FeaÂtured on the EmiÂly’s List FaceÂbook Page today is this “PSA from the 1960s,” where “BatÂgirl advoÂcates for equal pay while savÂing BatÂman and Robin.” EmiÂly’s List, a PAC aimÂing to put more pro-choice DemoÂcÂrat female canÂdiÂdates into politÂiÂcal office, goes on to note, “Over 50 years ago, ConÂgress passed the Equal Pay Act, a law designed to end wage disÂcrimÂiÂnaÂtion against women. UnforÂtuÂnateÂly, the fight’s still got many rounds left.”
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First Lady Eleanor RooÂsevelt was a proÂlifÂic columÂnist and writer, with an impresÂsive list of clips proÂduced both durÂing FDR’s tenure in the White House and afterÂwards. George WashÂingÂton University’s Eleanor RooÂsevelt Papers ProjecttalÂlies up her outÂput: 8,000 columns, 580 artiÂcles, 27 books, and 100,000 letÂters (not to menÂtion speechÂes and appearÂances). Many of those columns and artiÂcles can be found on their webÂsite.
Their archive offers every one of Roosevelt’s “My Day” columns, which ran through UnitÂed FeaÂtures SynÂdiÂcate from 1936–1962. These short pieces actÂed like a daiÂly diary, chronÂiÂcling Roosevelt’s travÂels, the books she read, the peoÂple she visÂitÂed, her evolvÂing politÂiÂcal phiÂlosÂoÂphy, and, occaÂsionÂalÂly, her reflecÂtions on such topÂics as eduÂcaÂtion, empaÂthy, apaÂthy, friendÂship, stress, and the scourge of excesÂsive mail (“I love my perÂsonÂal letÂters and I am realÂly deeply interÂestÂed in much of my mail, but when I see it in a mass I would someÂtimes like to run away! I just closed my eyes in this case and went to bed!”)
The “My Day” archive is a litÂtle difÂfiÂcult to navigate—you have to browse by year, or search by keyword—but the archive’s short list of selectÂed longer artiÂcles is a bit simÂpler to surÂvey. Some of my favorites:
“In Defense of CuriosÂiÂty” (SatÂurÂday Evening Post, 1935): RooÂsevelt often drew fire for her insaÂtiable interÂest in all areas of nationÂal life—a charÂacÂterÂisÂtic that peoÂple thought of as unlaÂdyÂlike. This artiÂcle argues that women, too, should be curiÂous, and that curiosÂiÂty is the basis for hapÂpiÂness, imagÂiÂnaÂtion, and empaÂthy.
“How to Take CritÂiÂcism” (Ladies Home JourÂnal, 1944): RooÂsevelt had a lot of haters. This longer piece mulls over the difÂferÂent types of critÂiÂcism that she received durÂing her pubÂlic career, and asks how one should disÂtinÂguish between worÂthy and unworÂthy criÂtiques.
“BuildÂing CharÂacÂter” (The Parent’s MagÂaÂzine, 1931): An ediÂtoÂrÂiÂal on the imporÂtance of proÂvidÂing chilÂdren with chalÂlenges, clearÂly meant to reasÂsure parÂents worÂried about the effects of the DepresÂsion on their kids.
“Good CitÂiÂzenÂship: The PurÂpose of EduÂcaÂtion” (PicÂtoÂrÂiÂal Review, 1930): Much of this piece is about the imporÂtance of fair comÂpenÂsaÂtion for good teachÂers. “There are many inadÂeÂquate teachÂers today,” RooÂsevelt wrote. “PerÂhaps our stanÂdards should be highÂer, but they canÂnot be until we learn to valÂue and underÂstand the funcÂtion of the teacher in our midst. While we have put much monÂey in buildÂings and labÂoÂraÂtoÂries and gymÂnaÂsiÂums, we have forÂgotÂten that they are but the shell, and will nevÂer live and creÂate a vital spark in the minds and hearts of our youth unless some teacher furÂnishÂes the inspiÂraÂtion. A child responds natÂuÂralÂly to high ideals, and we are all of us creaÂtures of habit.”
RebecÂca Onion is a writer and acaÂdÂeÂmÂic livÂing in PhiladelÂphia. She runs Slate.com’s hisÂtoÂry blog, The Vault. FolÂlow her on TwitÂter: @rebeccaonion.
RecentÂly attacked by CosÂsacks in Sochi and by black-clad men with green antiÂsepÂtic in MoldoÂva, NadezhÂda TolokonÂnikoÂva and Maria AlyokhiÂna have, since their DecemÂber release from a two-year prison senÂtence, remained the very pubÂlic faces of the punk band/agÂit-prop colÂlecÂtive known as Pussy Riot. The two also conÂtinÂue to raise the band’s proÂfile in the States. Last month alone, they appeared on The ColÂbert Report and onstage with MadonÂna at a star-studÂded Amnesty InterÂnaÂtionÂal event.
Not only promiÂnent activists for prison reform, Nadia and Masha—as they’re called in the HBO docÂuÂmenÂtary Pussy Riot: A Punk Prayer—have become celebriÂties. (So much so that othÂer mostÂly anonyÂmous memÂbers of the group have disÂowned them, citÂing among othÂer things issues with “perÂsonÂalÂiÂty cult.”) The HBO doc begins with proÂfiles of the women, as does a new book, Words Will Break Cement: The PasÂsion of Pussy Riot, by RussÂian jourÂnalÂist Masha Gessen.
In an interÂview FriÂday for KQED in San FranÂcisÂco (above), Gessen—a lesÂbian mothÂer who recentÂly moved to the UnitÂed States for fear of persecution—describes how Vladimir Putin, Pussy Riot’s priÂmaÂry tarÂget, has regained his popÂuÂlarÂiÂty with the RussÂian peoÂple after his aggresÂsions at the Ukraine borÂder and Crimea’s SunÂday vote for secesÂsion. She cites, for examÂple, alarmÂing poll numÂbers of only 6% of RusÂsians who oppose an invaÂsion of Ukraine. Yet at the time of Pussy Riot’s infaÂmous perÂforÂmance at a Moscow catheÂdral in FebÂruÂary of 2012, which led to TolokinÂnikoÂva and Alyokhina’s imprisÂonÂment, the anti-Putin protest moveÂment made the autoÂcratÂic ruler very nerÂvous.
Gessen sketchÂes the hisÂtoÂry of the moveÂment in her interÂview (and details it in the book). At first the protests involved the sitÂuÂaÂtionÂist antics of perÂforÂmance art colÂlecÂtive Voina—“War”—(see TolokonÂnikoÂva, above at far right, with othÂer Voina memÂbers in 2008). The femÂiÂnist punk band has only emerged in the past three years, when Voina’s art-school pranks became Pussy Riot’s provoÂcaÂtions days after Putin announced his intent to return to the presÂiÂdenÂcy.
One month before the catheÂdral perÂforÂmance that sent Nadia and Masha to prison, the band appeared in their tradeÂmark fluÂoÂresÂcent dressÂes and balÂaÂclavas in Red Square (top). Only three months priÂor, on OctoÂber 1, 2011, they released their first song, “Ubey sekÂsista” (“Kill the SexÂist”) and—as memÂbers of Voina—announced the arrival of Pussy Riot, a radÂiÂcal oppoÂsiÂtion to the authorÂiÂtarÂiÂanÂism, patriÂarchy, and crony capÂiÂtalÂism they allege charÂacÂterÂize Putin’s rule.
In NovemÂber of 2011, Pussy Riot staged its first pubÂlic perÂforÂmance (above), scalÂing atop scafÂfoldÂing and Moscow trolÂley and subÂway cars while scatÂterÂing feathÂers and dancÂing to their song “OsvoÂboÂdi Bruschatku” (“Release the CobÂbleÂstones”). The song recÂomÂmends that RusÂsians throw cobÂbleÂstones in street protests because–as Salon quotes from the group’s blog—“ballots will be used as toiÂlet paper” in the approachÂing elecÂtions.
The colÂlecÂtive next released the video for “Kropotkin VodÂka” (above), feaÂturÂing a monÂtage of pubÂlic appearÂances in fashÂionÂable locaÂtions around Moscow. The locaÂtions were choÂsen, the band writes, specifÂiÂcalÂly as “forÂbidÂden sites in Moscow.” More from their (Google-transÂlatÂed) blog below:
The conÂcerts were held in pubÂlic places [for] wealthy putinÂists: bouÂtiques in the capÂiÂtal, at fashÂion shows, luxÂuÂry cars and roofs close to KremÂlin bars […] PerÂforÂmances includÂed arson and a series of musiÂcal occuÂpaÂtions [of] glamÂorous areas of the capÂiÂtal.
The song takes its title and inspiÂraÂtion from Peter Kropotkin, the 19th cenÂtuÂry RussÂian arisÂtoÂcrat-turned-anarÂcho-comÂmuÂnist intelÂlecÂtuÂal.
In their open letÂter pubÂlicly releasÂing their two most promiÂnent memÂbers from the group, six memÂbers of Pussy Riot write that the “ideals of the group” Nadia and Masha have allegedÂly abanÂdoned were preÂciseÂly “the cause for their unjust punÂishÂment.” The two have become, they say, “instiÂtuÂtionÂalÂized advoÂcates of prisÂonÂers’ rights.” And yet in mid-DecemÂber, 2011, the band perÂformed their song “Death to Prison, FreeÂdom to Protests” on the rooftop of a detenÂtion cenÂter holdÂing oppoÂsiÂtion leadÂers and activists. This was at the height of the anti-Putin moveÂment when upwards of 100,000 peoÂple took to the streets of Moscow chantÂiÂng “RusÂsia withÂout Putin” and “Putin is a Thief” and demandÂing free elecÂtions.
While most of us only heard of Pussy Riot after their arrest and triÂal for the catheÂdral stunt, their “breakÂthrough perÂforÂmance,” writes Salon, occurred one month earÂliÂer at the Red Square appearÂance at the top of the post. This was when the band decidÂed to “take revolt to the KremÂlin,” and coinÂcidÂed with promisÂes from Putin to reform elecÂtions. “The revÂoÂluÂtion should be done by women,” said one memÂber at the time. “For now, they don’t beat us or jail us as much.” The sitÂuÂaÂtion would turn rather quickÂly only weeks latÂer, and it was with Pussy Riot, says Gessen, that the wave of arrests and beatÂings of proÂtestÂers began. The band’s curÂrent schism comes just as the anti-Putin moveÂment seems to be fracÂturÂing and losÂing resolve, and the future of demoÂcÂraÂtÂic oppoÂsiÂtion in Putin’s increasÂingÂly belÂligerÂent RusÂsia seems entireÂly uncerÂtain.
From the paraÂnoid funÂdaÂmenÂtalÂist tracts of Jack Chick, to Ronald McDonÂald proÂmotÂing scoutÂing, to an upcomÂing graphÂic novÂel explainÂing the sciÂence of cliÂmate change, comics and graphÂic novÂels have long been a means of both prosÂeÂlyÂtizÂing and informÂing, conÂdensÂing comÂplex narÂraÂtives into a digestible forÂmat with broad appeal. The mediÂum is so elasÂtic, it can seemÂingÂly adapt itself to any kind of stoÂry, even the most soberÂly seriÂous and hisÂtorÂiÂcalÂly sigÂnifÂiÂcant. For examÂple, GeorÂgia ConÂgressÂman John Lewis, vetÂerÂan of the CivÂil Rights moveÂment, chose to tell his story—in colÂlabÂoÂraÂtion with co-writer Andrew Aydin and artist Nate Powell—as a graphÂic novÂel called March (makÂing him the first lawÂmakÂer to appear at a ComÂic-Con). Part one of three was pubÂlished late last year and rose to the top of the New York Times and WashÂingÂton Post bestÂseller lists. March has also become an imporÂtant resource for teachÂers and librarÂiÂans (downÂload a free 11-page teachÂers guide from pubÂlishÂer Top Shelf here).
Lewis’ choice of mediÂum may seem motiÂvatÂed by the curÂrent esteem in which the form is held in scholÂarÂly and popÂuÂlar cirÂcles alike, but he was priÂmarÂiÂly influÂenced by a much earÂliÂer civÂil rights comÂic book, MarÂtin Luther King and the MontÂgomery StoÂry. (See covÂer up top. Read it onlinehere.) Begun just five months after Rosa Parks’ hisÂtoric refusal, the comÂic aimed to disÂsemÂiÂnate the epic tale of the MontÂgomery, AL bus boyÂcott throughÂout the South. A secÂtion called “The MontÂgomery Method” (first page above) instructs readÂers on the nonÂviÂoÂlent resisÂtance techÂniques employed by civÂil rights workÂers in AlabaÂma, with a primer on GandÂhi and his influÂence on King. In the short video below, see NYU proÂfesÂsor and King scholÂar Sylvia Rhor explain the genÂeÂsis of the comÂic in the work of Alfred HasÂsler, then leader of CivÂil Rights orgaÂniÂzaÂtion FelÂlowÂship of RecÂonÂcilÂiÂaÂtion. HasÂsler, a litÂtle-known figÂure who died in 1991, is now receivÂing more recogÂniÂtion through simÂiÂlar means. He himÂself recentÂly became the subÂject of a graphÂic novÂel project (and now docÂuÂmenÂtary) called The Secret of the 5 PowÂers about his work with BudÂdhist peace activists Thich Nhat Hanh and SisÂter Chan Khong durÂing the VietÂnam War.
As Rhor notes above, the King comÂic has had tremenÂdous influÂence, not only in the past, and not only on Rep. Lewis in the present. In 2003–2004, The MontÂgomery StoÂry was transÂlatÂed into AraÂbic, and EgyptÂian revÂoÂluÂtionÂarÂies durÂing the Arab Spring found inspiÂraÂtion in the comÂic book that “turned MarÂtin Luther King into a superÂhero”
Her quesÂtion? What do EngÂlish cows sound like when they moo.
The knightÂed star does not skimp on his answer, even if, as he repeatÂedÂly sugÂgests, one canÂnot do the subÂject jusÂtice in less than an entire afterÂnoon. The dialects of British cows, like those of their human counÂterÂparts, underÂscore that theirs is a sociÂety “domÂiÂnatÂed by class, social staÂtus and locaÂtion.”
The moo of a cow from West OxfordÂshire, home to Prime MinÂisÂter David Cameron, is quite conÂserÂvÂaÂtive comÂpared to the lusty belÂlow of a specÂiÂmen from West YorkÂshire, where StewÂart grew up. (The latÂter is so astonÂishÂing, he immeÂdiÂateÂly offers to proÂduce it twice.)
CockÂney cows, a breed whose ranks have thinned conÂsidÂerÂably since ShakeÂspeare’s day, sound like sheep.
As an extra treat, StewÂart genÂerÂousÂly agrees to the host’s request for an AmerÂiÂcan cow, imperÂsonÂatÂing a NevaÂda-dweller, a geoÂgraphÂic homage to the origÂiÂnal quesÂtionÂer as well as his bride, jazz singer SunÂny Ozell.
Is there anyÂthing this man can’t — or won’t — do?
If you’ve been with Open CulÂture since our earÂly days, you might rememÂber I Met the WalÂrus, a short Oscar-nomÂiÂnatÂed film that recalls the time when John Lennon grantÂed an interÂview to a 14-year-old BeaÂtÂles’ fan named JerÂry LevÂiÂtan. The aniÂmatÂed film (which we still highÂly recÂomÂmend) was the visuÂal creÂation of Josh Ruskin and James BraithÂwaite, who have now teamed up to creÂate “Our PubÂlic Library,” a short aniÂmatÂed film that calls attenÂtion to the budÂget cuts that are underÂminÂing ToronÂto’s great pubÂlic library sysÂtem. ToronÂto’s lawÂmakÂers will be makÂing key deciÂsions about the fate of the library soon (someÂthing hopeÂfulÂly MayÂor Rob Ford won’t be involved with, seeÂing that he seems preÂfer the pipe and drink to the book). For inforÂmaÂtion on how to help proÂtect ToronÂto’s pubÂlic libraries, please visÂit the web site Our PubÂlic Library.
We’ve writÂten recentÂly about that most comÂmon occurÂrence in the life of every artist—the rejecÂtion letÂter. Most rejecÂtions are uncomÂpliÂcatÂed affairs, ostenÂsiÂbly reflectÂing matÂters of taste among ediÂtors, proÂducÂers, and curaÂtors. In 1944, in his capacÂiÂty as an ediÂtoÂrÂiÂal direcÂtor at Faber & Faber, T.S. Eliot wrote a letÂter to George Orwell rejectÂing the latter’s satirÂiÂcal alleÂgoÂryAniÂmal Farm. The letÂter is remarkÂable for its canÂdid admisÂsion of the polÂiÂtics involved in the deciÂsion.
From the very start of the letÂter, Eliot betrays a perÂsonÂal familÂiarÂiÂty with Orwell, in the inforÂmal saluÂtaÂtion “Dear Orwell.” The two were in fact acquaintÂed, and Orwell two years earÂliÂer had pubÂlished a penÂeÂtratÂing review of the first three of Eliot’s Four QuarÂtets, writÂing “I know a respectable quanÂtiÂty of Eliot’s earÂliÂer work by heart. I did not sit down and learn it, it simÂply stuck in my mind as any pasÂsage of verse is liable to do when it has realÂly rung the bell.”
Eliot’s apoloÂgetic rejecÂtion of Orwell’s fable begins with simÂiÂlarÂly high praise for its author, comÂparÂing the book to “GulÂlivÂer” in what may have been to Orwell a flatÂterÂing refÂerÂence to Jonathan Swift. A mutuÂal admiÂraÂtion for each othÂer’s artistry may have been the only thing Eliot and Orwell had in comÂmon. “On the othÂer hand,” begins the secÂond paraÂgraph, and then cites the reaÂsons for Faber & Faber’s passÂing on the novÂel, the prinÂciÂple one being a disÂmissal of Orwell’s “unconÂvincÂing” “TrotÂskyite” views. The rejecÂtion also may have stemmed from someÂthing a litÂtle more craven—the desire to appease a wartime ally. As the EncyÂclopaeÂdia BritÂtanÂiÂca blog puts it:
Eliot, that Tory of Tories, did not want to upset the SoviÂets in those fraught years of World War II. Besides, he opined, the pigs, being the smartest of the critÂters on the farm in quesÂtion, were best qualÂiÂfied to run the place.
The deciÂsion was probÂaÂbly not Eliot’s alone, and Eliot parÂenÂthetÂiÂcalÂly disÂowns the opinÂions perÂsonÂalÂly, writÂing “what was needÂed, (someÂone might argue), was not more comÂmuÂnism but more pubÂlic-spirÂitÂed pigs.” Indeed. The full text of Eliot’s letÂter is below.
13 July 1944
Dear Orwell,
I know that you wantÂed a quick deciÂsion about AniÂmal Farm: but minÂiÂmum is two direcÂtors’ opinÂions, and that can’t be done under a week. But for the imporÂtance of speed, I should have asked the ChairÂman to look at it as well. But the othÂer direcÂtor is in agreeÂment with me on the main points. We agree that it is a disÂtinÂguished piece of writÂing; that the fable is very skilÂfulÂly hanÂdled, and that the narÂraÂtive keeps one’s interÂest on its own plane—and that is someÂthing very few authors have achieved since GulÂlivÂer.
On the othÂer hand, we have no conÂvicÂtion (and I am sure none of othÂer direcÂtors would have) that this is the right point of view from which to critÂiÂcise the politÂiÂcal sitÂuÂaÂtion at the present time. It is cerÂtainÂly the duty of any pubÂlishÂing firm which preÂtends to othÂer interÂests and motives than mere comÂmerÂcial prosÂperÂiÂty, to pubÂlish books which go against curÂrent of the moment: but in each instance that demands that at least one memÂber of the firm should have the conÂvicÂtion that this is the thing that needs sayÂing at the moment. I can’t see any reaÂson of pruÂdence or cauÂtion to preÂvent anyÂbody from pubÂlishÂing this book—if he believed in what it stands for.
Now I think my own disÂsatÂisÂfacÂtion with this apoÂlogue is that the effect is simÂply one of negaÂtion. It ought to excite some symÂpaÂthy with what the author wants, as well as symÂpaÂthy with his objecÂtions to someÂthing: and the posÂiÂtive point of view, which I take to be genÂerÂalÂly TrotÂskyite, is not conÂvincÂing. I think you split your vote, withÂout getÂting any comÂpenÂsatÂing stronger adheÂsion from either party—i.e. those who critÂiÂcise RussÂian tenÂdenÂcies from the point of view of a purÂer comÂmuÂnism, and those who, from a very difÂferÂent point of view, are alarmed about the future of small nations. And after all, your pigs are far more intelÂliÂgent than the othÂer aniÂmals, and thereÂfore the best qualÂiÂfied to run the farm—in fact, there couldn’t have been an AniÂmal Farm at all withÂout them: so that what was needÂed, (someÂone might argue), was not more comÂmuÂnism but more pubÂlic-spirÂitÂed pigs.
I am very sorÂry, because whoÂevÂer pubÂlishÂes this, will natÂuÂralÂly have the opporÂtuÂniÂty of pubÂlishÂing your future work: and I have a regard for your work, because it is good writÂing of funÂdaÂmenÂtal integriÂty.
Miss ShelÂdon will be sendÂing you the script under sepÂaÂrate covÂer.
One day in NovemÂber of 1970, Nobel prize-nomÂiÂnatÂed author Yukio MishiÂma barÂriÂcadÂed himÂself in the EastÂern ComÂmand office of Japan’s Self-Defense Forces and tied the comÂmanÂdant to a chair. AccomÂpaÂnied by a handÂful of young men from the Tatenokai, a stuÂdent sociÂety-cum-miliÂtia, MishiÂma had launched a coup against the govÂernÂment. He folÂlowed in the traÂdiÂtion of litÂerÂary radÂiÂcals, whose ranks held writÂers as diverse as AlexanÂder Pushkin and Pablo NeruÂda, with one key disÂtincÂtion: while RussÂian and Chilean authors sought leftÂward politÂiÂcal shifts, MishiÂma espoused a jackÂboot brand of ascetic nationÂalÂism. If Mishima’s capÂtiÂvaÂtion with authorÂiÂtarÂiÂan polÂiÂtics seems out of charÂacÂter for a writer of such emoÂtionÂal depth, it is worth notÂing that his valÂues were rootÂed in the honÂour code of the samuÂrai, known as bushiÂdo. A rare clip of Mishima’s EngÂlish interÂviews, above, makes the author’s beliefs about both art and honÂor palÂpaÂbly clear:
I think that bruÂtalÂiÂty might come from our femÂiÂnine aspect, and eleÂgance comes from our nerÂvous side. SomeÂtimes we are too senÂsiÂtive about defileÂment, or eleÂgance, or a sense of beauÂty, or the aesÂthetÂic side. SomeÂtimes we get tired of it. SomeÂtimes we need a sudÂden exploÂsion to make us free from it. For instance, after the war, our bruÂtal side was comÂpleteÂly hidÂden… I don’t like that the JapanÂese culÂture is repÂreÂsentÂed only by flower arrangement—a peace-lovÂing culÂture. We still have a very strong warÂrior mind.
The samuÂrai ethos was a critÂiÂcal comÂpoÂnent of MishiÂma’s most movÂing works, includÂing The Sailor Who Fell From Grace With The Sea and PatriÂoÂtism. In the film adapÂtaÂtion of PatriÂoÂtism, below, MishiÂma shows that to him, even love is subÂorÂdiÂnate to—or perÂhaps greatÂest when it works alongside—honour. While the film’s theÂatriÂcal proÂducÂtion and graphÂic nature may not be for everyone’s tastes (we also note that the clip below has been re-scored, with the origÂiÂnal film availÂable here), the ritÂuÂal suiÂcide it depicts offers some insight into the author’s psyche—after his failed coup,MishiÂma plunged a blade into his stomÂach, and had one of the Tatenokai memÂbers behead him. He was 45 years old.
Ilia BlinÂdÂerÂman is a MonÂtreÂal-based culÂture and sciÂence writer. FolÂlow him at @iliablinderman.
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