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The Scientific Case for Two Spaces After a Period
A new study proves that half of people are correct. The other is also correct.By James Hamblin
photo by Tina Fineberg / AP
MAY 11, 2018
This is a time of much division. Families and communities are splintered by polarizing narratives. Outrage surrounds geopolitical discourse—so much so that anxiety often becomes a sort of white noise, making it increasingly difficult to trigger intense, acute anger. The effect can be desensitizing, like driving 60 miles per hour and losing hold of the reality that a minor error could result in instant death.
One thing that apparently still has the power to infuriate people, though, is how many spaces should be used after a period at the end of an English sentence.
The war is alive again of late because a study that came out this month from Skidmore College. The study is, somehow, the first to look specifically at this question. It is titled: “Are Two Spaces Better Than One? The Effect of Spacing Following Periods and Commas During Reading.”
It appears in the current issue of the journal Attention, Perception, and Psychophysics. As best I can tell, psychophysics is a word; the Rochester Institute of Technology defines it as the “study of the relationship between stimuli (specified in physical terms) and the sensations and perceptions evoked by these stimuli.” The researchers are also real. Rebecca Johnson, an associate professor in Skidmore’s department of psychology, led the team. Her expertise is in the cognitive processes underlying reading. As Johnson told me, “Our data suggest that all readers benefit from having two spaces after periods.”
“Increased spacing has been shown to help facilitate processing in a number of other reading studies,” Johnson explained to me by email, using two spaces after each period. “Removing the spaces between words altogether drastically hurts our ability to read fluently, and increasing the amount of space between words helps us process the text.”
In the Skidmore study, among people who write with two spaces after periods—“two-spacers”—there was an increase in reading speed of 3 percent when reading text with two spaces following periods, as compared to one. This is, Johnson points out, an average of nine additional words per minute above their performance “under the one-space conditions.”
This is a small difference, though if a change like this saved even a tiny amount of time, or prevented a tiny amount of miscommunication, the net benefit across billions of people could be enormous. Entire economies could be made or broken, wars won or lost.
Or so it would seem. The conclusions she drew from that data pushed people into their corners on social media, where they dealt with it in variously intense ways.
Justin Wolfers, a professor of economics and public policy at the University of Michigan, tweeted in reference to the study: “Science can blow your mind sometimes, and this time it has come down on the side of two spaces after a period.”
Nicholas Christakis, a professor at Yale University, wrote: “Hurray! Science vindicates my longstanding practice, learned at age 12, of using TWO SPACES after periods in text. NOT ONE SPACE. Text is easier to read that way. Of course, on Twitter, I use one space, given 280 characters.”
There’s a lot going on in that tweet, but you get the idea.
Others were less ecstatic. Robert VerBruggen, the deputy managing editor at National Review, shared the study with the comment: “New facts forced me to change my mind about drug legalization but I just don’t think I can do this.”
My colleague Ian Bogost tweeted simply, “This is terrorism.”
Full disclosure: I also shared a screenshot of the study’s conclusion that “the eye-movement record suggested that initial processing of the text was facilitated when periods were followed by two spaces.” I said about this only, “Oh no.”
I find two spaces after a period unsettling, like seeing a person who never blinks or still has their phone’s keyboard sound effects on. I plan to teach my kids never to reply to messages from people who put two spaces after a period. I want this study’s conclusion to be untrue—to uncover some error in the methodology, or some scandal that discredits the researchers or the university or the entire field of psychophysics.
So let’s look for that. Because this really does matter: In a time of greater and greater screen time, and more and more consumption of media, how do we optimize the information-delivery process?
In much the same way that we’re taught to write in straight lines from left to right, most of us have been taught that one way of spacing is simply right, and the other is wrong. Less often are we taught to question the standard—whether it makes sense, or whether it should change. But what is the value of education if not to teach children to question the status quo, and to act in deliberate ways that they can justify with sound, rational arguments?
Such an argument is extremely difficult to make when it comes to sentence spacing, because the evidence is not there for either case. The fact that the scientifically optimal number of spaces hasn’t been well studied was odd to Johnson, given the strength of people’s feelings on the subject. The new American Psychological Association style guidelines came out recently, and they had changed from one space to two spaces following periods because they claimed it “increased the readability of the text.” This galled Johnson: “Here we had a manual written to teach us how to write scientifically that was making claims that were not backed with empirical evidence!”
She was intrigued and designed the new study “to add some scientific data to the conversation.”
Her rationale for two spaces gets complex—verging into the domain of rather high-level psychophysical theory (email me). As the researchers explain it, it’s all about mechanics of the eye, and what causes us to trip up or pause, even for a split second. In the current study, when text was presented with two spaces after periods, some readers’ eyes were more likely to jump over the “punctuation region” and spend less unnecessary time fixated on it. The extra space seemed to make it easier for readers to “extract the lines and curves from the text.” The space also comes into the periphery of one’s vision before it arrives, and that helps to signal that the sentence is wrapping up.
The Skidmore study was small and less than definitive—essentially dipping a toe into a long-unquestioned practice. There were only 60 subjects, and they were all college students—meaning they were probably more interested in “hooking up” and “Snapchat” than actually reading. (Ed.: This is too much editorializing, apologies.)
Most importantly, the effects appeared early in processing, and spacing did not affect overall comprehension. And that’s what reading is all about, no? The fact that our eyes may move a little faster is less important than whether the concepts make it into our brains.
“It’s not like people COULDN’T understand the text when only one space was used after the periods,” Johnson said. “The [human] reading system is pretty flexible, and we can comprehend written material regardless of whether it is narrowly or widely spaced.”
Angela Chen at The Verge also gave a pointed critique of the methodology:
The two-space convention is left over from the days of typewriters. Typewriters allot the same amount of space for every character, so a narrow character like i gets as much as a wider character like w. (This is called a mono-spaced font.) With a typewriter, it makes sense to add an extra space to make it clear that the sentence has ended. Today’s word-processing software makes fonts proportional, though, which is why we only need one space. Also, it looks better. The Chicago Manual of Style and the Modern Language Association Style Manual also take this stance.
“I’ve gotten a lot of flak for using a mono-spaced font (Courier New) in the study,” said Johnson. Her defense is that most eye-tracking studies use monospaced fonts, and that many word-processing systems still, in practice, act like typewriters (in that they don’t add additional space between sentences even when using proportional fonts; to increase the amount of space between sentences relative to the amount of space between any two words within the sentence, two physical spaces are still needed following the period). “Although I agree that future research should look at these effects using other types of fonts, research in this area suggests that font differences in general are small or nonexistent.”
Even in the studies where researchers have removed interword spaces altogether, reading comprehension is still very high. For example, Thai and Chinese are typically written without spaces between words, even though studies have found that when space is added between words, reading speed increases. The standard comes down to aesthetics, tradition, conservation of paper and space—basically, the fact that reading is an act of much more than information delivery.
I’ve written before about the effect of color gradients on reading, and how it goes against the findings of science that our words should be in a single color, usually black and usually on a near-white background, and usually presented in lines of a certain length. This is all a matter of tradition and style, not optimal information transfer. This standard does not work well for everyone. It’s why I thought, for a long time, that I didn’t like books. I wasn’t good at the mechanics of reading. When I found text-to-speech programs and actual audiobooks, it was like finally seeing the turtle in one of those Magic Eye posters that everyone else at the party saw hours ago.
All of this is to say that if we really wanted to do evidence-based delivery of text for maximum comprehension, it wouldn’t be like debating one space or two. It would look totally different: words spewing into your face by some sort of torrent that syncs with feedback about your perception, and slows or pauses when you are distracted, and speeds up when you are bored.
Still, this has been a good exercise in challenging beliefs, at least for me. What is important is that this question not be what breaks us—that Americans remember that we are united by the ideals of democracy, freedom, liberty, and justice that we still hold dear, and which demand our allegiance above any person or party or spacing issue.
James Hamblin, M.D., is a former staff writer at The Atlantic. He is also a lecturer at Yale School of Public Health, a co-host of Social Distance, and the author of Clean: The New Science of Skin.
URL
https://www.theatlantic.com/science/archive/2018/05/two-spaces-after-a-period/559304/
MY RESPONSEAs a writer I used and use grammatical techniques that are uncommon; I received and receive negative commentary in response to said use. But, what is the most potent issue? The most potent issue isn't who is right or wrong. The most potent issue is fear of no norm/standard. I find many people in various arenas are standardphiles or standard fanatics.
I give the following examples: a sports team succeeds in lifting a trophy using a strategy deemed outdated, a writer composes a story that buyers embrace that doesn't utilize common expectations for characters, a person lives comfortably while not acting to the life script all others have around them.
The problem isn't right or wrong, it is the fear of not being able to say who is right or wrong. This fear is huge. When a person whose forebears were enslaved in the usa to whites, says kill whites/kill the usa. The normal /standard response by most blacks or whites in the usa living at the time of this writing is something negative, around the terms: shame on you, you know better, judge individually, we are all family. But what if.... they are allowed? Notice I didn't say right or wrong. What if the condemnation is wrong ? It isn't an issue of opinions but applied opinion. Applied opinion breeds consensus , creates the standards or norms.
All know this. But how big is africa? who is american? who are immigrants to the usa? who are white? Absent applied opinion, the peer pressure is gone, and people are freer to do as they want, even against a majority as individuals.
To writing, it doesn't spell the end of literature, but spells the end of critiques. Judgement requires laws which are attempts as an enforced standard or norm, which themselves are built on applied opinions.
The reaction in the article from others is the purest example. They fear someone not caring what they say, and being surrounded by others who don't care too.
Thus, the individualism, at least in the usa, becomes true, not the mirror of white european descended, pan religious, empowerment that it is.
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Boo Movies for Halloween
any suggestions, please comment
Cat People 1942
The Seventh Victim 1943
The Uninvited 1944
The Picture of Dorian Grey 1945
The Picture of Dorian Gray - 1945 from Daniel on Vimeo.
Night of the Hunter 1955
Invasion of the Body Snatchers 1956
The House on Haunted Hill 1959
Eyes without a face 1960
The Innocents 1961
The Haunting 1963
Hour of the Wolf 1968
Night of the Living Dead 1968
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topics Cento series 20th round My Favorite 2 colors - which are yours? Fall Challenge die- can you do it? Movies That Move We review of Grey Matter Black Rose from MVMedia IF YOU MADE IT THIS FAR: truthtellers, anyaboz animation , 133art, worth of africa? https://rmnewsletter.over-blog.com/2023/07/10/08/2023-rmnewsletter.html
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Great video. I started to flip right past it as I thought it may have been a cartoon clip that you and your young daughter like to watch together, lol. Much of it just reiterates the same ideas I've said about the After Life on this site but were pretty much ignored or questioned. I guess it sounds better or more credulous coming from a White man to some people....lol. Although I'm not sure about the "living through every human who existed" part. I do believe there is a certain individualism or separateness among most humans where you live YOUR particular set of lives and they live theirs. As I said, already knew much of what was talked about in the video but what really made it great for me was the ending of it when the Universe was called a big EGG for us to develop in and eventually move on from for further growth. That really did it because then I understood the term I've been hearing for decades about the COSMIC EGG. I'm curious as to what @ProfD thinks of this video and it's message....lol.
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3:06 i think more reality t.v. cause from my experience the money to make movies demands you talk to people who have money willing to lose, and said people want more surety. 5:53 independent films allow for the artistic acceptance even if it is financially against audience tastes. 7:52 the ability to gain experience in the arts differs on discipline. a painter can make a painting but a film maker needs to make and show a film which is more expensive. In conclusion that is the issue with projec greenlight, the process after a film is made matters
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Lol....that takes the FUN out of it!!! Just posting a video of a movie and watching it individually......we can do that NOW, lol. I know what you mean about focusing on watching the movie itself instead of being pre-occupied with conversing with others. Even back when I was younger, if I REALLY wanted to check out a movie that I thought was going to be good and deep......I wouldn't go on date to it. I'd go by myself so I could focus on it. Besides being preoccupied with trying to get my squeeze on, a lot of females would bring too much "talk" while I'm trying to focus on the movie....lol. However in THIS case......... Actually, most of the movies I'm thinking about that would be posted would be movies most of us have already seen before but just would get together as a community and watch it for the sake of nostalgia. Like some Spike Lee flicks or Richard Pryor movies...lol. What really sparked the idea for me was that pro-Black video posted a few months ago from back in 1968...the name escapes me at the moment. That.....and last week a few of you were discussing William Shatner's performance in "The Intruder" back in 1962. I hadn't even heard of that movie until reading the comments on it....checked it out....and loved it.
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Ice Cube started going mainstream right after he made Boyz In The Hood....lol. He began to see that Hollywood and making movies was where the money was. He was really hard on White folks and especially Jews in his earlier albums but after that money from movies started rolling in....he changed his tune and kept quiet. Check out how he had to check Kanye for mentioning him and his former "anti-semitism"......
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@Pioneer1, white folks are actually the biggest consumers of Hip-Hop music. If rappers are giving out marching orders, white folks aren't falling in line. Dysfunctional human beings are products of their environment. They don't need music and movies to set them off
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Yeah, something we can do as a group. I think most of us are around the same age group.....certainly everyone is over 40. We're all Black and grew up in urban areas so we probably share similar tastes in movies.
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Hey @Troy, For some reason I was thinking about @richardmurray earlier this week and how he posts threads about movies and music. Not sure how easy it is to program but maybe you should think about having a "Movie Night" forum where say....richardmurray or any poster can post a movie we can watch and have a little chat-room next to it so that members can watch it together and comment on it together in real time. Kind of like live videos on Youtube. For example, Somebody post the movie Three The Hard Way. When you first post it....you post it LIVE at a particular time for most of us regular members can log in and watch it together and comment on the side in the little chat-room. Ofcourse after the live you can watch it anytime and comment on it in the future. I'm not sure if there is any copyright obstacles to this but it's something to think about. Along that line, maybe you can come on and speak from time to time with a little chat-room next to the video where we can comment in real time. Just an idea.
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HEre is the screenwriting course from tananarive due side steven barnes of lifewriting VIDEO SLIDESHOW MY THOUGHTS AS I LISTENED, it started at 5:00pm eastern standard time 5:18 i say 10 is in what the medals represent, they are proven rebel leaders 5:26 haha, yes i bought the rod sterling/richard matheson/charles beaumont scripts for twilight zone to learn 5:27 many people don't have people in their personal lives who allow them to fail 5:29 write for you. if you like what you write you aren't failing, and keep writing till you like what you write 5:31 what does it mean to be human? you need to know what it means to be human. 5:34 and also extend the human comprehension to all characters. the hero isn't the only character to approach holistically 5:36 you did say it before , the writerjapanese anime called "black clover" said he wanted to do that in his anime 5:42 exactly alot of boring science fiction or horror or adventure is in books/movies where the plot isn't existent, it is merely, experiencing someone doing stuff 5:46 I don't usually write the other. Definitely need to push that forward to learn about myself more 5:55 are the immortal villains in horror or scifi films , witness characters? 5:56 all writers get into habits and regular forms 6:04 I make storyboards that helps this writing without dialog in screenplays is vital, so that you can tell a story absent text 6:07 of course, you never know when the doors of imagination open 6:09 i am on lifewriting, anyone else on the group from facebook? lets create together 6:09 exactly tananarive, the immortal villains in horror are witness characters:) 6:13 I watched the twilight zone marathon while reading the scripts i had:) 6:26 screenplay elements for structure, remember just a template 6:45 beat sheet for danger word I see, thank you,I felt it was a coming of age thanks for confirming 6:47 they funded the movie with a visual storytelling element 6:48 great story behind the scenes of danger word and crews influence 6:50 danger word was crowd funded for 30,000 dollars QUESTIONS 7:09 7:52 great information on working in hollywood. I wrote in my own notebook alot. 7:56 glengarry glen ross with M.A.G.I.C. will love to see that:) Join the lifewriting group on facebook or the firedance weekly sessions on zoom, i have experience in either and both I have learned from or are uplifting or are positive. https://masteryplus.mykajabi.com/lifewriting-premium-sales-page-4
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I made a reply to the following
MY REPLY TO THE TOPIC
I will only opine on two quotes from Troy's prose. I can opine on the rest but I will not.
I use the term black statians where he used black americans. Black americans for me represents the people I deem black from the lands commonly called canada to argentina in total.
The first is
QuoteIt was organized by the leader of black america, in so far as we have one, Al Sharpton.
While the definition of any people or leadership in humanity varies historically, in various races in the human race, based on my definition of leadership or its mechanics as well as my definition of black statians, Al Sharpton was never and is not a leader in the Black Statian community in the USA; he isn't a leader in the black statian community of New York State; he isn't a leader in the black community of NEw York city; he isn't a leader in the black community of manhattan. I offer two proofs that satisfy me , and some others.
Recently in harlem, a spitting distance from the national action network, a white owned real estate property went through a administrative/organizational struggle. But sharpton was absent. He didn't even speak with the black elected officials in the city council or state assembly on the issue.
I view Al Sharpton as an advocate, not a leader. Sometimes a leader is an advocate as well, like the great Malcolm X. But sharpton is an advocate, he works for something, ala advocacy , but a leader, as i define one, isn't merely an advocate, they are an organizer as well, and sharpton has always refrained from organization.
My second is Al Sharpton's words concerning his own movement.
He admitted in local media in new york city that when he started his movement, his thing to advocate through, he wanted it to be a christian movement. what is the problem? Not all black people in the usa/new york state/new york city are christian, not all black people in the usa/new york state/new york city are nonviolent, so by his own words he was never interested in something all black statians could gather into. So you can not lead any people when you are unwilling to lead all their tribes or subparts.
the second is
QuoteMaybe that is the result of “progress.”
Well, the problem with the word progress, what you move toward, is answering the question, what are you moving toward. To the topic, what has the black statian been moving toward. One of the problems with the black community in the usa, the black statians is the idea that it is a collective, a unified being. the black statian community had two major historical moments. First when the usa was founded. Second the war between the states.
When the usa was founded most black people were enslaved to whites and a minority of blacks were free. BAsed on their actions what were they progressing too?
The enslaved blacks wanted freedom from whites by any means, violence preferable but exodus from the usa was the goal. Most free blacks fought aside the british to maintain the british colonies and stop the usa from being so the black statians when the usa was founded was 90% progressing to kill whites or leave the nascent usa 10% was looking to kill white colonits and gain land within the british empire. sum it up, most blacks, as well as most native americans , were opposed to the creation of the usa as well as the white europeans in it. SO the creation of the usa and the empowerment of the white europeans in it went completely against the progression of most native americans or black statians when the usa was founded. Thus is it odd to see the future negative .
Then the second for black statians is the war between the states. But again, the three black leadership groups were: black abolotionist leaders absent money, black soldiers who had their guns removed immediately and dispersed throughout the usa as individuals at the end of said war, the black church who was divided on whether to integrate or segregate from whites based on a vote of clergy that was near split 50/50. so what does this mean. black abolitionist had no revenue or resources to act beyond speeches and petitioning after the 13th amendment; they progressed to a small minority in the black community that speaks for money which has existed ever since in the black statian community paramount by Obama, black soldiers embraced through force or desire an individualism; that progression become the largest heritage of the black community in the usa en large, the black church was multivided on what to do which manifested in the exodusters in the western states as opposed to integrated communities in the north east; which was a progression that led to the variances between malcolm/martinthe panthers/the sclbc/fannie lou hamer that led to the variances of barack obama/cornell west/michael jordan/oprah winfrey .
The Black community has never in the history of the USA been majority to one path of progression that is pro usa or integration.
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@Pioneer1 I don’t think people who are locked up are factored into the poverty figures. The poverty rate also measures income versus a defined figure fora location as more blacks move out of cities where the threshold for poverty is higher to place where the threshold is lower poverty rates will decline (assuming local rates are being used in the graph above. People were still getting stimulus checks, PPE money, extended unemployment in 2022 right? with inflation, rising the cost of energy from utilities to gasoline. The Increased cost of money I can see gains in 2022 being erased. -
5-Minute Morning Yoga
Seven poses to help you wake up and feel energizedBy Melinda Wenner Moyer Sep. 6, 2023
The last thing many people want to do when they wake up is exercise. But if you’re not in the mood for a run or a trip to the gym, yoga is a good way to get moving, and you can do it in as little as five minutes.Yoga can help “to wake up your body and get it ready for the day,” said Neha Gothe, the director of the Exercise Psychology Lab at the University of Illinois Urbana-Champaign. The right poses can stretch the major muscle groups and warm up the joints, while slow breathing promotes focus and can reduce stress and anxiety. No equipment or even sweating is required.
If possible, start your morning yoga routine right after you wake up — and ideally before you reach for your phone, said Laura Schmalzl, a neuroscientist and certified yoga instructor at the Southern California University of Health Sciences.
Begin with slow, gentle movements. Listen to how your body feels, releasing any poses that cause discomfort.
As you hold positions and move through sequences, try “box” breathing, suggested Dr. Natalie Nevins, a family medicine physician and an assistant dean at the Western University of Health Sciences. Inhale for around four seconds, then hold your breath for four seconds, exhale for four seconds and hold your breath again for four seconds before repeating the cycle.
If you have a heart condition, or are uncomfortable holding your breath, Dr. Nevins recommended a simple series of five-second inhales, each immediately followed by a five-second exhale.
Here is a yoga routine recommended by experts to get your day going.
Knees-to-chest
Start by lying on your back and hugging your knees to your chest. You should feel a gentle stretch in the spine. Breathe in and out through the stretch.
Half cobra
Release your legs and roll onto your chest, allowing your forehead or cheek to rest on the floor. Rest your forearms and place your palms on the ground, directly under your shoulders, while keeping your bent elbows tight against your sides.Then gently push away from the floor, lifting your chest and forehead. Feel your spine gently stretch as you continue to slowly breathe in through your nose and out through your mouth. Stay here for three breaths.
Alternating cat-cow
This pose is useful to encourage spine mobility and flexibility. Rise to a kneeling tabletop position, keeping your hands shoulder-width apart and your knees hip-distance apart directly under your hips.On the inhale, arch your back into a cow pose, easing your belly toward the floor, and bringing your head and chest upward so you are gazing toward the sky as you inhale. Then exhale, releasing your breath and pulling your belly up and in and rounding your back into a cat pose.
Alternate between these two poses as many times as you like, feeling your spine and neck stretch in both directions. Feel free to gently move your hips, shoulders or head in a circular motion, breathing slowly as you do.
Child’s pose
This is a gentle and foundational pose that stretches the spine. It’s also a pose you can return to in any yoga class if you need to rest or reset.From the tabletop position, inhale and touch your big toes together behind you. Then sit on your heels, letting your knees open wide to create space beneath you. Or you can choose to keep your knees together, if that feels more comfortable.
As you exhale, shift your hips back and your upper body forward, lowering your torso to rest between or on top of your thighs. If your knees are together and you feel a pinch in your hips, spread your knees apart. Stretch your arms out in front of you, reaching as far forward as feels good, and then rest your forearms on the floor.
Let gravity pull you deeper into the pose. You may feel a stretch in your spine, thighs, arms and buttocks. Stay in this pose for five breaths.
Reclining twist
There are several ways to do this pose, depending on your flexibility and what part of your spine you want to target. Start by lying down on your back and bringing your knees up toward your chest.Hug your knees and place your right hand on your left knee. Let your left arm lie flat, extended on the floor beside you. Twisting from your core, exhale and gently guide your bent legs to fall together to the right side of your body.
Bring your knees toward the floor until you feel a stretch in your back and hips. Then turn your head to look toward your left hand. On an inhale, come back to the center before switching over to the other side.
You may feel a gentle stretching in your hips, buttocks and back and an opening in your shoulders and chest. If you wish to target the upper spine or you want a gentler stretch, you can instead lie on your right side with your legs bent and resting on top of each other. Then slowly twist your upper body to the left. After that, stretch the other side.
Spinal Flex
This gentle back stretch is especially good for people who spend all day sitting at a desk. Sit down on the floor in a cross-legged position and place your hands on your ankles or knees. While inhaling, gently arch your back and lift your chest and chin forward and up. Relax, and while exhaling, round your spine, bending forward slightly and tucking your chin toward your chest. Repeat this sequence five times.
Upward salute
Stand with your feet hip-distance apart. Feel your feet connecting with the floor, and shift your hips forward slightly, remembering to engage your core. Slowly raise your arms overhead and in line with your ears, shoulder-distance apart. Then, turn your palms toward each other and, if you can, let them touch. Bring your gaze up to your hands and feel a stretch in your neck and arms.If you want, try to raise yourself up onto your toes. Find your center as you take several breaths. When you’re ready, slowly lower your arms and the rest of your body to release the pose. Take a few moments to shake out your arms and legs to release any lingering tension.
Produced by Deanna Donegan and Hang Do Thi Duc.
URL
https://www.nytimes.com/interactive/2023/09/06/well/move/morning-yoga-beginner.html
MY THOUGHTS
Breath folks, Breath
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Black Greatness: Have you seen the movie, 'Something the Lord Made'? Vivien Theodore Thomas (his mom just knew she was having a girl, and chose the name Vivian in spite of the fact that she had a son) was an American laboratory supervisor who developed a procedure used to treat blue baby syndrome Thomas did not have any professional education, nor experience in a research laboratory; however, he served as supervisor of the surgical laboratories at Johns Hopkins for 35 years. In 1976, Hopkins awarded him an honorary doctorate and named him an instructor of surgery for the Johns Hopkins School of Medicine.. Without any education past high school, Thomas rose above poverty and racism to become a cardiac surgery pioneer and a teacher of operative techniques to many of the country's most prominent surgeons. *************************************************************** There are other Black Greatness movies out there that shine light on other contributions that we made to the WORLD, yet have gone undiscovered until recent years. Gifted Hands is a Story about neurosurgeon Dr. Ben Carson whose life went from a failing student to the Director of Pediatric Neurosurgery at Johns Hopkins Hospital. He was the first to successfully separate conjoined twins who were joined at the back of the head, *************************************************************** Hidden Figures is a story of NASA's segregated group of African-American women hired to process aeronautic data in the space era. These African-American female mathematician's math skills helped put a US astronaut into orbit in 1960s. This is just some of the ladies *************************************************************** What other Black Greatness movies are out there?
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“Unbury the Future”: Martha Wells’ Full Speech from the 2017 World Fantasy Awards
Martha Wells
Tue Nov 7, 2017 10:00am
The convention defines “secret history” as tales which uncover an alternative history of our world with the aid of fantasy literary devices. Like alternate histories or secret tales of the occult.A secret history might also mean a lost history, something written in a language that died with the last native speaker. It might mean something inaccessible, written in a medium too fragile to last. Like the science fiction and fantasy stories published in U.S. newspapers in the late 1800s. We know a few of those authors, like Aurelia Hadley Mohl [ https://tshaonline.org/handbook/online/articles/fmoae ] and Mollie Moore Davis [ https://en.wikipedia.org/wiki/Mollie_Evelyn_Moore_Davis ] , but how many others were there? Those stories were proof that everybody has always been here, but the paper they were printed on has turned to dust.
We might know that C.L. Moore [ https://en.wikipedia.org/wiki/C._L._Moore ] wrote for Weird Tales, but I grew up thinking she was the only one, that a woman fantasy writer from that time period was like a unicorn, there could only be one, and that she was writing for an entirely male audience. But there were plenty of other women, around a hundred in Weird Tales alone, and many of them, like Allison V. Harding [ https://tellersofweirdtales.blogspot.com/2011/05/who-was-allison-v-harding.html ] and Mary Elizabeth Counselman [ http://www.innsmouthfreepress.com/blog/summer-of-unknown-writers-mary-elizabeth-counselman/ ] , didn’t bother to conceal their identity with initials.
Weird Tales had women poets, a woman editor named Dorothy McIlwraith, women readers who had their letters printed in the magazine. There were women writing for other pulps, for the earlier Dime Novels, lots of them. Including African American Pauline Hopkins [ https://en.wikipedia.org/wiki/Pauline_Hopkins ] , whose fantasy adventure novel appeared in a magazine in 1903.These women were there, they existed. Everybody knew that, up until somehow they didn’t. We know there were LGBT and non-binary pulp writers, too, but their identities are hidden by time and the protective anonymity of pseudonyms.
Secrets are about suppression, and history is often suppressed by violence, obscured by cultural appropriation, or deliberately destroyed or altered by colonization, in a lingering kind of cultural gaslighting. Wikipedia defines “secret history” as a revisionist interpretation of either fictional or real history which is claimed to have been deliberately suppressed, forgotten, or ignored by established scholars.
That’s what I think of when I hear the words “secret histories.” Histories kept intentionally secret and histories that were quietly allowed to fade away.
The women writers, directors, and producers of early Hollywood were deliberately erased from movie history. Fifty percent of movies between 1911 and 1928 were written by women. In the 1940s there were a last few survivors at MGM, but their scripts were uncredited and they were strongly encouraged to conceal what they were working on, and not to correct the assumption that they were secretaries.
With the internet, it shouldn’t be possible for that to happen again. But we hear an echo of it every time someone on Reddit says “women just don’t write epic fantasy.”
You do the work, and you try to forget that there are people wishing you out of existence. But there are a lot of means of suppression that are more effective than wishing.
Like in 1974 when Andre Norton discovered the copyeditor on her children’s novel Lavender Green Magic had changed the three black main characters to white.
Or like in 1947, when African American writer and editor Orrin C. Evans was unable to publish more issues of All-Negro Comics [ https://en.wikipedia.org/wiki/All-Negro_Comics ] because there was mysteriously no newsprint available for him to purchase.
Or like all the comics suppressed by the Comics Code Authority in 1954, which acted to effectively purge comics of people of color and of angry violent women, whether they were heroes or villains, or of any perceived challenge to the establishment. Like the publisher Entertaining Comics, which was targeted and eventually driven out of business for refusing to change a story to make a black astronaut white.
There’s an echo of that suppression when DC bans a storyline [ http://www.hollywoodreporter.com/heat-vision/batwoman-authors-exit-claim-dc-621274 ] where Batwoman proposes marriage to her girlfriend. And again when Marvel publishes a storyline that makes us think Captain America is a Nazi. When we’re supposed to forget that his co-creator Jack Kirby was Jewish, that he was an Army scout in World War II, that he discovered a concentration camp, that he was personally threatened by three Nazis at the New York Marvel office for creating a character to punch Hitler. (Maybe the Nazis would like to forget that when Kirby rushed downstairs to confront them, they ran away.)
There’s been an active level of suppression in movies since movies were invented. At least a white woman writer and director like Frances Marion [ https://en.wikipedia.org/wiki/Frances_Marion ] could win two Academy Awards before she was banished from history, but that wasn’t the case for her contemporary Oscar Micheaux [ https://en.wikipedia.org/wiki/Oscar_Micheaux ] . An African American, Micheaux worked as a railway porter before he wrote, directed, and produced at least 40 films in the black movie industry that was entirely separate from white Hollywood.
That kind of suppression is still alive and well, and we see it when the movie about the Stonewall riots shows the resistance against police attacks through the viewpoint of young white guys and ignores Marsha P. Johnson and Sylvia Rivera [ https://sites.psu.edu/womeninhistory/2016/10/23/the-unsung-heroines-of-stonewall-marsha-p-johnson-and-sylvia-rivera/ ] . Or when Ghost in the Shell features a white actress [ https://www.tor.com/2016/04/20/why-are-we-still-white-washing-characters/ ] instead of Japanese.
We’ve forgotten Sessue Hayakawa [ https://en.wikipedia.org/wiki/Sessue_Hayakawa ] , a Japanese actor who was one of the biggest stars in the silent film era of Hollywood, who was well known as a broodingly handsome heartthrob.
Sometimes history isn’t suppressed, sometimes it just drifts away. The people who lived it never expected it to be forgotten, never expected their reality to dissolve under the weight of ignorance and disbelief.
Hidden Figures by Margot Lee Shetterly unburied the history of the African American women of early NASA, of Katharine Johnson, Mary Jackson, Dorothy Vaughn and the hundreds like them. They were just forgotten over the years, as the brief time when women’s work meant calculating launch and landing trajectories and programming computers passed out of memory. Like the Mercury 13 [ https://en.wikipedia.org/wiki/Mercury_13 ] , the “Fellow Lady Astronaut Trainees” in the 1960s, all pilots, all subjected to the same tests as the men. They retired, they went away, everyone forgot them.
Sometimes when they’re remembered, their contributions are minimized, like when a photo caption calls bacteriologist Dr. Ruby Hirose a “Japanese girl scientist” or labels Bertha Pallan, who was one of the first Native American women archeologists, as an “expedition secretary.” Like the photo post on Tumblr that over and over again, identified Marie Curie as a “female laboratory assistant.” Anybody can be disappeared.
We think we remember them, but then we’re told over and over again, all over the internet, that women don’t like math, can’t do science. That’s the internet that’s supposed to preserve our history, telling us we don’t exist.
Mary Jane Seacole was a Jamaican nurse who helped the wounded on the battlefields of the Crimean War, just like Florence Nightingale. Sister Rosetta Tharpe was the mother of rock and roll. Sophia Duleep Singh was a prominent suffragette in the UK. They’re all in Wikipedia, but you can’t look them up unless you remember their names.
The women who worked in the Gibson Guitar factory during WWII were deliberately erased, their existence strenuously denied, despite the evidence of a forgotten group photo that the company still would like to claim never existed.
Jackie Mitchell, seventeen years old, struck out Babe Ruth and Lou Gehrig in an exhibition game in 1931. Her contract was almost immediately voided by the baseball commissioner. Baseball was surely too strenuous for her.
In 1994, Gregory Corso was asked, “Where are the women of the Beat Generation?” He said, “There were women, they were there, I knew them, their families put them in institutions, they were given electric shock.” Some of them survived, like Diane di Prima, and Hettie Jones.
Book burning draws too much attention. In science fiction and fantasy, in comics, in media fandom, everybody was always here, but we have been disappeared over and over again. We stumble on ourselves in old books and magazines and fanzines, fading print, grainy black and white photos, 16 millimeter film, archives of abandoned GeoCities web sites. We remember again that we were here, they were here, I saw them, I knew them.
We have to unearth that buried history. Like Rejected Princesses [ http://www.rejectedprincesses.com/ ] , by Jason Porath, which chronicles the women of history too awesome, offbeat, or awful to be animated. Or Nisi Shawl’s series the Expanded Course in the History of Black Science Fiction [ https://www.tor.com/tag/history-of-black-science-fiction/ ] . Or Malinda Lo’s LGBTQ YA By the Numbers [ https://www.malindalo.com/blog/2017/10/12/lgbtq-ya-by-the-numbers-2015-16 ] posts. Or Medieval POC [ https://twitter.com/medievalpoc?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor ] , sharing information about people of color in European art history. Like Eric Leif Davin in his book Partners in Wonder: Women and the Birth of Science Fiction. Like Cari Beauchamps’ book Without Lying Down, about the women writers, directors, and producers of early Hollywood. Like Catherine Lundoff’s series on the history of LGBT Science Fiction and Fantasy. Like Saladin Ahmed’s articles on the early history of comics or Jaime Lee Moyer’s article on the erasure of early women scientists[ http://www.jaimeleemoyer.com/we-all-know-what-they-did-to-witches/ ] . Like all the librarians and researchers and writers and archivists and fans who work to unbury our past so we have a chance to find our future.
And we have to continue to move forward toward that future in the fantasy genre, like the nominees on this year’s World Fantasy Award ballot, like all the other fantasy novels and short fiction last year that pushed the envelope a little further, or pushed it as far as it would go.
We have to break the barriers again and again, as many times as it takes, until the barriers are no more, and we can see the future our secret history promised us.
Author’s note: I’d like to thank Kate Elliott for reading an early draft of this, and for her help, inspiration, and encouragement.
Editor’s note: Martha Wells’ toastmaster speech was delivered at the World Fantasy Convention on November 5, 2017 and is reproduced here with the author’s permission; a few minor edits have been made and links have been added to the original text for additional context/clarity.
Martha Wells is a science fiction and fantasy writer, whose first novel was published in 1993. Her most recent series are The Books of the Raksura, for NightShade Books, and The Murderbot Diaries for Tor.com. Besides many fantasy novels, she has also written short stories, media tie-ins for Star Wars and Stargate Atlantis, YA fantasies, and non-fiction.
MY THOUGHT
But I think the greater question is not about presence, but action. "We" have always been here is the truth but what do "We" do when lifetimes of merit don't force "Them" to honor or treat "We" at the least equally?
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Stop! We have been over this before @Jeromex If you continue to say things that YOU KNOW to be factually untrue I will ban your account for simply being a straight up spammer. If you'd like to continue simply acknowledge what you've written is false, and we can move on. You may reference the FBI's data; they provide a handy tool. It is not perfect (there is no perfect data set), but one can see the arrests for white folks are more than twice that for Black people in 2021. @nels statements about DC crime is factually accurate, but his conclusion that "...this will never change" is his opinion. Which you are free to express. The information Nels provided and his conclusions are biased and misleading. The fact is Blacks make up a larger percent of the population (based upon 2020 census) so of course more Black people make up more of the victims and offenders of crime. if you factor in income the numbers will be more pronounced. This unfortunate but not unusual or unique to Black people. I seriously doubt that Black people go to white websites and write, "Hey there is a serious problem in Montana with white-on-white crime! You white people are responsible for +90% of the crime and you are +90% of the victims! White crime in Montana is higher than the national average something must be done about this!" The media don't talk about the problem of white-on-white crime. Instead, we focus on Black folks and create the false impression that we are worse than white folks. Even some brainwashed Black people buy into this propaganda. This, as the good @ProfD often reminds us, is a direct consequence of living in a white racist society -- we are all affected. Sadly, some more than others.
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A Night with Dr. Charles Johnson and Steven Barnes
richardmurray posted a blog entry in DOS earliest literature's Work List
Video TRANSCRIPT - my thoughts in the comments 0:28 all right good evening my name is Dr Jason ockerman 0:34 I'm a faculty member at the uh in the IUPUI School of liberal arts 0:40 and I'm the director of the Ray Bradbury Center what is the Ray Bradbury Center it is a 0:47 one of the larger single author archives in the United States it's also a small Museum we have 0:53 recreated Ray Bradbury's basement office with entirely original artifacts and we do offer tours to the public on 1:00 occasion so please follow us on social media if you'd ever like to come and see the collection 1:06 on behalf of the Bradbury Center and the school of liberal arts I want to welcome you to our literary Festival Festival 1:13 451 Indy we have events throughout the month of September to celebrate our literary 1:20 Heroes two of mine are going to be taking the stage uh in in just a moment to encourage people the festival 1:27 encourages people to cultivate an active reading life and to celebrate the humanities our 1:33 Festival references Ray Bradbury's most famous work Fahrenheit 451. 1:38 a cautionary tale about the consequences of the cultural devaluation of literacy 1:45 his words you don't have to burn books to destroy a culture just get people to 1:51 stop reading have only become more poignant and relevant today 1:56 that's why we felt that a festival like Festival four or five when Indy was necessary so thank you so much for for being here 2:04 tonight and being part of it hopefully you picked up some note cards 2:10 as you're listening to the speakers today please write down your questions and I think these two aisles here if I'm 2:18 wrong somebody will correct me okay I got the thumbs up from the boss so these 2:23 two aisles here you'll be able to approach a microphone and address your questions so please stick around for the Q a sometimes that's the best part 2:30 although I think everything about tonight's going to be great we also want to thank the aw Clues foundation for sponsoring tonight's 2:36 event and for sponsoring the entire Festival um that lasts the entire month of 2:41 September their generosity made this Festival possible uh in your programs 2:47 tonight there's a short survey if you could fill that out and turn it into one of our team members at our information 2:53 table uh in the lobby that would be super helpful for us we do have to do a grant report for Clues and your your 3:01 response to the event tonight would go a long way in helping us craft that report we definitely appreciate it 3:08 before introducing our speakers I want to share a brief land acknowledgment 3:13 IUPUI acknowledges our location on the traditional on the traditional and 3:18 ancestral territory of the Miami padawatami and Shawnee people 3:24 we honor the heritage of native peoples what they teach us about the stewardship of the earth and their continuing 3:31 efforts today to protect the planet founded in 1969 IUPUI stands on the 3:39 historic homelands of native peoples and more recently that of a vibrant a vibrant black community also unjustly 3:47 displaced where we sit tonight Madame Walker theater is one of the last vestiges of 3:53 that Vibrant Community as the present stewards of the land we honor them all as we live work and study 4:01 at IUPUI today people in this state who teach about the 4:07 injustices of the past are under attack and I want to affirm tonight that we 4:13 stand with our public Educators our public libraries and librarians 4:18 we honor their expertise we will never correct the injustices of 4:24 the present if we fail to acknowledge our past especially the parts that make us uncomfortable 4:30 if there are Educators and Librarians in the art in our audience tonight would 4:35 you please raise your hand so we can honor you [Applause] 4:46 thank you thank you for what you do um you know tonight in part we honor Ray 4:53 Bradbury a great author who spent his life standing up for public libraries because knowledge 4:59 should be free and accessible to everyone no matter what 5:06 we stand against any attempt to whitewash our history the old adage that 5:12 those who refuse to learn history are doomed to repeat it rings true but I would add it seems clear that 5:18 those who actively try to prevent history from being taught intend to 5:23 repeat it we will not let that happen so tonight the red Bradbury Center is 5:29 thrilled to partner with our friends at the center for Africana studies and culture and presenting a night with two 5:35 legendary authors Dr Charles Johnson and Stephen Barnes 5:41 tonight's event will be moderated by my dear friend and colleague Dr lasatien 5:47 executive director of the center for Africana studies and culture Dr Les the stage is yours my friend 6:02 good evening good evening good evening everyone thank you for coming out um a little little housekeeping before 6:08 we get started because we are breathing rarified air here tonight so I want to 6:14 acknowledge uh in in right in the front here to also legendary writers uh Ms 6:21 Sharon Skeeter and also miss Tanner nariev do right here in the front 6:29 and big thanks to to Jason uh and the the staff and and Folks at the Bradbury 6:36 Center for putting this on and also giving us an opportunity to play a role in it um some colleagues from Liberal 6:43 Arts are sitting right there shout out to y'all hello um and also our Dean 6:49 um let me say oh and look Rob Robbin uh our other colleague but our Dean is also 6:55 in the house here tonight as well uh Tammy Idol so I'd like to bring up uh Mr Barnes and Dr Johnson if they could hear 7:02 me to come on up and we'll get started let's give a round of applause 7:17 you wanted the right I'm gonna go to the right thank you 7:24 all right welcome welcome welcome thank you thank you both for being here greatly appreciated I think it's um it's 7:33 always good uh to introduce uh folks uh to who we have this August panel that 7:40 we're in here tonight so if you wouldn't mind if we just get started Jump Right In but also I think there might be 7:48 people in the house that would want to know uh about uh who we are are sitting 7:54 with tonight no I'm always curious about who I'm sitting with especially when I'm sitting 8:00 alone in a room exactly okay there we go so you know what I forgot to say what 8:05 did you forget to say we have Mr Maurice Broadus in the house tonight as well yay 8:10 foreign yes that's right yes yes so if you don't 8:17 mind I will start with uh the youngest of us um 8:23 [Music] okay if you don't mind um because uh you know uh I think it's 8:29 it it's it's very important for us to understand um the value uh in in the work you've 8:35 done uh in the literary World um but also you know in Academia and and 8:42 it's you know and some of these other other places if you don't mind just giving us giving a brief brief bio a 8:48 little bit about yourself okay uh you got 30 minutes 8:54 um first I want to say this is a joyful occasion for me to be on the stage with 8:59 this gentleman but especially that gentleman on the end we have collaborated on any number of projects in the past 9:07 most recently the Eightfold Path yeah uh which is uh award-winning as it turns 9:13 out uh graphic novel all of it all the credit goes to Steve they're all of his 9:18 stories okay I came on and I I you know I took 9:24 the ride with you and it was like anything we do together um a great pleasure we have a lot of 9:30 overlap you know I did a book in 1988 called 9:36 um being in race black writing since 1970. and in the last chapter it's a 9:43 survey of black writers uh up to 1970 in the last chapter I I mentioned this guy 9:50 I keep running across um his you know he's a martial artist and he writes science fiction 9:58 um he's a black dude too I'm thinking that's me that's me but then I really no 10:04 it's this character over here Stephen Barnes who um has been my hero for a 10:09 very long very long time um my history my journey 10:15 and to creativity had it was truly influenced by the man who did this book 10:20 he was in and the Art of writing uh brave adverry but I come to this 10:28 from being a journalist and a cartoonist that 10:33 was my first love my first Passion was drawing in high school I became a 10:39 professional illustrator when I was 17 I did some illustrations for a magic Company catalog in Chicago and 10:47 um I saved that dollar by the way too that I got paid it's framed and there were times I was I was gonna 10:54 use it because I was so broke in grad school but I started out as a as a Cartoonist and a journalist 11:02 and along the way read you know voraciously of course you know cartoons 11:08 do read a lot so we can get ideas from all kinds of different you know sources and it was around the time when I was 18 11:15 I got exposed to philosophy and decided one of these days I I have to get a 11:20 doctorate in philosophy I just have to and one of the lights I discovered is 11:25 how much Bradberry admired Socrates and Marcus Aurelius you know among the uh 11:32 the stoics right so so my journey took me from drawing to to scholarship and 11:40 then to writing at a certain point uh you know novels and short stories and 11:46 essays and and other things uh one of the things I want to emphasize which I'm sure most of you know already but I have 11:53 to remind myself of it repeatedly is all of the the liberal arts in the 11:58 humanities are interconnected one thing will lead you to another thing 12:04 you know if you might want to get up one day and draw but then the next day you 12:10 might want to get up and start a short story and the third day you might want to get up and write an essay on a 12:17 question that's been troubling you about the mind-body relationship there is no reason why any of us should have to 12:25 allow anybody to put us in a little box and say this is all that you do you know 12:31 if you see my name crop up with something it'll be Charles Johnson novelist but that's not the only thing I do so all of these Arts feed each other 12:39 you know create creatively and I when I was young looking at Bradbury's movies reading his short stories I felt that 12:47 Spirit you know of openness and the excitement that just comes from doing 12:52 something not as Bradbury said for money or fame first is for the love of doing 12:59 it you get money in Fame later if you get it well that's fine but that's not your motivation your motivation is the 13:06 fact that when you create you're creating yourself 13:11 with every canvas with every novel with every story with every poem you're 13:18 realizing your own individual inherent potential as a human being who can 13:24 through craft give a gift to the world of beauty goodness and Truth goodness and beauty 13:31 that may enrich the lives of others that's why I think we create and why we 13:36 honor this guy now shut up [Applause] 13:45 goodbyes if you wouldn't mind just no I was uh relatively poor kid grew up in a broken 13:52 home in South Central Los Angeles and I knew that the world that was presented to me was not the real world I knew that 13:59 there were some things that were said to me about who I was and what my potential was and what my people were that was not 14:04 accurate so I as many people did I think a large number of people in the science fiction fantasy fanish Community are 14:11 people who grew up feeling like the world was not the world inside them that they connected with was not the same as 14:17 the world that they saw and that they looked to the Stars they looked to the past they looked to other worlds and 14:23 other winds to get a sense of in some ways what might be truer that science 14:29 fiction is a fiction of ideas and Concepts that you know what if if only 14:35 if this goes on often anchored to physics but sometimes about 14:40 the human heart but usually if there are two questions that are Central to philosophy those questions are probably 14:46 who am I and what is true what is it to be human and what is the world that human beings perceive and science fiction approached it in one way fantasy 14:54 approaches it in another fantasy is not about the world of physics it's about the world of symbols and the human heart 15:01 and the way these things interact it's about the Poetry what's happening kind of between the atoms kind of between the 15:09 events so whereas science fiction has to be both internally and externally consistent connected to physics as I 15:16 said fantasy has to only be internally consistent that within this we're 15:21 talking about human heart human perception and what are we and how do we feel this 15:30 Bradbury Drew my attention I was reading voraciously at that time because I was 15:35 looking for you know that question who am I and what is true so am I slept in a 15:41 bedroom with the walls aligned with books and Ray Bradbury was interesting because he 15:47 wrote he was published in science fiction magazines but he was not writing about what if in that way it wasn't 15:53 interested in the physics of the situation he was interested in the Poetics of it as if he were a fantasy 15:58 writer he was about where is the human heart in all of this so the Martian Chronicles were not it was not what 16:05 Voyager landed on or whatever it was that were our first Rovers I forget what the name of was he was interested in 16:12 Edgar Rice Burroughs Mars he was interested in barsum you 16:19 know he was not he was interested in the Poetics of Science and because of that 16:24 he touched my heart he was a poet writing science fiction stories being published in science fiction magazines but you weren't going to learn anything 16:30 about science by reading Ray Bradbury which you were going to learn about was what is it to be human what is it to see 16:36 the stars what is it to yearn for a meaning to our lives you know what what 16:42 are we in the vastness of the universe and that really touched this young kid 16:48 trying to figure out who he was that the vision of the universe in that sense was so large the individual political or 16:56 philosophical differences that that deviled us on Earth are meaningless once 17:01 you start backing up you know when astronauts talk about how when they were in orbit they looked down at the world 17:07 and there were no divisions of Nations and they had a spiritual experience where they said the first day everybody 17:12 was pointing out the city they came from you know the next day when they were talking about the the the the 17:18 International Space Station they were talking about what nations they came from the next day after that they were 17:24 talking about the continent and then by the fourth day they're just looking at the world and those individual 17:30 differences dissolved when you look at the world in terms of a sound of thunder 17:36 going back 100 million years or forward into the future the problems that we 17:41 have right now politically or in terms of nations in the in the the the joining 17:47 together of just different groups of people who've been separated by large amounts of geography 17:52 all that stuff disappears the question of what is the difference between this civilization and that Civilization 17:58 it might be a thousand years of development but a thousand years of development is 18:04 nothing in terms of the 13.7 billion years that this universe has existed 18:09 it's nothing at all those differences dissolve and when that was the world 18:14 that I wanted to live in a world in which those differences that were necessary because the human mind works 18:20 in terms of what is similar as opposed to what is different we're very that dualism created a lot of our science and 18:27 so forth and so on but ultimately getting caught in the middle of that you are not this because of that you are 18:34 this because of this if you feel caught in that then taking that larger perspective can feel like taking a 18:40 breath of fresh air for the first time of stepping outside anything anyone ever said about who you were or what your 18:46 potential was and being lost in the Poetry of experience so my connection to 18:53 Bradberry was that I sought The Poetry in the mundane the the unusual in the in 19:00 the daily and he went went there every time he went there from his earliest 19:06 stories which were often what are called biter bit stories where somebody does a 19:11 bad thing and they are destroyed by the consequences of their action in these old you know uh pulp magazines you know 19:19 and stories of ghastlys and murderers and ghosts and goblins I just ate that 19:25 up because I I would read him and I would read other people wrote the same thing but Bradbury was always about 19:31 something more than the events and the actions there we go absolutely absolutely so you know who I am growing 19:40 up in the shadow of giants one of whom was the man that we come here to honor today 19:45 is a kid who grew up in South Central Los Angeles wanted to be a science fiction writer found a great mentor in 19:52 Larry Niven who's one of the great science fiction writers of the 20th century took me under his wing showed me how to do it gave me opportunities I was 19:59 able to build a life I published over three million words and you know the New York Times bestseller list in this award 20:04 and that one that's all fine but the important thing is I got to spend my life doing the thing I dreamed of as a 20:11 kid that was the reward just to be able to do that to be able to every day talk 20:17 to the little kid inside me and say I've kept the faith and for him to look at me and say Dad you sure did that is worth 20:24 you there is nothing I would exchange that for and and Ray Bradbury was one of 20:30 The Shining lights that said it was possible to get all the way there and never sell yourself out yeah can I add 20:37 something to that of course um one of the things Bradbury gives us it 20:43 gave me as a young person I hear you saying Brad baby gave it to you too as a 20:49 sense of mystery and wonder about this existence in which we find ourselves the whole thing with the view 20:56 from The Sciences right from the solar system moving all the way out to galaxies as our problems seem so 21:04 infinitesimally small and trivial and race so small and trivial when we you 21:10 know take that perspective um so science fiction has an intellectual discipline 21:18 um allows us to dream you know one of my colleagues um the late Joanna Russ 21:24 once pointed out that the female man yeah yeah 21:30 um and at UW University of Washington she she once wrote that a woman wrote to 21:35 her um about why she loved science fiction she lived in a in a kind of ordinary 21:42 town you know very very boring and conformist but science fiction what she 21:47 really found appealing were the Landscapes the 21:53 landscape's so different from the ones that she was living in right it opened up the imagination science fiction has 22:01 always served that purpose I think well you know Ray Bradbury if I if I may add to what you're saying is that he might 22:09 quibble with something that you said there it isn't about developing your ability to dream it's about remembering it that we we go we all go quietly 22:17 insane every night but we forget that and that creativity 22:22 to a certain degree is simply opening up a pore between our unconscious minds that dream every night in the conscious 22:29 mind that that performs it does the performative part of our mind the part of us that says I am uh and the child 22:36 has that and life keeps telling the child be practical right stay here and 22:43 we'll start shutting that down Ray Bradbury never lost that thing he never 22:48 lost that connection with the child and their people will say that all there is of Genius is maintaining the creativity 22:54 of a child with the disciplined knowledge of an adult that if you can do that if you can maintain a connection 23:00 there you are going to be performing at the highest level that you are capable of performing it isn't it isn't 23:06 gaining something that you don't have it's remembering how you started it's 23:11 remembering the creativity and the aliveness and the sense of wonder that sense of Engagement that every child has 23:18 that gets squeezed out of us by the adult world yeah I know I know and 23:24 that's what we want to keep alive yes that child um Bradbury also put a lot of emphasis on 23:31 the importance of the subconscious too so I'm glad I'm glad you pointed that out 23:37 um you know we we always have to I think of you know think how do we get back to to 23:43 that innocence that that openness that we had as children before the world beat 23:49 it out of us or before critics you know beat it out of us um and and so what's that's one of the 23:56 reasons that uh Sharon skies are there and I are both practicing Buddhists 24:01 um our my practice at least gets rid of an awful lot of that conditioning 24:07 from childhood on from parents and field teachers so that I can experience the 24:13 world where that sense of newness and wonder and mystery you do have that I've 24:18 I've commented to people that one of the things I love about you is how easily you are astonished 24:25 that it's like you're constantly rediscovering yeah so you just you see it right there 24:32 oh the world is here still have that you're not numb it 24:39 hasn't been it hasn't been scabbed over your nerves are alive you're strong enough that you're not afraid to feel 24:46 okay and I think that when we lose courage you know fatigue makes cowards of us all often as we age or as we get 24:52 tired or as we shape our egos to fit into the different molds that people want us to shape into we start 24:58 forgetting who we are and and that we started this life to enjoy it that that 25:04 we want that sense of joy and instead of that we sack we settle for not being afraid if at best 25:11 yeah we can't lose that you cannot yeah a human being cannot lose that and still be fully Alive one of the things I would 25:17 like to think is my capacity one of the things at least in my work as a 25:22 philosophical novel is I think that literature should liberate our perceptions liberate our perception you say 25:29 astonishment I would like to be able to look at some look at you know look at 25:34 something as if I've never seen it before it's often been said or very creative people they look at something 25:40 strange as if it's familiar and the familiar is if it's strange right so we're constantly working with 25:47 Consciousness and our perception and here every moment that we're alive is new 25:54 every single moment is alive the past I've written a lot of historical fictions and so forth but the past has 26:00 passed in the future I'm not going to worry about it because it ain't come and it never will because that's a horizon the 26:06 future that we can never reach the only moment we have right here with each other is right here right now 26:15 before I came over here I sat for a little bit of meditation I always do that I would not meet a group or a crowd 26:21 or do anything in public and so I had that chance to sit if only for 10 or 15 minutes so that I can be 26:28 here right here with all of you right now and the only moment that exists in 26:34 time not worrying about what am I going to do when we're done with this or what what was the flight light getting us 26:40 here with no sleep you know from Seattle right here right now new never like this 26:46 moment before you get up in the morning why wash your face you got the soap you know okay that has never happened before 26:54 you might think I'm doing a routine thing no not that soap not that water 26:59 not that moment and not that version of you and not that version of me you're 27:04 right you can't step in the same piece of water twice because your foot is never the same and the water has changed 27:09 that's right so it's it's that awareness that the sacred is in the mundane that 27:15 it is in this moment it that what I try to do is to Center myself and then ask 27:21 myself what is the task to do next it task may be to get out of bed and have breakfast it may be to embrace my wife 27:28 it may be to counsel my son it may be to play with the cat it might be to answer an email it might be to write a story 27:34 but all those I'm not different people when I do those things I'm the same person playing different roles so let me 27:40 be appropriate the question is can I be appropriate in this moment can I be here with this moment and the demands of this 27:47 moment with the story that I'm writing or the person that I'm speaking to or the task that I have to do be here 27:53 totally right now yes 30 of yourself isn't trapped in the past remembering 27:58 regretting 30 is not projecting into the future what you're going to do you bring back all of yourself 100 to this moment 28:06 right now whether it's writing whether it's talking to your your son or me 28:12 talking to my grandson uh you're here totally right at this moment so one of 28:18 the reasons why the martial arts have are such a great tool for learning 28:25 that because one second of not thinking about right here and you get hit in the head that's right you know so there's 28:31 nothing like a smack upside the head to wake you up no I better be here now you know you better forget about the 28:37 hamburger I had yesterday or what my wife's gonna say when I get home this guy's Gonna Knock my head off right here 28:42 right now in this instant there is no more other moment in time there is no other moment that that's it and that 28:49 that sense of being there is consistent across all arts and so this conversation 28:55 concerning getting hit in the head it's like an athlete in the zone yes in the 29:00 zone right yes so go on well no it's the dissolution of the subject object relationship there is not a you and it 29:08 there is there is a there's something that is happening here and you're not observing yourself doing it because when 29:15 you're observing yourself some of the energy that you would have put into that moment is put into creating a self to 29:20 observe and what's even worse is when people observe themselves observing themselves now you're two steps removed 29:28 yes and you've lost all the energy you need to liberate your true self so in 29:34 one sense Society will try to keep you in the place of observing yourself and judging yourself because that way you 29:40 become dependent upon Society to say that you're okay because if you're in the moment you you know you're okay 29:46 you're always okay when you're in the moment you're you're not okay once you observe yourself and start judging 29:52 yourself but when you're there and it's just happening that's when you're totally alive and that's what we look 29:59 for in sexuality in driving on the freeway in in heavy traffic in the rain 30:05 in fighting in in writing in Reading is the sense of total engagement in the 30:11 moment the eye is not observed it is it is 30:17 subsumed in the process of the interaction that that thing of the page 30:22 opening up and you fall into the page can happen only once this component skills have been 30:30 reduced to unconscious competence right right as you can tell we we've talked a lot together [Laughter] 30:37 and we have long conversations like this but this gentleman here may have I was 30:43 going to say that this is the easiest job I've never had if they were paying me 30:50 man I you know um and uh I I definitely the interesting 30:55 thing is you know the the one I think it was like the one time I got a chance to I think Jason and I were on a zoom with 31:02 you in a similar conversation happened and we were like in the chat like hey man let's just stay here they don't 31:09 notice us let's just listen and and get it so that's what I and I also would be remiss if I didn't mention that I am a 31:14 fill-in uh Dr Rhonda Henry uh was uh ill and could not make it she would have 31:20 been the person here today uh so I didn't want to lift her up and mention that as well 31:26 um so thank you first of all thank you for for that first that opening sound thank 31:32 everybody for coming see you later oh no we're still we got one more got one more so I do have one more uh thing and and 31:39 this is more specific uh you you've certainly touched on it you you showed us uh these were uh yeah yeah these uh I 31:47 I purchased uh some years ago of a complete line of Planet stories 31:53 from the late 30s to the early 50s these are the original issues and they have Brad Barry's Original Stories in them 32:00 and a lot of other people too who became famous because this is this is where he 32:06 began you know with the pulse I wanted to have the actual feel of that 32:12 um underneath my fingers see one of the beautiful things about Bradbury and the 32:17 pulp Riders to me they're prolific they they were not worried about am I 32:23 writing something that will last for the ages no Bradbury is getting 20 to 40 32:28 dollars per story he's making himself right a thousand words a day a story a 32:35 week he's got to sell um to a month in order to pay his bills 32:40 okay he is immersed in the moment these precede comic books okay by a few years 32:45 and the comic book artists were the same people you know you you were not looking back you were immersed in the moment of 32:53 creation you had a deadline to meet that's right um and and you produced all 32:58 this stuff not thinking that this might shape called culture that the characters that you're creating from Edgar Rice 33:04 Burroughs to the Marvel characters that these would be installed in popular 33:09 culture 50 cents uh you know 50 years later so that even my grandson knows 33:15 these characters right um I I admire artists who work like that 33:20 who don't think that what they're doing is precious but what they're doing is absolutely everything they can do at the 33:27 present moment yes and then you let it go and you go on to the next one yes and you go into the next one and you're 33:33 blessed to be able to have the opportunity to do that and and that certainly was going to be you know kind 33:40 of the next question I wanted to throw out there very open-ended of course but just the idea of you know Bradbury's 33:46 influence I know you've touched on a little bit but just maybe if there was any any particular specific oh I 33:52 absolutely can but yeah go you can go first or you know I can go there or whatever whatever is appropriate I want 33:58 to hear your stories about bravery okay anybody want to hear my stories about rape River okay 34:04 because he was very important in my life and I did not write this out because I know for a fact that I'm going to get 34:11 choked up so get ready for that um and I wrote down some dates just so I 34:16 could I could get as precise as I could but this is not a formal you know 34:22 scholarly thing so if any of the dates are wrong you know apologies in advance so 34:28 I I grew up and I had a dream of being the science fiction writer it was a thing 34:33 that I I really loved to do because I didn't understand math well enough to be a scientist so I did the other thing I 34:39 could wrote write poetry of the sciences and so I was a little kid growing up South Central L.A and had dreams of 34:45 being a writer and I was writing as much as possible and everything around me told me that I could not do it you know 34:51 my mom my dad was a backup singer for Nat King Cole and I was in the studio when they did the the background vocals 34:58 for Ramblin Rose yeah just watching dad and every time it's on the radio I hallucinate that I can hear my dad's 35:05 baritone and my dad's singing career ultimately floundered and 35:10 it led to a divorce and so my mom was terrified that if I followed the Arts that I would have a similar failure and 35:17 she used to tear my stories up and burn them because she was so scared that I would go down that path but I you know I 35:23 just kept going and kept going and kept going and by the time I got to college I had 35:31 um tried I knew my mom wanted me not to write and so I tried to step away from 35:36 writing I would but I was tricking myself I'd take all kind of other classes I would take you know drama and 35:43 composition and English and speech and stuff like this work in the radio station I think things adjacent to 35:49 writing without writing and then finally they had a contest a writing contest on campus 35:56 where the winner would read a story to the to the alumni and I won the I won 36:03 the contest and I read the story to the alumni and I watched them react to me 36:09 and I realized this is who I'm supposed to be that there is I would rather fail 36:15 as a writer than succeed at anything else so I dropped out of college my girlfriend at the time who later 36:23 became my wife and are living together she was an artist and I was a writer and I was taking jobs adjacent to Hollywood 36:29 trying to work my way and I was also writing stories and I was starting to send them out and I was you know getting rejected and rejected and rejected and I 36:36 I think that at some point I started getting like a fifth of a cent a word and you know getting paid in 36:42 contributors copies but I think before my first sale uh I wrote a story a 36:47 Halloween story called trick or treat about a guy who it when he was a kid he 36:55 his candy is snatched by the kids in the neighborhood they were bullies and when he becomes an adult he starts you know 37:02 the kids in the neighborhood he's living in the same house they're playing tricks on him so he plays tricks back and the 37:08 next year they play a nastier trick and they asked that he plays a nastier trick on them and it goes back and forth and 37:13 back and forth until one year he plays a trick and the kids he accidentally kills a kid and he knows it next year they're 37:20 going to kill him and so this story is called trick-or-treat and I found out that Ray Bradbury was doing an 37:28 autographing at a bookstore and so my girlfriend was an artist and I created a 37:33 a a Halloween card that contained the story and artwork and we went to his 37:39 signing and we gave it to him in an envelope that had my address on it and about six weeks later I got a letter 37:45 back from Ray Bradbury saying he loved my story and this was the first time a 37:51 professional human being a person who was doing the thing that I wanted to do let alone somebody who I admired so much 37:57 had said yeah kid maybe you've got what it takes it meant more than I can 38:03 possibly say and inspired me to keep going so I kept going I'm writing and I'm trying to do this I'm trying to do 38:09 that I'm still not succeeding very much but I was starting to make a little bit of progress my mom 38:15 who had always been terrified finally realized that there was no way I was going to give it up and so she kind of 38:21 got on the bandwagon and she found a course that was being taught at UCLA 38:27 extension by Robert Kirsch who was the literary editor of the LA Times in about 38:33 1980 let's say 1975 1975 and 38:39 uh no no this is about about 1980 about 1980. uh and so I took a class from 38:46 Robert Kirsch and it was a strange class you know it was the little blue-haired lady writing astrological poetry and it 38:52 was the guy writing this going and I was writing these strange stories and I wrote one very strange story called is 38:59 your glass half empty about a compulsive Gambler who Hawks his pacemaker and he 39:06 Kirsch looked at me and he didn't know quite what to make of the story and he said 39:11 I've Got a Friend I'd like to show this story to would you mind if I did that and I said sure go right ahead and about 39:17 six weeks later I got a note I got a letter from Ray Bradbury who was Robert kirsch's friend writing telling me again 39:24 he didn't remember the earlier story he just said hey you know kid you know this is this is good you know this you know 39:30 that you've got something go for it don't ever give up doing that Ray Bradbury inspirational thing I kind of 39:35 said I got two letters from him you know this is this is cool so let me keep going 39:41 I eventually met Larry Niven and began working with him and started getting my 39:47 career going and in about what year did you publish your first story I published 39:52 my first story in probably about 1980 1981 somewhere in there maybe 79 to 81. 39:58 somewhere in there and it was like a fifth of the center word you know and then I finally the first story that was 40:03 published in a professional magazine was called uh it's called endurance vial about an 40:12 athlete who accidentally discovers a meditation that triggers his ability to 40:17 be more of an athlete and he starts running and he can't stop you know so that I think that was my first my very 40:23 first publication and I was working with Larry Niven and I had the balls to walk 40:29 up to Larry you know at the Las Vegas science fiction thing and I said hello Mr Niven my name is Stephen Barnes and 40:35 I'm a writer and he looked at me and said all right tell me a story I I found out that from the way I'd come 40:40 on to him I had about 10 seconds to prove I wasn't an luckily I just put that story is your 40:47 glass half empty into the mail that morning so I was able to stumble out you know I 40:53 think and that led to us eventually working together in my CR in my working he gave me a chance to work on an 41:00 earlier story of his that he hadn't been able to finish to his satisfaction called the locusts which was about a 41:06 group of space colonists who go to a planet and their children begin to devolve to australopithecines and they 41:13 don't know how to deal with it and if the problem in this story who would right if the problem of the story had 41:19 been biology or a cryptozoology or 41:25 physics or astrophysics I would have been lost but luckily the problem in the story was the psychology that Larry did 41:33 not understand group psychology as well as I think he could have such that he did not understand the impact that would 41:40 have on that little Colony if these things happen he was underestimating the emotions involved so that gave me an 41:47 opening a way that I could contribute something this story and it led to a Hugo nomination and my first real 41:54 publication you know with lyrics it was like you know wow this was you know I'm on my way so one of the things that I 42:00 was asked to do in this process was there was something called the planetary society in which I was asked to be a 42:07 presenter to be an announcer so I introduced several luminaries that were there astrophysics I mean there might 42:14 have been an astronaut so forth and one of the people was Ray Bradbury so Ray walked up on stage and before he walked 42:20 up on stage I told my story about how I was he was responsible for my me getting published by giving me inspiration at a 42:28 time when I was getting rejection after rejection after rejection started to question myself and he walked up on 42:34 stage and gave me a big hug and it was just a great moment everybody applauded it was very nice about eight years after 42:40 that um I was teaching a class at UCLA 42:45 and it was a a symposium and every week we had a different notable come in one 42:51 week it was Ray Bradbury so when I went to Ray's house came to class he came to 42:56 yeah he came and talked at the Symposium he was one of the I think seven notables that we had coming there 43:03 um and before the class I took him to dinner at in Westwood and 43:12 Larry Niven had asked if he could keep me but before Larry got there 43:17 ah I for 20 years I was the only black male 43:24 science fiction writer in the world so far as I could determine chip Delaney had left the field he'd gone into 43:30 Academia and queer fiction because he couldn't make a living in science fiction I survived largely because of my 43:37 partnership my mentorship with Larry Niven because I would I do collaboration with him and I'd make enough money to be 43:43 able to keep food on the table in the roof over our head but I was starting to wonder was I losing myself 43:49 was had I sold myself out was I losing 43:55 my art and I remember I had dinner with Leo and 44:01 Diane Dillon who we were just talking about in in Greenwich Village and they 44:06 are they were the essence of art it was like we're one they work they did Art together where one would start a line 44:11 the other one would finish it and back back so far and I was sitting at that table talking to them about the career 44:19 of an artist thinking I'd get some tips for my wife who was interested in being a professional artist and I suddenly realized that I didn't care about that 44:25 but I wanted to know was had I sold myself out had I sold out 44:31 my heart and I sat there and I just poured my eyes out and I just started crying finally I realized because I was 44:38 in the presence of real artists here this this was this was for real and I felt like a fraud I felt like a phony 44:44 and I was I just you know I poured my heart out to them and I finally said it is it too late for me 44:51 and they looked at each other and Diane looked at her husband and then she reached across the table and she took my 44:57 hands and she said Steve if you can even ask that question it's 45:04 not too late well that helped but I'm sitting at the table 45:11 with Ray Bradbury my childhood Idol who somehow I had choreographed an 45:16 opportunity to to be with him and and break bread with him and speak with him and I it was pretty much the same 45:23 question it's like you know I I've been hiding behind Larry Niven and his partner Jerry Purnell I'm writing these 45:29 things and I've gotten these Awards and made this money and so forth but I feel like I don't know have 45:36 am I broken you know is it too late for me is it can I can I still touch that 45:42 part of me that that is that's sacred and he asked me of course 45:48 he said have you published and I said oh yeah I published all these 45:53 stories in about six books and this that he just started laughing he just laughs oh you are going to have no problem at 46:00 all and hearing that for the second time is what made the difference I was able to see 46:06 that that I was just on this road I did not see Rey again 46:11 for many years and then in maybe the end of 2011 or the 46:18 beginning of 2012. I would I was asked if I would make a presentation at a more 46:24 at a at a acknowledgment dinner for Ray Bradbury who was very ill he could barely speak 46:31 he was in his wheelchair and it was held at the Universal Sheraton Sometime Late 46:37 2011 or early 2012. and I got up on the stage 46:44 it was so good to see him and he was so diminished physically but 46:49 the child self was still so alive in him his eyes were still still alive and I I told the 46:57 story of how he had reached out to me when I was getting started and he'd 47:03 written these letters giving me hope ing me believe that maybe it was 47:09 possible for me to have the life that I wanted how grateful I was for a chance to say 47:16 thank you to this great man and after I finished he held out his arms and he 47:22 gave me a hug and I went home and six weeks later I got a letter from him 47:32 telling me thanking me for the words I'd said 47:38 and how it had reminded him of his own path and his own Joy in his gratitude for the life that he 47:46 had had and the fact that he'd been able to touch others in the last words in that letter were 47:53 some of your tears are my own Ray Bradbury 47:58 and about six weeks after that he passed away and I just 48:05 wanted to say there's is no greater gift in life than 48:12 being able to take a look at the child you were and the truth and the dreams that they 48:18 had it realized that you were actually able to live that life 48:24 and that there was no possible way that you could have done it alone and that being able to talk to other 48:31 people along the path who say you know you're not remotely at 48:37 their level not remotely but they don't care all they care about is are you 48:43 writing are you reading are you teaching where are you what does the territory 48:48 look like from where you are and I just wanted to say that everybody in this room 48:55 has walked a path that others wish they could walk has answered questions that other people can't even formulate yet 49:02 and you never know what a kind word or a kind act is going to mean 49:09 his actions meant the difference between life and death 49:16 for part of my soul and I could not be who I am we're not 49:22 for people who had been kind to me who saw me and saw some potential Within Me 49:31 it reached out their hand and said you're going to have no problem at all 49:38 and I think you for the chance to come here and say 49:44 publicly how much I owe those people in one specific man one great man 49:53 Ray Bradbury who changed and saved my life 50:11 I'm going to pick up on like two things that you said Steve I know in my life there were individuals 50:18 who encouraged me when I couldn't get that encouragement from anywhere else 50:23 and when you're young you're tender you know you're in your teens and um 50:30 you know I'm not gonna belabor you know and bore you with those individuals who 50:35 did that for me but that's an extremely important thing for a young person an 50:41 old person too to have somebody who gives you permission 50:46 to go that route and to trust yourself and to trust your passion that could be 50:52 a teacher you've also written about a teacher in high school who um you know 50:58 positively gave you reinforcement yes so those those teachers are 51:04 extremely important um in our lives and I've had a a a several you know uh when I was a 51:12 cartoonist and then the novelist John Gardner when I started writing novels 51:18 and he led me into the book World which I knew nothing about and then later you know when I was in philosophy with my 51:25 dissertation director who became a dear friend who's actually passing away right 51:30 now but those teachers are extraordinarily important but there's something else you said I'd like to know 51:36 I'd like you to say a bit more about you've worked with Niven yes collaboratively yes and you're wondering 51:43 what's happening to me you know where am I you know so is that the opening that 51:50 question that led you to and to Nana Reeve to afrocentrism 51:56 is that how you found your way there well okay afrofuturism yeah I'm sorry yeah 52:03 for future futurism um well all that happened is that I worked with Larry Niven and his partner 52:09 Jerry Purnell and um I learned the basics of my craft and 52:16 I already had the basics of my craft I came to them with a certain amount of skills that were developed but then they 52:21 took me to being professional I remember you know Jerry I never I don't know how many writers in world history have ever 52:27 had the experience of two world-class writers best-selling writers award-winning writers sitting on opposite sides of the room tearing apart 52:34 their work at the same time because I was working on a book with the two of them and Cornell was taking great 52:40 pleasure in this how Burns we're ripping apart barnes's precious Pros Barnes was your mother 52:47 scared by a gerund I mean he would take he took such Glee in ripping me a new 52:55 one every single time I would drive home from working with them crying sobbing 53:01 because you know just taking this battering but it was like it was like being asked to spar with the black belt 53:07 class you got your butt kicked every night but you would crawl off the mat 53:12 but you'd know if I can survive this I'm going to be a fighter so I knew if I 53:18 could survive this I will learn things that are taught in no school in the world now one of the things is that 53:23 Jerry wrote stories that Jerry wanted to read Larry Niven wrote stories Larry Niven wanted to read so in order to be 53:30 like them I didn't it wasn't writing like Larry nibbon or Jerry Purnell I had to write stories that Stephen Barnes 53:37 wanted to read what were those stories into a huge degree 53:42 there is that question what was missing from the field and what was missing was people who 53:48 looked like me right and it wasn't passive it was active insult Edgar Rice 53:54 Burroughs would write stories you know in which in which uh the 53:59 Enterprise Burrows stories were the the core of Tarzan was specifically racism 54:05 specifically the idea that a British that an English Lord gentleman raised by Apes is still a gentleman and he made 54:11 racism specific in one of his stories in the jungle Tales of Tarzan where he says 54:16 white men have imagination black men have little animals have none I mean that was specifically so you can't get 54:23 away from it but I needed those stories because I was trying to Define myself as a man where I 54:29 am in the universe so as I once said to a group that I I sacrificed my melanin 54:35 on the altar of my testosterone I mean I I wanted to be a man more than I cared 54:40 about being black I would I would add something you brought something to Parnell and and Niven that they didn't 54:46 have yes from your perspective in your history they did not have the black orientation any of that no but but I 54:52 don't know if that worked into the books not that much I mean Jerry was was by 54:58 his own uh statement took politically to the right of Attila the Hun so it was 55:05 difficult to navigate that territory but one of the things I learned was how to argue with somebody smarter than you because Jerry was just smarter than me 55:11 just you know he's you know Jerry's brain had a rocket attached to it Larry's brain had a transport a 55:19 transporter attached to it whereas I could understand how Jerry would do stuff it was just an ordinary brain with a lot more information working a lot 55:25 faster but Larry would dematerialize and materialize someplace I was just like I don't even know how you got there so 55:33 taking their lessons and then writing my own stories demanded that I write for my 55:39 own experience so I'm then dealing with the fact that you know my my first book 55:45 was a book with Larry my second book was a book with Larry my third book was a solo book and I wrote a black character 55:53 I specifically wanted to create a black hero that was Street Lethal yeah but the 55:59 book company Ace put a white guy on the cover he's very clearly described as being as dark 56:05 as Zulu and they put a white guy on the cover and my poor editor called me up and she's in tears you know Beth Meacham 56:13 is her name very nice lady not her fault she said that they had done this Susan Allison who was the head editor I don't 56:20 have as good a feeling about her because she kind of blew it off she wasn't upset well it's one of those things that 56:26 happened it was the marketing department and I talked to the marketing department oh no it's the advertising it's the art 56:32 Department I talked to the art Department the art Department said well it's the sales department and the sales 56:39 department said well the truck drivers who are going to put the books on the stands would think that this was shaft 56:45 in space and so I realized at that point I can either hate white people I'd 56:52 rather not do that did I say that out loud no 56:57 I could either hate white people or I consider that what's going on here is an 57:03 example of how human beings think that human beings feel protective of their 57:08 tribe and almost all human beings are tribal they happen to have that power Everybody wants to rule the world 57:13 everybody wants to feel that the world reflects who they are in the mirror so this is I'm just at the an unfortunate 57:21 unfortunate effect of this what do I do with it I can either use this and say 57:27 the world kicked my ass or I can say this is where we are right now my dad 57:35 working with Nat King Cole performed in in hotels in Las Vegas where he could 57:42 not stay the world has gotten better than that 57:47 it's just not as good as I would like it to be how much longer will it take and I 57:54 projected trend lines in my mind I thought it might take two generations it might take two generations it might 58:00 take another 30 to 40 years before the world is ready for the stories that I want to tell 58:07 can I survive long enough to do that and so I started a program of I am going I'm 58:14 going to stay in this field and I'm going to create my stories and I'm going to do everything I can do 58:20 because I'm going to make it first of all I'm going to write stories that the kid who started this path would have 58:25 wanted to read and I'm going to create a career path so that other people coming in will have an 58:31 easier time than I have an Octavia Butler and I were the only black people working in the field we had many 58:37 conversations about this we lived walking distance from each other and Octavia was a level above me as a writer 58:42 she was often not happy with what I wrote Because she felt I was not living up to my potential 58:48 she would write and they put green people on the covers of her books but they wouldn't put black people you know 58:53 so we had lots of interesting conversations about that what do we feel about it what are we going to do I felt 58:59 I if I can stay in here and write the stories that I want stories that would 59:05 nurture the younger person I was that no matter what happens I've not been beat 59:10 and then I found out one day that there were Scholars studying something called afrofuturism and I was considered to be 59:16 an afrofuturist I didn't try to be one I was just trying to write Stephen Barnes stories 59:21 casually said that you lived walking distance from Octavia but I want to point out oh yeah you know we 59:27 used to come over for dinner and I'd go over her place and then we would just sit and we'd talk writing in life she was like my big sister I was wondering 59:33 you know um you go back to what is it the 20s the 30s and you've got black no 59:39 more that that early yes um and then you fast forward a little 59:44 bit and you got chipped Delaney and yeah you he said he couldn't make a living so 59:50 he moved on incredibly um once again elegant Pro stylist amazing and and then 59:56 you have October Xavier Butler and then there's you yeah that's about it and now 1:00:01 we have a lot of people tons of sci-fi can't even count them yeah but you guys are the best you guys were the pioneers 1:00:09 you seriously you were Pioneers um which is really quite incredible when you think back about it remember Pioneers 1:00:16 get arrows in the butt you know I was just trying I was just trying to 1:00:22 be the best writer that I could be in trying to survive trying to take care of my family and trying 1:00:28 to to survive in Hollywood and I made mistakes I made mistakes I betrayed that 1:00:34 little creative spark inside me a couple of times and it hurt I mean I was just 1:00:39 you know you can only sell yourself out so much yeah you know what's even worse is if you try not to sell out and then 1:00:46 one day you sell out nobody's buying you know so that's even worse but I remember 1:00:52 one of my agents I lost or walked away from one of my agents in Hollywood because I walked in there with my heart 1:00:59 on my sleeve and I said you know I don't know what's going to happen in my career but when I leave Hollywood I want to 1:01:06 leave with my sense of Honor intact and he looked at me and he said you'll be the only one and I realized at that 1:01:13 moment he and I did not understand each other at all I need to find a new agent because I'm not going to sell my soul to 1:01:20 do this I'm going to do everything I can and I will not sell out but I will rent myself 1:01:25 you know and I will stretch as far as I can but I'm always going yeah I'm I'm I'm kind of a hoe but 1:01:36 enjoy my work 1:01:43 if I write an episode of Baywatch and I have I wrote four episodes of Baywatch 1:01:48 people say that's not science fiction I said you ever see those silicon life forms running around on the beach 1:01:53 um I found something in every episode that I could actually care about and there's 1:02:01 another story I can go into that I might tell another time where the producers did eventually end up turning on me but 1:02:07 I got revenge but that's another story that's 1:02:13 um let's let's we'll uh well first okay before I think we can open up to a 1:02:22 little bit of a q a um but before we do that of course we want to just really thank you for your 1:02:27 words and Candor have you have you said everything you wanted to see you came prepared with some comments you came 1:02:33 prepared with some comments have you expressed what you wanted to express I came prepared with you no you had some 1:02:39 comments you were almost going to write a talk to do this but instead of that you prepared some comments I just wanted to be sure that that Charles has had an 1:02:46 opportunity to express himself no no no no I'm fine okay I think it's probably a 1:02:51 good idea if you want to move to that next question yes but before we did that look at this beautiful let's thank these 1:02:57 uh these these wonderful discussions 1:03:04 respect just trying to be like you no you don't want to believe me so uh 1:03:12 what what we could do um is you know 1:03:18 the the aisles could be your your pathway or if you so choose you could 1:03:23 just kind of raise it I can't see you because of the lights so perhaps you might want to stand up over okay that 1:03:29 they just raise the house lights yeah they just did so I could see folks so if 1:03:34 you have a question if you have a comment please just raise your hand and uh I will uh 1:03:39 catch you not everybody at once there we go Tumbleweed we got one yeah 1:03:47 and you'll have to project because I don't think we have a walking mic you're a big boy oh it's over here there we go 1:03:53 okay 1:03:59 no they were right even better 1:04:07 okay so they're gonna they got questions on index cards oh I see that people wrote already yes all right all right 1:04:13 good this is good because I can read them all okay come on yeah I just get them all at 1:04:21 once 1:04:29 don't do it all right 1:04:36 all right I'm gonna start here okay we're ready okay so I think this one is 1:04:41 for both of you and so this person says that they want to say that they appreciate uh that you both came out to 1:04:47 speak with us this evening and they love hearing your story um the question is is there a book that 1:04:53 you wrote that holds the most significance to you um if so would you be okay with sharing 1:05:00 your thoughts on the story um and then there's a little statement uh 1:05:06 at the bottom it says on the day when life seems to be too much to handle with all that you do okay that's the second 1:05:12 question so just go with the first question is there a particular book that you wrote that holds the most significance to you 1:05:19 um and if so uh would you share your thoughts on the story I can do that easily okay uh most significant book for 1:05:25 me was my second novel called oxygen tale which was rejected two dozen times nobody understood it my own Mentor 1:05:34 um John Gardner did not understand it and actually was afraid of the Buddhism that was in this 1:05:41 novel which is in the form of a slave narrative philosophical novel no form of a slave narrative with access to Western 1:05:48 and Eastern philosophy and my editor didn't understand it for my first book and um but that was critical 1:05:54 had I not done that book all the other books that I've done 26 1:06:00 after you know total 27 I would not have done it I had to do that book and once I 1:06:07 did that book I understood some things about myself I wrote the book to free myself of my 1:06:15 passion in reading of Eastern philosophy and Buddhism from my teens so I'm going to write this book you know and I'm 1:06:21 going to be free of it got to the end of the book I realized no this is the beginning for me so everything I've done has been in a 1:06:28 way referenced back to Oxford and tail which has a Bradbury connection because there is a soul catcher a slave Hunter 1:06:35 and Coors of Adam who has tattoos all the black people that he captures 1:06:42 are killed he gets tattoos on his body that where where is that going to come from except the Illustrated Man right 1:06:48 we're not which I read when I was younger so that that was a critical book for me I'll say that much 1:06:55 um yeah so that's mine for me it would almost certainly be 1:07:01 lions blood which Lion's blood you know which uh was my statement on race 1:07:08 relations in America uh basically it was it took me six years of research and I 1:07:14 basically created an alternate history which was an alternate America that was colonized by Islamic Africans bringing 1:07:20 in this particular instance Irish slaves here and so the story it deals with a 1:07:26 young Irish boy named Aiden Odair who is kidnapped by Vikings and sold to the Moors in Spain in andalus the word 1:07:32 perspective and brought to balalistan the United States to the province of nujibouti Texas where he becomes the 1:07:39 foot boy slip of Kai ibiz who is a young Islamic nobleman and the 1:07:46 story covers their friendship for about eight years from childhood to the beginnings of adulthood and um that I 1:07:53 don't know if I'll ever work that hard on a book again I probably will not I remember what you said you invited 1:07:59 Scholars to a party yeah to ask them questions yeah I basically knew that I could spend a hundred years researching 1:08:06 and still not touch one percent of what I needed to know so I did one of the smartest things I've ever done it's probably one of the 10 smartest things 1:08:12 I've done in my life I invited a room full of the smartest people that I knew and people came from from hundreds of 1:08:18 miles in addition to my invitation and we had a pizza party all day long I fed them pizza and beer and I had graph 1:08:25 paper and butcher paper on the walls and I passed out notebooks with the basic 1:08:32 premises of the world you know the politics and the economics and so forth of this alternate universe and I had a 1:08:39 videographer following people around and all day long we theorized about this 1:08:45 world that I was trying to create and they showed me everything they showed me so many things that I had not thought of 1:08:50 that by the end of that single day I had enough research to begin the writing process that I'd done six years of 1:08:57 research before I did that party so I my attitude is you want to know enough to 1:09:03 ask the right questions of experts and if you can ask an expert the right 1:09:09 question and they say oh yes well that's you know and they go off then you know enough to write your story you this is a 1:09:15 perfect example of what they call World building yeah World building and you went on to do a sequel or at more than 1:09:22 well I I did two of them Lion's bullet in Zulu heart Zulu heart yeah 1:09:27 all right and so we have we have a good number of questions I think we can okay I'll keep it shorter no no but we're 1:09:34 good I think everybody here is enjoying uh being able to hear is this okay guys I think we're all right this is what you 1:09:40 came for it's all it's all about you you can't get you can't Prime me out of the house but once I'm out of the house I really 1:09:47 do want to serve whoever brought me out so this is your chance okay and then for anyone out there if I misread anything 1:09:53 feel free to correct me um uh given that we celebrate uh 1:09:59 creativity originality and the process of fantasy is naming things a reductive 1:10:05 Act 1:10:11 is naming things a reductive Act well that's a big epistemological 1:10:18 question of course I mean how would you answer that um to name something is given of nature that's one way you could 1:10:24 talk about this to name something is to limit it uh to whatever name you you've given it uh given to it I there's a lot 1:10:33 of ways you could take this but but naming can be extremely important um guys how to talk about I guess people 1:10:41 who are Chinese have four or five different names you know a birth name and it it I'm going to let you you feel 1:10:48 that one um it is reductive but then again all language is reductive all language is a 1:10:55 reification of of something all language is a symbol and it's possible to mistake 1:11:00 the menu for the meal you know if you go you know kind of stepping into my core zipski for a second 1:11:06 um but language is all we have you know we're communicating with people 1:11:12 he said when you go in the other room and get what do you say you know the the salty thing you know it's all you know 1:11:19 the thing that makes things taste sharper you've just use labels for things the the concept of taste you've 1:11:26 used the label for the concepts of something that is bitter as opposed to sweet as opposed to Salty all those 1:11:31 things are labels all words are nothing more than that and 1:11:37 what you do with language I remember chip Delaney in his book The Jewel hinge jaw on writing he talks about the fact 1:11:44 that every word creates an impression you know the okay is this definite article the boy okay we 1:11:51 getting a noun in here the boy ran he got a the boy ran from oh okay now we're getting a sense of direction that that 1:11:57 just as music is what happens between the notes poetry is what happens between the words 1:12:03 as you hear a word and your brain does what's called a transderivational search for the meaning of that word it's the 1:12:10 journey that people go on between the words that creates the impression of art it's like you know this note followed by 1:12:16 that note what happens in between there the negative space is what an artist is manipulating or it's the thing that we 1:12:23 don't see we see the words but we don't see the space between the words let me see the tree the trees but we don't see 1:12:28 the space between them but it's a space between them the trees punctuate that space to create a forest so the labels 1:12:35 that we use we use not necessarily to Define things but to guide Consciousness you know think about this now think 1:12:42 about this now think about this what is the journey you go on between the words that's the thing that the artist plays 1:12:49 with that people do not see and that is in some ways the most important thing and you only learn to get there by 1:12:56 concentrating on the words and then at some point you see the forest that you have created with the use of those words 1:13:03 it's one of the reasons why the first draft it's so important it just as far as I'm because it just vomited out your 1:13:09 first draft should be trash just get it out there what what Bradbury referred to as running Barefoot through the grass 1:13:16 let your first draft be done from Pure Love then 1:13:21 the rewrite process is where you're adjusting and playing with it but just 1:13:26 get that first draft out there don't try to make your first draft meaningful they'll try to make it good don't try to 1:13:32 you know make the work of the Masters just write down the music that you're hearing and adjust it later 1:13:38 and then rewrite and rewrite and rewrite and rewrite and rewrite that's right that's right 1:13:45 okay and uh so um you keep mentioning trials uh Delaney 1:13:51 uh Samuel I'm sorry okay I don't know I'm well enough to you know I know who he is 1:13:58 I've read his work but I don't I don't know him see I know you know you just casually mentioned Octavia Butler so I'm 1:14:04 sure you know chip Delaney wasn't enough to come to anyway I'm stop joking around here um so this question is about uh Mr 1:14:11 Delaney why is Delaney out of fashion and the person mentioned that they loved 1:14:17 reflection of light in water I would say it's simply because different styles of writing go in and 1:14:24 out of fashion chip Delaney came into the science fiction field in the 60s was called the new wave where 1:14:30 people see the first generation of Science Fiction were people who knew science and literature you know Jules 1:14:35 Verne and H.G Wells and so forth the next generation of Science Fiction Olaf Stapleton and people like that knew the 1:14:42 work of wells and and the the Next Generation after that people like uh 1:14:47 Robert Heinlein they knew the Olaf stapletons and so forth and they were doing the same thing but by the time you 1:14:52 get to the 60s there was enough science fiction literature that it actually started coming back around instead you 1:14:59 know the that science fiction of the 30s and the 40s was justifiably mocked by 1:15:05 literary establishment because it wasn't interested in literary qualities it was interested in ideas Big Ideas you know 1:15:11 back it up to yeah to the first science fiction magazine which is what 1:15:16 if uh analog astounding uh no no it's 1:15:22 even earlier than that something planets or something the whole purpose of it was to teach young people science you talk 1:15:29 about Hugo guernsbach gernsbach gertzbach okay yeah yeah the grinsberg and that's where you get the term 1:15:34 science fiction it was to teach and be didactic right however the earlier guys 1:15:41 if I don't mischaracterize them would give us a science but they really weren't good with certain things like 1:15:47 characterization yes and and the virtues that go along with literature by the time you get to the 60s you see 1:15:55 the shift from the hard Sciences physics you know and in chemistry and all that kind of stuff to the soft Sciences yes 1:16:02 that is to say sociology and anthropology and blah blah blah so you 1:16:07 and my colleague Joan Russ was was part of that I interviewed yes she was I interviewed her and Chip Delaney because 1:16:14 we did a special issue of the Seattle review which I was at fiction editor of for 20 years devoted to science fiction 1:16:20 so I interviewed them together in the office at the University of Washington 1:16:26 um so so I want you to finish this off what happened to chip Delaney what happened to chip Delaney is that in the 1:16:33 new wave people like him and Ted sturgeon and Harlan Ellison were playing with language 1:16:39 they started playing with language and deconstructing the the relationship 1:16:45 between language and Consciousness to create effects in their work so they weren't telling you know uh 1:16:51 straight forward stories Bradbury was an early person who was grounded in the 1:16:57 pulps but used that manipulation of negative space emotionally and 1:17:03 artistically to create an effect you would put down one of the stories and say this wasn't science fiction but somehow you know I want to look at the 1:17:09 stars okay chip Delaney was in some ways well there were ways in which he was 1:17:15 limited from writing about what he really wanted to write about which was his sexuality and race and he could not 1:17:20 write about those things at that time so he would deconstruct language in concepts of race and Consciousness and 1:17:26 so forth and he was friggin brilliant he was one of the very first if not the 1:17:31 first black writer that John W Campbell who was the editor of astounding which 1:17:36 became analog would published because Campbell was a racist I mean he right there he would I know two people who 1:17:42 have letters from him where he stated straight out you can't write about an advanced application of civilization 1:17:48 because Africans aren't smart enough to create one that was and he was one of 1:17:53 the foundations of the field so Chip Delaney had to hide who he was in order to write so he hid in the world of the 1:17:59 intellect I will be so brilliant I will people when people think chip Delaney 1:18:04 they will not think black they will think brilliant he he deliberately expressed his intellect so that people 1:18:11 wouldn't notice his skin color but that where and that's my interpretation 1:18:17 that's nothing he ever said directly to me about it but that wears on you how do 1:18:22 you write stories for people and you feel in your heart they don't want to know who I really am they if they 1:18:28 acknowledge my intellect they're making me an exception oh if they were all like chip Delaney we wouldn't have a problem 1:18:33 that that eventually can turn to ashes in your mouth and lead to you asking 1:18:39 questions of Ray Bradbury and Leo and Diane Dillon um and he at some point got out of it 1:18:46 but the field moved on that the 60s broke the box that Olaf Stapleton and 1:18:52 Robert Heinlein and Arthur C Clarke and Isaac Asimov created by asking us to you 1:18:57 know the 60s were a time of experimentation and drugs and love and peace and so forth and so on 1:19:03 the generation that came after the 60s took all of that for granted and they began exploring Science Fiction with 1:19:09 simultaneously a sense of the Aesthetics that lead to literature and by the 80s and the 90s you actually 1:19:17 had a body of Science Fiction where the best of the best had both mastered storytelling and the sciences and the 1:19:24 capacity to create art and so Chip Delaney was forgotten to a degree because we no longer needed 1:19:32 what it is that he had brought to the field there was a recent issue of a magazine National magazine I can't 1:19:39 remember what it was a friend told me about it I didn't read it was a long piece on Delaney it's a long piece under 1:19:45 like a genuine genius huh Delaney was a genuine genius no question about it he 1:19:51 was one of Octavius teachers okay and you know so to act to him he Octavia is 1:19:57 insane Octavia she's a good writer sometimes better than others and so for you know and he's for real you know he 1:20:02 really means that um and both of them are above my level 1:20:08 but they what they were 1:20:13 helped make the field what it is they were foundational so let's get we got 1:20:20 four more I think we could get through them we will need to potentially move a 1:20:26 little quicker a little quicker okay I'm sorry because I'm I'm getting the signs but I don't want to disrupt the flow of 1:20:33 what's Happening Here so this person says growing up reading comics there was plenty of violence but now graphic 1:20:39 novels have the power to push out I believe it's saying out peace what are 1:20:45 your thoughts on that if you could push out peace I don't even know what that means if they mean that art is going to 1:20:52 make the world more violent I disagree with that wholeheartedly okay I think that that violence comes from being you 1:20:59 know it's like the Billy Budd syndrome you know the the greater your vocabulary and the more ideas you can express 1:21:04 through language the less you have to hit people there is an inverse relationship in prisons between the size 1:21:09 of vocabulary and the violence of the crime it's been noted many times by sociologists so the people who can play 1:21:15 with ideas don't need to stab you okay okay [Laughter] 1:21:25 moving at a steady clip we're gonna get there um thank you Elders for sharing your wisdom uh with your stories and the 1:21:31 question is how do you uh nurture the connection between your adult self and your child's self 1:21:40 how do you nurture the relationship between your adult self and your child 1:21:46 self you know I'll give you a meditation that I've seen other people use I don't know 1:21:52 if anybody here meditates but you can visualize this visualize yourself 1:21:58 as your younger self what what if you had a time machine and you could this has been done in movies 1:22:04 go back and talk to your younger self on a bad day when he or she just everything 1:22:10 went wrong getting beat up and so forth visualize yourself giving yourself that 1:22:16 kid you were a hug and holding that kid for you know a 1:22:22 breath or two and telling that kid you know it's pretty bad right now 1:22:28 but you don't know what's going to happen in the future that I do and it's going to be good 1:22:33 see that's perfect you know in in my system you know our pedagogy we teach we 1:22:39 have a podcast you know the life writing podcast and www.lifewritingpodcast.com and we talk 1:22:46 about a technique called the ancient child what the ancient child okay it is 1:22:51 a technique and it's like you imagine that at one end of a string is the child 1:22:57 that you were at the other end of the string is the old the Elder you're going to be on your deathbed you know just 1:23:02 just you're gonna die tomorrow be on all ego Beyond any need to look good or any 1:23:08 of that nonsense and all you're trying to do is move with Integrity between the dreams of childhood and the knowledge of 1:23:15 what values are real that you will have on your deathbed on the other side of ego and if you use a meditation like you 1:23:22 just suggested and you visualize the child self you can ask the child what it wants you to do 1:23:28 and you can also visualize the child and the Elder simultaneously then just sit 1:23:33 back and listen to them talk to each other and they will express everything you need to live your life with Integrity I've got another variation 1:23:40 that might be interesting particularly if you have difficulties with your parents 1:23:45 with your mom or dad visualize them and also maybe when they were young yes 1:23:53 they give them a hug love it I hadn't thought about that I 1:23:58 love that that it's not original to me that's multi-generational healing yes that's great yeah no I I didn't invent 1:24:06 that it's it's a meditation that people do in in the Buddhist tradition but also 1:24:12 I do the one with my younger self every time I meditate I give younger me a hug 1:24:17 yeah I do that I've never done that with my parents though and I'm going to do that within the next 24 hours that's 1:24:23 great I love it thank you last two very quick because these are quick ones what 1:24:30 are you reading now or watching 1:24:35 um I'm studying a time and energy management system I'm not reading any well actually no I'm reading the new 1:24:41 Stephen King novel of Holly and I'm studying a time in energy management system okay thank you well on the plane 1:24:46 from Seattle which left at seven in the morning so we had to be up at four in 1:24:51 the morning and I didn't get to bed but nevertheless from Seattle to Chicago I 1:24:57 read the essays in this the uh sin and the Art of writing by Bradbury okay and 1:25:03 that that was it was great well from Atlanta to Indianapolis I read a story 1:25:09 by one of the greatest living writers a guy named Charles don't go there don't 1:25:14 go there him a story that I just finished two 1:25:20 three days ago that's right because it's about martial arts I gotta show this to Steve and you promised you'd read it on 1:25:26 the plane and you didn't I thank you yes I did thank you I worked and one word possibly one quick word yes and we're 1:25:33 gonna bring Dr ockman back up but one quick word for any aspiring uh graphic 1:25:38 novel novelists writers who that was one of the questions so I'm terrified okay if you told me for just a second I've 1:25:45 got something specific I like to say the six step process that we teach in life writing and we learned this from Ray 1:25:51 Bradbury and studying other people like this the first step is write at least one sentence a day every day just make 1:25:56 that commitment second step is right between one and four short stories every month the third step is finish those 1:26:02 stories and submit them the the fourth step is do not rewrite your stories 1:26:07 except to editorial requests once you finish them don't rewrite them go on to the next door the fifth step is you read 1:26:14 ten times as much as you write and the last step is repeat this process 100 times we teach this to our students and 1:26:21 not a single person who's following this advice has failed to publish by story 26. okay well I used to teach at the 1:26:27 University of Washington in 33 years and I give my students assignments but one of the things I got them to do that I 1:26:34 found extremely valuable is keep a writer's workbook do not let your day go by in which you 1:26:40 have a thought a perception an image that comes to you and you don't put it down in your writer support workbook you 1:26:46 see an article that you like clip it this these These are extremely valuable I have 1:26:52 writer's workbooks that cover three shelves and go back to the early 70s 1:26:57 they're like memory memory aids keep a writer's workbook blank pages put 1:27:03 anything you want to on it you know like just descriptive passages you see somebody that you run into and they're 1:27:10 dressed in a distinctive and interesting way oh they got an interesting tattoo that goes the world is yours to process 1:27:17 through perception and you put that these scraps into your writer's workbook 1:27:22 and I assure you that they will be of use to you when you're I go through my writer's 1:27:29 workbooks I see I've thought about and written something on every subject Under the Sun literally since the early 70s so 1:27:37 it triggers my memory and I see my younger self actually because what is it you're paying attention to in the 70s 1:27:44 different than the 90s it's almost like an archeology of your own Consciousness 1:27:50 what you're focusing on during a particular decade I just filled up one 1:27:55 and I was I was telling one of my friends here I'd like to go by the bookstore to see if I can get another 1:28:00 blank book because I have to have that during the course of the day put stuff 1:28:06 into it is my journal every day yeah yeah I mean writers have them if you 1:28:12 want great examples of what they look like look at Hawthorne look at Chekhov look at um no I'm not Starcher I'm 1:28:20 thinking of some of the great writers we have their workbooks they have plot 1:28:26 outlines for stories they've never written they have observations of people um it started writers and just keep it's 1:28:34 just for you not for anybody else I'd like to make one quick comment 1:28:39 that if you like the way we've been talking about writing here you might want to come to a screenwriting Workshop that my wife and 1:28:46 I are doing you can find out about it at www.hollywoodloop hole.com and what I 1:28:51 will say is ignore the price on there if you need a price where we just want good people we don't care if you can afford 1:28:57 the full price for people who we know just write us a letter and saying that you you need a break on the price we'll 1:29:02 take whatever you got what we want is people come on September 23rd and really 1:29:08 want to learn how to write and about screenwriting 1:29:13 www.hollywoodloopole.com all right and folks please uh 1:29:19 make sure you're going to the events for the the festival 451 1:29:24 um tomorrow at the cancan theater will be filming uh screening Horror in the 1:29:30 war with uh Tanana you do wonderful you have an opportunity for book signing in 1:29:35 the back here thank you thank you thank you 1:29:40 [Applause] 1:29:51 thank you all so much that was amazing that was amazing thank you thank you and 1:29:57 uh there is an opportunity to get your books signed by Steve Barnes Dr Charles 1:30:03 Johnson Sharon Skeeter antonina review there are four tables up here at the front please put on your note cards what you 1:30:10 would like them to write in your book to my left the aisle in the far left 1:30:16 your right we're going to line up over here we're going to pull the tables forward and we're going to to get your 1:30:21 book signed if you need to purchase a book in order to have it signed uh The Book Table is still up in the in the 1:30:28 foyer to the back there where I'm pointing and thank you all for a wonderful night thank you for such a a 1:30:35 stimulating discussion and uh we love you thank you [Applause] -
NYC to cut overtime pay for police despite being understaffed by 'thousands' (msn.com) New York City to Cut Overtime Pay for NYPD, Other Departments in Response to Migrant Crisis (msn.com) Cutting the overtime pay for your own POLICE FORCE in favor of illegal immigrants??? That's suicide....political suicide. Even if you DID have to make cuts, cutting the pay of your soldiers that you rely on to protect you and keep order under your authority is one of the LAST things you'd do . And Eric Adams was a cop HIMSELF. I'm no fan of the NYPD. What little I DID see of them when I was in New York didn't leave me with the best impression of them. However, if these reports are true, I'm going to have to say Mayor Eric Adams is being played for a COMPLETE FOOL. Whoever on his staff suggested these particular cuts and even fed the stories to the media is trying to UNDERMINE him. He's being turned into the FALL GUY and POSTER CHILD for all politicians guilty of selling out their own American citizens and constituents for illegal immigrants. White folks are doing it. Wealthy White folks of BOTH political parties are bringing illegals into the nation and shipping them all over the nation for the purpose of cheap labor and displacement of AfroAmericans. That's a fact. The US labor market and citizens’ views are shifting in favor of immigration (msn.com) "Citizen's views" my ass....lol. Nobody I know is in favor of immigration legal OR illegal....but the media is trying to JUSTIFY the plans that wealthy White men have enabled to help the LABOR MARKET. But THEY don't want to be the face of it; they want to make a Black man the face of it. So the poor, destitute, and angry Americans will blame HIM instead of THEM. ...and he's walking right into the trap. How foolish.
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Someone shared this with me this morning. It was unattributed, so I can't share the source, but I learn it I will. This reminds me of the HISTORIA AFRICANA DATES FOR MAJOR AFRICAN EVENTS @Mel Hopkins shared a few months ago. 1501 African Slaves in the New World Spanish settlers bring slaves from Africa to Santo Domingo (now the capital of the Dominican Republic). 1522 Slave Revolt: the Caribbean Slaves rebel on the Caribbean island of Hispaniola, which now comprises Haiti and the Dominican Republic. 1562 Britain Joins Slave Trade. John Hawkins, the first Briton to take part in the slave trade, makes a huge profit hauling human cargo from Africa to Hispaniola. 1581 Slaves in Florida Spanish residents in St. Augustine, the first permanent settlement in Florida, import African slaves. 1612 The first commercial tobacco crop is raised in Jamestown, Virginia. 1619 Twenty slaves in Virginia Africans brought to Jamestown are the first slaves imported into Britain’s North American colonies. Like indentured servants, they were probably freed after a fixed period of service. 1626 The Dutch West India Company imports 11 black male slaves into the New Netherlands. 1636 Colonial North America's slave trade begins when the first American slave carrier, Desire, is built and launched in Massachusetts. 1640 John Punch, a runaway black servant, is sentenced to servitude for life. His two white companions are given extended terms of servitude. Punch is the first documented slave for life. 1640 New Netherlands law forbids residents from harboring or feeding runaway slaves. 1641 The D'Angola marriage is the first recorded marriage between blacks in New Amsterdam. 1641 Massachusetts is the first colony to legalize slavery. 1643 The New England Confederation of Plymouth, Massachusetts, Connecticut, and New Haven adopts a fugitive slave law. 1650 Connecticut legalizes slavery. 1652 Rhode Island passes laws restricting slavery and forbidding enslavement for more than 10 years. 1652 Massachusetts requires all black and Indian servants to receive military training. 1654 A Virginia court grants blacks the right to hold slaves. 1657 Virginia passes a fugitive slave law. 1660 Charles II, King of England, orders the Council of Foreign Plantations to devise strategies for converting slaves and servants to Christianity.1662 Hereditary Slavery Virginia law decrees that children of black mothers “shall be bond or free according to the condition of the mother.” 1662 Massachusetts reverses a ruling dating back to 1652, which allowed blacks to train in arms. New York, Connecticut, and New Hampshire pass similar laws restricting the bearing of arms. 1663 In Gloucester County, Virginia the first documented slave rebellion in the colonies takes place. 1663 Maryland legalizes slavery. 1663 Charles II, King of England, gives the Carolinas to proprietors. Until the 1680s, most settlers in the region are small landowners from Barbados. 1664 New York and New Jersey legalize slavery. 1664 Maryland is the first colony to take legal action against marriages between white women and black men. 1664 The State of Maryland mandates lifelong servitude for all black slaves. New York, New Jersey, the Carolinas, and Virginia all pass similar laws. 1666 Maryland passes a fugitive slave law. 1667 Virginia declares that Christian baptism will not alter a person's status as a slave. 1668 New Jersey passes a fugitive slave law. 1670 The State of Virginia prohibits free blacks and Indians from keeping Christian (i.e. white) servants. 1674 New York declares that blacks who convert to Christianity after their enslavement will not be freed. 1676 In Virginia, black slaves and black and white indentured servants band together to participate in Bacon's Rebellion. 1680 The State of Virginia forbids blacks and slaves from bearing arms, prohibits blacks from congregating in large numbers, and mandates harsh punishment for slaves who assault Christians or attempt escape. 1682 Virginia declares that all imported black servants are slaves for life. 1684 New York makes it illegal for slaves to sell goods. 1688 The Pennsylvania Quakers pass the first formal antislavery resolution. 1691 Virginia passes the first anti-miscegenation law, forbidding marriages between whites and blacks or whites and Native Americans. 1691 Virginia prohibits the manumission of slaves within its borders. Manumitted slaves are forced to leave the colony. 1691 South Carolina passes the first comprehensive slave codes. 1694 Rice cultivation is introduced into Carolina. Slave importation increases dramatically. 1696 The Royal African Trade Company loses its monopoly and New England colonists enter the slave trade. 1700 Pennsylvania legalizes slavery. 1702 New York passes An Act for Regulating Slaves. Among the prohibitions of this act are meetings of more than three slaves, trading by slaves, and testimony by slaves in court. 1703 Massachusetts requires those masters who liberate slaves to provide a bond of 50 pounds or more in the event that the freedman becomes a public charge. 1703 Connecticut assigns the punishment of whipping to any slaves who disturb the peace or assault whites. 1703 Rhode Island makes it illegal for blacks and Indians to walk at night without passes.1705 Slaves as Property Describing slaves as real estate, Virginia lawmakers allow owners to bequeath their slaves. The same law allowed masters to “kill and destroy” runaways. 1705 The Virginia Slave Code codifies slave status, declaring all non- Christian servants entering the colony to be slaves. It defines all slaves as real estate, acquits masters who kill slaves during punishment, forbids slaves and free colored peoples from physically assaulting white persons, and denies slaves the right to bear arms or move abroad without written permission. 1705 New York declares that punishment by execution will be applied to certain runaway slaves. 1705 Massachusetts makes marriage and sexual relations between blacks and whites illegal. 1706 New York declares blacks, Indians, and slaves who kill white people to be subject to the death penalty. 1706 Connecticut requires that Indians, mulattos, and black servants gain permission from their masters to engage in trade. 1708 The Southern colonies require militia captains to enlist and train one slave for every white soldier. 1708 Rhode Island requires that slaves be accompanied by their masters when visiting the homes of free persons. 1708 Blacks outnumber whites in South Carolina. 1710 New York forbids blacks, Indians, and mulattos from walking at night without lighted lanterns. 1711 Pennsylvania prohibits the importation of blacks and Indians. 1711 Rhode Island prohibits the clandestine importation of black and Indian slaves. 1712 Pennsylvania prohibits the importation of slaves.1712 Slave Revolt: New York Slaves in New York City kill whites during an uprising, later squelched by the militia. Nineteen rebels are executed. 1712 New York declares it illegal for blacks, Indians, and slaves to murder other blacks, Indians, and slaves. 1712 New York forbids freed blacks, Indians, and mulatto slaves from owning real estate and holding property. 1712 In Charleston, South Carolina slaves are forbidden from hiring themselves out. 1715 Rhode Island legalizes slavery. 1715 Maryland declares all slaves entering the province and their descendants to be slaves for life. 1717 New York enacts a fugitive slave law. 1723 Virginia abolishes manumissions. 1724 French Louisiana prohibits slaves from marrying without the permission of their owners. 1730-1750 The number of male and female slaves imported to the North American British colonies balances out for the first time. 1731 The Spanish reverse a 1730 decision and declare that slaves fleeing to Florida from Carolina will not be sold or returned. 1732 Slaves aboard the ship of New Hampshire Captain John Major kill both captain and crew, seizing the vessel and its cargo. 1733 Quaker Elihu Coleman's A Testimony against That Anti-Christian Practice of MAKING SLAVES OF MEN is published. 1735 Under an English law Georgia prohibits the importation and use of black slaves. 1735 Georgia petitions Britain for the legalization of slavery. 1735 Louis XV, King of France, declares that when an enslaved woman gives birth to the child of a free man, neither mother nor child can be sold. Further, after a certain time, motherand child will be freed. 1738 Georgia's trustees permit the importation of black slaves. 1738 Spanish Florida promises freedom and land to runaway slaves. 1739 Slaves in Stono, South Carolina rebel, sacking and burning an armory and killing whites. Some 75 slaves in South Carolina steal weapons and flee toward freedom in Florida (then under Spanish rule). Crushed by the South Carolina militia, the revolt results in the deaths of 40 blacks and 20 white The colonial militia puts an end to the rebellion before slaves are able to reach freedom in Florida. 1740 South Carolina passes the comprehensive Negro Act, making it illegal for slaves to move abroad, assemble in groups, raise food, earn money, and learn to read English. Owners are permitted to kill rebellious slaves if necessary. 1740 Georgia and Carolina attempt to invade Florida in retaliation for the territory's policy toward runaways. 1749 Georgia repeals its prohibition and permits the importation of black slaves. 1751 George II repeals the 1705 act, making slaves real estate in Virginia. 1758 Pennsylvania Quakers forbid their members from owning slaves or participating in the slave trade. 1760 New Jersey prohibits the enlistment of slaves in the militia without their master's permission. 1767 The Virginia House of Burgess boycotts the British slave trade in protest of the Townsend Acts. Georgia and the Carolinas follow suit. 1770 Escaped slave, Crispus Attucks, is killed by British forces in Boston, Massachusetts. He is one of the first colonists to die in the war for independence. 1772 James Albert Ukawsaw Gronniosaw's writes the first autobiographical slave narrative. 1773 The first separate black church in America is founded in South Carolina. 1773 Slaves in Massachusetts unsuccessfully petition the government for their freedom. 1773 Phillis Wheatley becomes the first published African-American poet when a London publishing company releases a collection of her verse. 1774 The First Continental Congress bans trade with Britain and vows to discontinue the slave trade after the 1st of December. 1774 Connecticut, Rhode Island, and Georgia prohibit the importation of slaves. 1774 Virginia takes action against slave importation. 1775 The slave population in the colonies is nearly 500,000. In Virginia, the ratio of free colonists to slaves is nearly 1:1. In South Carolina it is approximately 1:2. 1775 Georgia takes action against slave importation. 1775 Abolitionist Society Anthony Benezet of Philadelphia founds the world’s first abolitionist society. Benjamin Franklin becomes its president in 1787. 1775 In April, the first battles of the Revolutionary war are waged between the British and Colonial armies at Lexington and Concord, Massachusetts. Black Minutemen participate in the fighting. 1775 In July, George Washington announces a ban on the enlistment of free blacks and slaves in the colonial army. By the end of the year, he reverses the ban, ordering the Continental Army to accept the service of free blacks. 1775 In November, Virginia Governor John Murray, Lord Dunmore, issues a proclamation announcing that any slave fighting on the side of the British will be liberated. 1776 In Philadelphia, Pennsylvania, members of the Continental Congress sign the Declaration of Independence. 1776 In Philadelphia, Pennsylvania, the Society of Friends, also known as the Quakers, forbids its members from holding slaves. 1776 Delaware prohibits the importation of African slaves. 1777 Vermont is the first of the thirteen colonies to abolish slavery and enfranchise all adult males. 1777 New York enfranchises all free propertied men regardless of color or prior servitude. 1778 Rhode Island forbids the removal of slaves from the state. 1778 Virginia prohibits the importation of slaves. 1780 Delaware makes it illegal to enslave imported Africans. 1780 Pennsylvania begins gradual emancipation. 1780 A freedom clause in the Massachusetts constitution is interpreted as an abolishment of slavery. Massachusetts enfranchises all men regardless of race. 1783 American Revolution Ends Britain and the infant United States sign the Peace of Paris treaty. 1784 Abolition Effort Congress narrowly defeats Thomas Jefferson’s proposal to ban slavery in new territories after 1800. 1790 First United States Census Nearly 700,000 slaves live and toil in a nation of 3.9 million people. 1793 Fugitive Slave Act The United States outlaws any efforts to impede the capture of runaway slaves. 1794 Cotton Gin Eli Whitney patents his device for pulling seeds from cotton. The invention turns cotton into the cash crop of the American South—and creates a huge demand for slave labor. 1808 United States Bans Slave Trade Importing African slaves is outlawed, but smuggling continues. 1820 Missouri Compromise Missouri is admitted to the Union as a slave state, Maine as a free state. Slavery is forbidden in any subsequent territories north of latitude . 1822 Slave Revolt: South Carolina Freed slave Denmark Vesey attempts a rebellion in Charleston. Thirty-five participants in the ill-fated uprising are hanged. 1831 Slave Revolt: Virginia Slave preacher Nat Turner leads a two-day uprising against whites, killing about 60. Militiamen crush the revolt then spend two months searching for Turner, who is eventually caught and hanged. Enraged Southerners impose harsher restrictions on their slaves. 1835 Censorship Southern states expel abolitionists and forbid the mailing of antislavery propaganda. 1846-48 Mexican-American War Defeated, Mexico yields an enormous amount of territory to the United States. Americans then wrestle with a controversial topic: Is slavery permitted in the new lands? 1847 Frederick Douglass’s Newspaper Escaped slave Frederick Douglass begins publishing the North Star in Rochester, New York. 1849 Harriet Tubman Escapes After fleeing slavery, Tubman returns south at least 15 times to help rescue several hundred others. 1850 Compromise of 185 In exchange for California’s entering the Union as a free state, northern congressmen accept a harsher Fugitive Slave Act. 1852 Uncle Tom’s Cabin Published Harriet Beecher Stowe’s novel about the horrors of slavery sells 300,000 copies within a year of publication. 1854 Kansas-Nebraska Act Setting aside the Missouri Compromise of 1820, Congress allows these two new territories to choose whether to allow slavery. Violent clashes erupt. 1857 Dred Scott Decision The United States Supreme Court decides, seven to two, that blacks can never be citizens and that Congress has no authority to outlaw slavery in any territory. 1860 Abraham Lincoln of Illinois becomes the first Republican to win the United States Presidency. 1860 Southern Secession South Carolina secedes in December. More states follow the next year. 1861-65 United States Civil War Four years of brutal conflict claim 623,000 lives. 1863 Emancipation Proclamation President Abraham Lincoln decrees that all slaves in Rebel territory are free on January 1, 1863. 1865 Slavery Abolished The 13th Amendment to the United States Constitution outlaws slavery.
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Week 4 of the workshop with Betts on Tumblr
Ma'am
based on Girl from Jamaica Kincaid
https://richardmurrayhumblr.tumblr.com/post/728165222399000576/narrative-writing-workshop-with-betts-week4
The First Mass Of The Perihelion At Saint Lamma
https://www.deviantart.com/hddeviant/art/Title-The-First-Mass-Of-The-Perihelion-At-Saint-La-981961141Training Ground
https://rmfantasysetpieces1.tumblr.com/post/728165870205009920/training-groundComplete writing workshop with Betts posts
https://richardmurrayhumblr.tumblr.com/tagged/tumblr writing workshop with bettsCompanion Deviantart folder
https://www.deviantart.com/hddeviant/gallery/88882719/tumblr-writing-workshop-with-bettsficThe soccer blog workshop posts- for it I didn't do all the weeks
https://rmfantasysetpieces1.tumblr.com/tagged/tumblr writing workshop with bettsAfter discussion side a fellow artist. I made a father to son , son to father reflection of girl from Jamaica Kincaid
Title: Boy
Get up and dig a new latrine hole; Get up and clean the tide off the boat; Get up and get the thrush from the field; Get up and clean the hotel's lawn; Get up and search for crabs; Get up gather and remove the hotel's trash; Get up and clean the hotel floor; always work with your head down; always go where Mr. White tells you to; never steal Mr. White's sugar; use your shirt to wrap the cane if no more cloth; when carrying fish don't trip up or no one will want you to carry their fish again; It is best to sweep the hotel at night when the customers are sleep; Is it true you fought in Sunday school?; don't sing songs on the road, people will not hire you; on Sundays act like a good man and be quiet and not the bums you learned those songs from; Don't fight in Sunday school; you musn't speak to those village girls, not even to give directions; don't eat in the street- people will think you are a bum; but I only fight the teacher on Sundays and always after class; this is how to make a reel; this is how to make a hook for the reel; this is how to fish so you will not be a bum singing all over the place; this is how to you repair the roof of my house; this is how you repair the wall of my house; this is how you throw a net; this is how you reel in a net; this is how you clean out a net; remember never smile when you accept a delivery; remember never smile when you complete a delivery; remember never to smile when you confirm a delivery; never sing at any time during a delivery or people will think your a bum; don't sing with that voice or people may think your a girl; don't hang around in groups - a good worker never has time for partying; don't touch people's cars, you might dirty them; don't throw stones at blackbirds, because it might not be a blackbird at all; you have to start fishing in the morning; you have to keep fishing in the afternoon; you have to stay fishing at night; if you don't feel good , keep fishing; only sleep with dem village girls at midnight; never trust dem village girls , never say their kid is yours; if the kid is yours , teach it what i taught you; this is how to spit up in the air if you feel like it, and this is how to move quick so that it doens't fall on you; always spend your money cause you can't save it anywhere; always squeeze bread to make sure it's fresh; but what if the baker won't let me feel the bread?; you mean to say that after all you are really going to be the kind of man who the baker won't let near the bread?
Title: Sir
Why do mornings stink? why are mornings salty? Why do mornings cut my feet? Why do mornings make me cough? Why do mornings make me tired? Why do mornings never have breakfast? Why do mornings make my skin bleach? Can I look up at a white cloud? Is Mr. White your father? Why can't Mr. White cut his own sugar? Why didn't you tell me the cane can cut my skin? Why didn't you ever help me carry fish? Why couldn't you ever help me sweep the hotel? Papa never helped you to. Why you hit me whenever I was happy. Why does nobody smile at church? Why do we live in homes like the village people? why does no one have anything to eat ? My father loved me like I love you, the best love is the love you don't know. why didn't you go out to sea with me? why didn't you fish with me? Why didn't you ever smile when you caught fish, or show off fish? Why do you always grunt to Mama? Why don't you ever smile to Mama? Why didn't you throw a net with me? Why didn't you reel a net with me? Why didn't you clean out a net with me? Why can't I want to do what I do? Why can't I like what I do? Why can't I love what I do? Why can't I tell people I am happy? Why do people think I am a girl if I am happy? Why don't you have any friends? Why can't I have a morning off? Why can't I have an afternoon off? Why can't I have an evening off? Why do you not sleep at home at night? Why do you never trust what mama say? Why is all your money spent on rum? Why did you never let me squeeze bread around you? I don't need your help. So after telling me what do to all the time, you never cared what I did?
URL
https://richardmurrayhumblr.tumblr.com/post/728754332023029760/boy-and-sir
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forum
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Africa as a regions place in the global scheme?
Jeromex replied to richardmurray's topic in Culture, Race & Economy
The majority of Africa is a dangerous, violent cesspool. So many of our black brotha’s and sista’s love to bloviate about their proud African heritage. Of course not one ever even visits Africa never mind move there. Slavery currently exists in certain area ‘s of Africa and that pales in comparison to the indiscriminate killing and genocide that occurs. Next time a black brotha tries to speak negatively about these great United States, ask him why he wont go to Africa. The answer is abundantly clear. -
ProfD Even in positions of power, ADOS/FBA folks are powerless when it comes to going against the laws established by white folks. ADOS/FBA folks can only enforce the laws...mainly against their own people. Who would stop a couple Black police officers from rolling up on an arrest and stop White officers from unjustified detention? Who would stop a Black Federal judge from overturning a particular law that is clearly unfair and racist forcing the rest of the judicial system to follow suit? Sometimes fear itself is our biggest obstacle. Jeromex blacks in America will never move to Africa or any other country for that matter. How do you explain this: https://www.youtube.com/@goblack2africa54
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Wait, I thought Africa was a great place to live ? Everyone keeps saying how racist and horrible America is but yet blacks from Africa are dying to come here and blacks in America will never move to Africa or any other country for that matter. All talk !!!!
