‘The Class Struggle in the Ancient Greek World’ is extremely apt in portraying this special insight as it effectively shows the same system of control that is employed today as back in the Ancient Greek World in a different format to today, but still ultimately debt slavery.
It also offers special insight in the general goings on of Ancient Greek society with the question of status and class relating to patronage’s usage and if it was even used at all as the lack of it in history books would suggest. The biggest special insight I feel it offers in terms of either class or status is that it shows the lack of willingness to make the unheard voices heard, it clearly shows that Greek history is written by those that dominated it and it’s majority of people living there as slaves, metics, women will unfortunately remain an unheard voice in the trumpeting of the creators of democracy we apparently hold so dear today.
De Ste. Croix, The Class Struggle in the Ancient Greek World, Duckworth Ed, 1997
Paul Millet, Patronage in Ancient Society, Routledge, 1989
Aristotle, The Politics, Jowett translation, revised by Jonathan Barnes, 1981
Homer, The Odyssey, E.V. Rieu translation, Penguin Books, 2003.
Arisophanes, Lysistrata and Other Plays, Alan H. Sommerstein translation, 2003
Professor Paul Cartledge, “Critics and Critiques of Athenian Democracy“, 1st January 2001, BBC: http://www.bbc.co.uk/history/ancient/greeks/greekcritics_01.shtml
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Daley, Moses
Temple Records Index Bureau, Nauvoo Temple Endowment Register, 281; High Priests of Nauvoo and Early Salt Lake City, 34.
Comprehensive Works Cited
Temple Records Index Bureau of the Church of Jesus Christ of Latter-day Saints. Nauvoo Temple Endowment Register, 10 December 1845 to 8 February 1846. Salt Lake City: The Church of Jesus Christ of Latter-day Saints, 1974.
High Priests of Nauvoo and Early Salt Lake City. Compiled by Nauvoo Restoration. [Salt Lake City]: By the author, n.d.
–9 Dec. 1865.
“Daley, Moses,” in Black, Membership of The Church of Jesus Christ of Latter-day Saints, 1830–1848, 14:83; Pioneer Women, 1:745.
Black, Susan Easton, comp. Membership of the Church of Jesus Christ of Latter-day Saints, 1830–1848. 50 vols. Provo, UT: Religious Studies Center, Department of Church History and Doctrine, Brigham Young University, 1989. Also available as “Membership of the Church of Jesus Christ of Latter-day Saints, 1830–1848,” LDS Family History Suite: LDS Vital Records Library, CD-ROM ([Provo], UT: Infobases, Inc., 1996).
Pioneer Women of Faith and Fortitude. 4 vols. Salt Lake City: Daughters of Utah Pioneers, 1998.
Farmer.
1850 U.S. Census, Davis Co., Utah Territory, 14[B]; 1860 U.S. Census, San Bernardino, San Bernardino Co., CA, 632.
Census (U.S.) / U.S. Bureau of the Census. Population Schedules. Microfilm. FHL.
Born at Walkill, Orange Co., New York.
Temple Records Index Bureau, Nauvoo Temple Endowment Register, 281.
Son of John Daley and Amy Mapes.
Married Almira Barber, 22 Jan. 1819, at Marcellus, Onondaga Co., New York.
“Moses Daley,” Individual Record, FamilySearch Ancestral File (Ancestral File no: 209Z-BP) (accessed 4 Aug. 2011); Pioneer Women, 1:745.
FamilySearch Ancestral File. Compiled by the Church of Jesus Christ of Latter-day Saints. https://www.familysearch.org/search/family-trees.
Moved to Huron Co., Ohio, by 1827.
“Daley, Moses,” in Black, Membership of The Church of Jesus Christ of Latter-day Saints, 1830–1848, 14:82.
Baptized into Church of Jesus Christ of Latter-day Saints, before 1833.
Minute Book 1, 23 Mar. 1833.
Ordained a high priest by JS and Frederick G. Williams, 31 Mar. 1836.
High Priests of Nauvoo and Early Salt Lake City, 34.
Settled at Adam-ondi-Ahman, Daviess Co., Missouri, 1838.
JS, Journal, 4–5 June 1838.
Exiled from Missouri; located at Big Neck Prairie, Adams Co., Illinois.
Moses Daily [Daley], Affidavit, Adams Co., IL, 16 May 1839, in Johnson, Mormon Redress Petitions, 182–183; “Daley, Moses,” in Black, Membership of The Church of Jesus Christ of Latter-day Saints, 1830–1848, 14:82.
Johnson, Clark V., ed. Mormon Redress Petitions: Documents of the 1833–1838 Missouri Conflict. Religious Studies Center Monograph Series 16. Provo, UT: Religious Studies Center, Brigham Young University, 1992.
Migrated to Salt Lake Valley, 1849.
“Daley, Moses,” Mormon Pioneer Overland Travel, 1847–1868, https://history.churchofjesuschrist.org/overlandtravel/pioneers/14812/moses-sr-daley (accessed 4 Aug. 2011).
Pioneer Database, 1847–1868. Compiled by the Church of Jesus Christ of Latter-day Saints. https://history.churchofjesuschrist.org/overlandtravel.
Settled at San Bernardino, Los Angeles Co., California, 1851.
Pioneer Women, 1:745.
Died at Riverside, Riverside Co., California.
History, 1838–1856, volume A-1 [23 December 1805–30 August 1834]
History, 1838–1856, volume C-1 [2 November 1838–31 July 1842]
Capias, 30 May 1839 [ State of Missouri v. JS et al. for Riot ]
Docket Entry, Continuance, 14 August 1839 [ State of Missouri v. JS et al. for Riot ]
Docket Entry, Costs, 15 April 1840 [ State of Missouri v. JS et al. for Riot ]
Docket Entry, Nolle Prosequi, 10 December 1839 [ State of Missouri v. JS et al. for Riot ]
History, 1834–1836
History, 1838–1856, volume B-1 [1 September 1834–2 November 1838]
Indictment, circa 10 April 1839 [ State of Missouri v. Gates et al. for Treason ]
Indictment, circa 10 April 1839 [ State of Missouri v. JS et al. for Riot ]
Indictment, circa 10 April 1839, Copy [ State of Missouri v. Gates et al. for Treason ]
Indictment, circa 10 April 1839, Copy [ State of Missouri v. JS et al. for Riot ]
Introduction to State of Missouri v. Gates et al. for Treason
Introduction to State of Missouri v. JS et al. for Riot
Journal, 1835–1836
Journal, March–September 1838
Kirtland Elders’ Certificates
Letter to Moses Daley, circa 8 October 1834
License for Moses Daley, 31 March 1836
Memorial to the United States Senate and House of Representatives, 28 November 1843
Minute Book 1
Minutes, 23 March 1833–B
Minutes, 23 March 1833–A
Nauvoo Marriage Record, February 1842–January 1846
Recognizance, 18 September 1838 [ State of Missouri v. JS et al. for Riot ]
Sidney Rigdon, Appeal to the American People, 1840
Sidney Rigdon, Appeal to the American People, 1840, Second Edition
Sidney Rigdon, JS, et al., Petition Draft (“To the Publick”), circa 1838–1839
Transcript of Proceedings, Burglary, 6 July 1839 [ Extradition of JS et al. for Treason and Other Crimes ]
Transcript of Proceedings, Treason, 6 July 1839 [ Extradition of JS et al. for Treason and Other Crimes ]
Transcript of Proceedings, circa 18 September 1838 [ State of Missouri v. JS et al. for Riot ]
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Taleb Says Euro Breakup ‘Not a Big Deal’ as U.S. Scariest
Date: Wednesday, May 30, 2012
Author: Frederic Tomesco, Bloomberg
Nassim Taleb, author of “The Black Swan,” said he favors investing in Europe over the U.S. even with the possible breakup of the single European currency in part because of the euro area’s superior deficit situation.
Europe’s lack of a centralized government is another reason it’s preferable to invest in the region, said Taleb, a professor of risk engineering at New York University whose 2007 best- selling book argued that history is littered with rare events that can’t be predicted by trends.
A breakup of the euro “is not a big deal,” Taleb said yesterday at an event in Montreal hosted by the Alternative Investment Management Association. “When they break it up, there will be a lot of fun currencies. This is why I am not afraid of Europe, or investing in Europe. I’m afraid of the United States.”
The budget deficit as a proportion of gross domestic product in the U.S. amounted to 8.2 percent at the end of 2011, government figures show. That’s twice the 4.1 percent ratio for euro-region countries, according to data compiled by Bloomberg.
“Of course Europe has its problems, but it’s in much better shape than the United States,” Taleb said. He voiced similar concerns about U.S. prospects at a conference in Tokyo in September.
Yields on two-year Treasury notes were little changed at 0.285 percent at 9:19 p.m. New York time yesterday, while yields on five-year notes dropped more than one basis point to 0.761 percent.
Rising interest rates would make things worse for the U.S., said Taleb, a principal at hedge fund Universa Investments LP who also serves as an adviser to the International Monetary Fund.
“We have zero interest rates,” Taleb said. “If interest rates go up in the United States, you can imagine what the deficit would be. Europe is like someone who is ill but is conscious of it. In the United States we are ill, but we don’t know it. We don’t talk about it.”
Europe’s lack of a centralized government works in its favor, he said.
“The best thing Europe ever did is managing to have members bickering with each other, so you don’t have the big government,” Taleb said. “Centralized government doesn’t work. In Europe they tried to have a powerful Brussels, but what happens when you have a powerful Brussels? You have lobbies hijacking Brussels.”
To contact the reporter on this story: Frederic Tomesco in Montreal at tomesco@bloomberg.net
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MONDAY MORNING MISSION MEDITATION for the week of June 29, 2014
Catholic Charities. Providing Help. Creating Hope.
http://1.bp.blogspot.com/-lR1tkhi6CVs/UbTZFROTx6I/AAAAAAAAAZo/DIfS7TQ5KHs/s1600/Blond+angel.jpg
The angel of the Lord will rescue those who fear him. (Ps 34:5)
On Sunday, (The Solemnity of Saints Peter and Paul, Apostles: http://usccb.org/bible/readings/062914-day-mass.cfm ) we read from the Gospel of Matthew wherein Jesus asks His closest friends, “who do you say that I am?” Peter proclaims that He is the “Christ, the Son of the living God.” Jesus calls Peter a “rock.” We hear in the first two readings how Peter’s faith will cause people to plot against him, and how Paul reflects on how he has given his life for the Lord. In both cases, Peter and Paul rely on the power and grace of God to be their strength and guide. So too, we are called to fashion our lives as followers of Jesus, proclaiming in our words, thoughts and deeds, who Jesus is: the Son of the living God.
http://1.bp.blogspot.com/--_Jv7o5s4PM/T-2ib92gy_I/AAAAAAAADjM/dq0tzI1Oubo/s1600/peter_paul.jpg
Catholic Charities (http://www.ccdoy.org) continues to provide the corporal works of mercy instituted by the early Church and Apostles as they created the office of deacons to help the widows, orphans and strangers as a sign of the love of God in our world. As Saints Peter and Paul provide us an example of being a witness to the truth about our faith, we too witness to the love of God and the love of neighbor which Jesus modeled and taught us to do -- “go and do likewise.”
Reflection from Church Documents and Official Statements
http://www.usccb.org/beliefs-and-teachings/how-we-teach/new-evangelization/year-of-faith/images/year-of-faith-logo-montage.jpg
http://cmsimg.news-press.com/apps/pbcsi.dll/bilde?Site=A4&Date=20130315&Category=OPINION&ArtNo=303150023&Ref=AR&MaxW=640&Border=0&Editorial-Pope-Francis-unique-chance
Pope Francis: Evangelii Gaudium
http://www.vatican.va/holy_father/francesco/apost_exhortations/documents/papa-francesco_esortazione-ap_20131124_evangelii-gaudium_en.html
59. Today in many places we hear a call for greater security. But until exclusion and inequality in society and between peoples are reversed, it will be impossible to eliminate violence. The poor and the poorer peoples are accused of violence, yet without equal opportunities the different forms of aggression and conflict will find a fertile terrain for growth and eventually explode. When a society – whether local, national or global – is willing to leave a part of itself on the fringes, no political programmes or resources spent on law enforcement or surveillance systems can indefinitely guarantee tranquility. This is not the case simply because inequality provokes a violent reaction from those excluded from the system, but because the socioeconomic system is unjust at its root. Just as goodness tends to spread, the toleration of evil, which is injustice, tends to expand its baneful influence and quietly to undermine any political and social system, no matter how solid it may appear. If every action has its consequences, an evil embedded in the structures of a society has a constant potential for disintegration and death. It is evil crystallized in unjust social structures, which cannot be the basis of hope for a better future. We are far from the so-called “end of history”, since the conditions for a sustainable and peaceful development have not yet been adequately articulated and realized.
Some important date(s) this week:
See website http://www.americancatholic.org/Features/Saints/ByDate.aspx for biographies of Saints and Blessed celebrated this week.
FRIDAY, JULY 4. St. Elizabeth of Portugal (1271-1336)
lizabeth is usually depicted in royal garb with a dove or an olive branch. At her birth in 1271, her father, Pedro III, future king of Aragon, was reconciled with his father, James, the reigning monarch. This proved to be a portent of things to come. Under the healthful influences surrounding her early years, she quickly learned self-discipline and acquired a taste for spirituality. Thus fortunately prepared, she was able to meet the challenge when, at the age of 12, she was given in marriage to Denis, king of Portugal. She was able to establish for herself a pattern of life conducive to growth in God’s love, not merely through her exercises of piety, including daily Mass, but also through her exercise of charity, by which she was able to befriend and help pilgrims, strangers, the sick, the poor—in a word, all those whose need came to her notice. At the same time she remained devoted to her husband, whose infidelity to her was a scandal to the kingdom.
http://www.lukedingman.com/imagesicon/elizabeth1.jpg
He, too, was the object of many of her peace endeavors. She long sought peace for him with God, and was finally rewarded when he gave up his life of sin. She repeatedly sought and effected peace between the king and their rebellious son, Alfonso, who thought that he was passed over to favor the king’s illegitimate children. She acted as peacemaker in the struggle between Ferdinand, king of Aragon, and his cousin James, who claimed the crown. And finally from Coimbra, where she had retired as a Franciscan tertiary to the monastery of the Poor Clares after the death of her husband, she set out and was able to bring about a lasting peace between her son Alfonso, now king of Portugal, and his son-in-law, the king of Castile.
Elizabeth was not well enough to undertake her final peacemaking journey, made all the more difficult by the oppressive heat of the season. She would not, however, permit herself to be dissuaded from it. She answered that there was no better way to give of her life and her health than by averting the miseries and destruction of war. By the time she had successfully brought about peace, she was so sick that death was imminent. After her death in 1336, her body was returned to the monastery at Coimbra for burial.
The work of promoting peace is anything but a calm and quiet endeavor. It takes a clear mind, a steady spirit and a brave soul to intervene between people whose emotions are so aroused that they are ready to destroy one another. This is all the more true of a woman in the early 14th century. But Elizabeth had a deep and sincere love and sympathy for humankind, almost a total lack of concern for herself and an abiding confidence in God. These were the tools of her success.
For daily readings, visit USCCB Website (http://usccb.org/calendar/index.cfm?showLit=1&action=month)
CHARITIES NEWSBYTES
Spring Storm Relief Fund
Catholic Charities of the Diocese of Youngstown, working in collaboration with Catholic Charities USA – the official domestic disaster agency of the US Catholic Bishops – is accepting donations to assist families and communities that have been impacted by the recent storms and tornadoes. Visit http://ccdoy.org/locations/accepts-donations/ for more information or on line donations.
PAPAL INTENTIONS:
Unemployed. That the unemployed may receive support and find the work they need to live in dignity.
Faith in Europe. That Europe may rediscover its Christian roots through the witness of believers.
Sports. That sports may always be occasions of human fraternity and growth.
Lay Missionaries. That the Holy Spirit may support the work of the laity who proclaim the Gospel in the poorest countries
Corporal Works of Mercy: The seven practices of charity toward our neighbor
Clothe the naked
Visit those in prison
VISION: Believing in the presence of God in our midst, we proclaim the sanctity of human life and the dignity of the person by sharing in the mission of Jesus given to the Church. To this end, Catholic Charities works with individuals, families, and communities to help them meet their needs, address their issues, eliminate oppression, and build a just and compassionate society.
MISSION: Rooted in the Mission of the Diocese of Youngstown "to minister to the people in the six counties of northeastern Ohio . . .(and) to the world community", we are called to provide service to people in need, to advocate for justice in social structures, and to call the entire Church and other people of good will to do the same.
GOALS: Catholic Charities is devoted to helping meet basic human needs, strengthening families, building communities and empowering low-income people. Working to reduce poverty in half by 2020.
KEY VALUE: Hospitality
WHAT WE DO: Organizing Love. "As a community, the Church must practise love. Love thus needs to be organized if it is to be an ordered service to the community" (Deus Caritas Est, par. 20)
Note: Please consider joining our
FACEBOOK GROUP https://www.facebook.com/pages/Catholic-Charities-Diocese-of-Youngstown/138817639487339
TWITTER account, CCDOY, http://twitter.com/CCDOY
for current updates and calls to action that we can all use.
See our website at http://www.ccdoy.org for links to the our ministries and services.
For more information on Catholic Social Doctrine and its connection to our ministries, visit my blog at: http://corbinchurchthinking.blogspot.com
Labels: Catholic Charities Diocese of Youngstown Mission Meditation
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