“You don’t have to heal the children in Jenin. We are not trying to heal their violence. We try to challenge it into more productive ways. And more productive ways are not an alternative to resistance. What we are doing in the theatre is not trying to be a replacement or an alternative to the resistance of the Palestinians in the struggle for liberation. Just the opposite. This must be clear. I know it’s not good for fundraising, because I’m not a social worker, I’m not a good Jew going to help the Arabs, and I’m not a philanthropic Palestinian who comes to feed the poor. We are joining, by all means, the struggle for liberation of the Palestinian people, which is our liberation struggle…We’re not healers. We’re not good Christians. We are freedom fighters.”

- Juliano Mer Khamis was gunned down in broad daylight on April 4, 2011, in the Jenin Refugee Camp, Palestine, only steps away from the entrance to The Freedom Theatre, the institution he co-founded and directed.

“You don’t have to heal the children in Jenin. We are not trying to heal their violence. We try to challenge it into more productive ways. And more productive ways are not an alternative to resistance. What we are doing in the theatre is not trying to be a replacement or an alternative to the resistance of the Palestinians in the struggle for liberation. Just the opposite. This must be clear. I know it’s not good for fundraising, because I’m not a social worker, I’m not a good Jew going to help the Arabs, and I’m not a philanthropic Palestinian who comes to feed the poor. We are joining, by all means, the struggle for liberation of the Palestinian people, which is our liberation struggle…We’re not healers. We’re not good Christians. We are freedom fighters.”

- Juliano Mer Khamis was gunned down in broad daylight on April 4, 2011, in the Jenin Refugee Camp, Palestine, only steps away from the entrance to The Freedom Theatre, the institution he co-founded and directed.

We let Willow cut her hair. When you have a little girl, it’s like how can you teach her that you’re in control of her body? If I teach her that I’m in charge of whether or not she can touch her hair, she’s going to replace me with some other man when she goes out in the world. She can’t cut my hair but that’s her hair. She has got to have command of her body. So when she goes out into the world, she’s going out with a command that it is hers. She is used to making those decisions herself. We try to keep giving them those decisions until they can hold the full weight of their lives.

I used the word “complicity” a bit ago. I like the word. To me, it indicates an unspoken understanding between two people, a kind of pre-sense, if you like. The first hint that you may be suited, before the nervous trudgery of finding out whether you “share the same interests,” or have the same metabolism, or are sexually compatible, or both want children, or however it is that we argue consciously about our unconscious decisions. Later, looking back, we will fetishize and celebrate the first date, the first kiss, the first holiday together, but what really counts is what happened before this public story: that moment, more of pulse than of thought, which goes, Yes, perhaps her, and Yes, perhaps him.


- Julian Barnes, “Complicity”

Your parents never warn you about the right things, do they? Or perhaps they can warn you only about the immediate, local stuff. They bandage the knuckle of your right middle finger and warn against getting it infected. They explain about the dentist, and how the pain will wear off afterward. They teach you the highway code—at least, as it applies to junior pedestrians. My brother and I were once about to cross a road when our father put on a firm voice and instructed us to “pause on the curb.” We were at the age when a primitive understanding of language is intersected by a kind of giddiness about its possibilities. We looked at each other, shouted, “Paws on the curb!,” then squatted down with our hands flat on the edge of the roadway. Our father thought this was very silly; no doubt he was already calculating how long the joke would run.

Nature warned us; our parents warned us. We understood about knuckle-scabbing and traffic. We learned to look out for loose carpet on the stairs, because Grandma had once nearly taken a tumble when one of her brass stair rods, removed for annual polishing, hadn’t been replaced properly. We learned about thin ice, and frostbite, and evil boys who put pebbles and sometimes even razor blades into snowballs—though none of these warnings were ever justified by events. We learned about nettles and thistles, and how grass, which seemed such harmless stuff, could give you a sudden burn, like sandpaper. We were warned about knives and scissors and the danger of the untied shoelace. We were warned about strange men who might try to lure us into cars or lorries, though it took us years to work out that “strange” did not mean “bizarre,” “hunchbacked,” “dribbling,” “goitered”—or however we defined strangeness—but merely “unknown to us.” We were warned about bad boys and, later, bad girls. An embarrassed science master warned us against V.D., misleadingly informing us that it was caused by “indiscriminate sexual intercourse.” We were warned about gluttony and sloth and letting down our school, about avarice and greed and letting down our family, about envy and wrath and letting down our country.

We were never warned about heartbreak.

- Julian Barnes, “Complicity”
My students after the 6th grade awards ceremony. I was beaming.

My students after the 6th grade awards ceremony. I was beaming.

residue.

warsanshire:

i give myself five days to forget you.

on the first day i rust.

on the second i wilt.

on the third day i sit with friends but i think about your tongue.

i clean my room on the fourth day. i clean my body on the fourth day.

i try to replace your scent on the fourth day. 

the fifth day, i adorn myself like the mouth of an inmate.

a wedding singer dressed in borrowed gold.

the midas of cheap metal.

tinsel in the middle of summer.

crevice glitter, two days after the party.

i glow the way unwanted things do,

a neon sign that reads;

come, i still taste like someone else’s mouth.

Food blog in Ecuador. Just sayin.

Food blog in Ecuador. Just sayin.

(Source: cookyourdream.com)

“I recently spoke at a university where a student told me it was such a shame that Nigerian men were physical abusers like the father character in my novel. I told him that I had recently read a novel called American Psycho, and that it was a shame that young Americans were serial murderers.”

― Chimamanda Ngozi Adichie

Sex-negative messages don’t keep people from having sex. They keep people from having good sex. They keep people from having pride in their sexuality, from sexual self-awareness. They keep people from asking questions about sex, and communicating with their partners. They discourage experimentation. They blur the lines between consensual sex and rape by framing all sex as an undifferentiated mass of “bad.
How many men have walked to their cars holding their keys like spikes between each knuckle? How many have stared into the faces of those they pass, willing themselves to memorize facial features in the event that they find themselves sitting across from a sketch-artist, drinking bad coffee, shaking, and explaining the bump of a nose or the curve of a chin? How many are made to feel like it is their job to catalog the shape of victimization, prove their pain, and alter their mental state to accommodate it? For how many men is this perversion their only expectation of normalcy?
San Francisco

San Francisco

Pacifica State Beach, San Francisco

Pacifica State Beach, San Francisco

San Francisco just got a whole lot better

San Francisco just got a whole lot better

George Stroumboulopoulos:There's one thing that's interesting about your books. I noticed that you write women really well and really different. Where does that come from?
George R.R. Martin:You know, I've always considered women to be people.