David W of BadAzz Mofo, the publisher of the FANTASTIC BadAzz Mofo Magazine of the same name, also runs a way cool blog, that I need to visit more often.
As far as why… Well I’ve been meaning to put up a couple strips for a while. And have been trying to network, collaborate with a couple of artists, but I’ll let you in on a secret, artists aren’t really the most reliable bunch for collaborating or networking with… at least the ones I’ve been dealing with.
So rather than wait on people to grow up, I decided to just ‘what the heck’ it, and just go ahead and create and post something that would make me laugh.
Hence this very brief, very juvenile ‘cut and paste’ cartoon courtesy of one of the free cartoon generators out there, The art is crude, but the insane story and words and madness is all me. Hope you enjoyed it. If you do, leave a comment and some likes!
It’s a work in progress experiment, that will improve if you guys will stick in there with me. Thanks!!
Podcast of the Day: Agony Column interview with Walter Mosley!
A great interview by Rick Kleffel with Walter Mosley in full on brilliant mode discussing his new GIFT OF FIRE omnibus novels. Covers everything from Philip K. Dick to Hegel to Christ to creation myths to Darwinism to Jazz to the American Prison System. Listen to it here and thank me and the Agony Column later!
Subscribe to the Agony Column podcast here.
Proof positive I do this blog to educate myself as much as entertain anyone else, is this post on Hugh Holton.
I knew Hugh Holton was a high ranking, highly decorated Chicago Police Officer.
I knew he was a fantastic writer from owning and reading three of his books.
I knew he had passed in 2001.
I did not know he had as many books, above and beyond the ones I own. Given his responsibilities as one of Chicago’s Top Cops, that he was able to be as prolific (and going by the novels I’ve read, as consistently good) as he was, is quite amazing.
So without further ado, today’s Recommended Writer is HUGH HOLTON:
Police Lieutenant Hugh Holton was a twenty-nine year veteran of the Chicago Police Department. He authored several bestselling novels, including, Time of the Assassins, The Left Hand of God, and Violent Crimes. At the time of his death, at the age of only 54, Hugh Holton was the highest ranking active police officer writing novels in America.
1994. Presumed Dead
1995. Windy City
1996. Chicago Blues
1997. Violent Crimes
1998. Red Lightning
1999. Left Hand of God, The
2000. Time of the Assassins
2001. Devils Shadow, The
The following three titles were published posthumously, which is why they came as a surprise to me when researching this post. I’ve heard REVENGE was an early discarded rough draft of his, so it’s not up to Hugh Holton’s high standards. It’s something he would have tweaked/perfected had he known it was being published. So take that into consideration when reading it. It’s basically just an early draft, the publisher decided to put out there, so judge it as such, and not as representative of Hugh Holton’s usual great work.
I was turned onto Hugh Holton’s fantastic Larry Cole mystery series a while ago, and they are pulse-pounding procedurals and thrillers, grounded by the experience of someone who knows intimately the facts behind the fictions… he writes about.. My personal favorite of the three novels I’ve read so far is the juggernaut-like TIME OF THE ASSASSINS. In terms of pacing, and just keeping you racing till the end, it’s the strongest [the others I own are WINDY CITY, and VIOLENT CRIMES].
It was a great starting point for me to the excellent body of work Hugh Holton left us with, but I think I’ll now go back, pick up all the books I’m missing and read them all chronologically.
REVENGE, by all reports should not be considered part of the chronology, it’s something that (again according to reports) was not ready for publication, and was put out as a cash grab by the family and the publisher. It’s a curio, at best, and I would have less problem with it if the family had put their name on the novel(his Daughter I believe signed off on this version), rather than just Hugh Holton’s.
Being a writer, the idea of assigning sole responsibility to me, for something I didn’t have the chance to proof/edit… well that would bug me even in the grave. A writer’s books are his reputation.
And Hugh Holton has a well earned, and well deserved reputation as a great writer. Try the books for yourself at the links below! And tell’em HT sent ya!!!
Well, it’s not quite as provocative as it seems. The premise of this article isn’t that shows such as MADMEN, PAN-AM, and REVENGE are in and of themselves bad or bigoted shows.
They may in and of themselves be good shows. But shows, dramas or scifi or action, that are predominantly White, when not off-set by any shows that are predominantly Black or colored, true to the definition of predominant… create an environment, a medium, that is about the ascendancy, importance, influence, authority of force of one group.
In such an environment it is impossible for me to buy into, relate, follow, view, or otherwise enjoy such shows. Now in an environment where a show such as PAN-AM is counter-pointed with a show on The forming of AIR JAMAICA or the Black Stuntmen’s Union or the Black Coyboys’ Union or any adventure or thrilling show with a predominant cast of color; then PAN-AM rather than being indicative of a color and ethnic bias in every show in tv, can be seen as one voice in a chorus, rather than the same voice, everywhere.
So that’s the problem I have with shows such as MADMEN and REVENGE they paint everything with the same trite and pale brush (take the series REVENGE, based on a book by the son of one of the most famous Black men, and the cast is all white. Explain that to me? Along with that it always rings false that we have yet to see a THREE MUSKETEERS that represents the ethnicity of the author Alexandre Dumas, or the ethnicity of the inspiration for all Dumas’ heroes, namely his father, France’s most famous and most feared soldier, the elder Alexandre Dumas, (inexplicably called Thomas-Alexandre in recent writings), the Black giant, the warrior Moor, Napolean’s most feared and brilliant General. The COUNT OF MONTE CRISTO is directly inspired by how his father was betrayed by Napolean, imprisoned, and killed. And rather than anyone ever tell that story, it becomes in REVENGE about a blond woman, mad about something. Forgive me if I have no interest in that retelling.)
So, What’s the solution?
We’ll get to it. First indulge me, with a brief trip to yesteryear.
In the late 50s, into the 60s and 70s television and cinema in the US, and indeed throughout the Western World, made great strides in becoming more representative of the class struggle going on throughout the world.
That’s a fact, it just is. So let’s begin there.
As countries from Congo to Cuba to Korea to the West Indies to Brazil all were dealing, at various stages, with the shattering of traditional Colonial ties. With populations of repressed people, embracing the concept, both with artistry and arms, of “not eating at another man’s table” but creating their own table.
It was a staggering period not just of revolution, but potentially evolution… for the world and the west.
Rather than mass media that explored and showcased only the fantasies and the fears of the white and the male you began getting shows that took place in a world reflective of the movements changing the landscape of our cultures and our time. Civil disobedience, and sit-ins, and Black power, and Native American rights, transcendentalism and free love, sexual and religious experimentation, and of course war and the search for peace and self identification.
And all these growing pains, all of this stew of change, could be seen in the entertainment of the age.
DANGER MAN, MISSION IMPOSSIBLE, PROFESSIONALS, GOOD TIMES, SANFORD AND SON, the rise of Soul Cinema, and the rise of Hong Kong Cinema, and Neo-Realism in Italy, and the New Wave in France, and the didactic films out of Russia, and Brazil, and Cuba, and Senegal, all of this making its way to newly born film studies programs in the states that gave birth to a whole generation of entertainment makers excited and influenced and inspired by this time of change and challenge.
So suddenly you had Patrick McGoohan in the DANGER MAN TV show 50 years ago globe-trotting and going to different countries and different people, and exploring issues of colonialism, and civil war, and terrorism, and governmental oppression, and doing this with a changing ethnically diverse cast. Dealing with issues of Middle East tensions and modern slavery. And this kind of informed and humanistic film-making came from the creators down. And all the shows of that period, while not DANGER MAN ground breaking, to greater or lesser degrees were that informed and representative of a culturally diverse and changing world.
Move the clock forward 50 years, and suddenly you have no community owned or locally owned cinema, much less production companies. That’s not an accident, that’s a very pointed, and very considered monopolization and marginalization.
You have the end of virtually any locally or regionally owned newspaper, radio, or television station. So you get the end of people and community created movements, and art and music, and you get instead corporate construction of reality and ‘art’ in things like AMERICAN IDOL and its ilk.
You have cinema and television that is in retreat from ideas… like diversity and the rights of man, and instead seeks a return to the exclusionary, blinders on, cinema of the 50s. Not just in terms of content and cast in front of the camera, but talent and crew behind the camera.
As, in reality, the mad military war machine of billionaires undoes the local determinism of countries like Haiti and Liberia and Libya, so too is our entertainment,no less the tool of billionaires, undoing the strides made toward multiculturalism. A return to “Whites only” television from MADMEN to PAN-AM to REVENGE.
And those shows while they hold no interest for me, would be fine if they were counterpointed by an equal number of US made shows with a majority of Black or Brown or Asian or a combination thereof, of actors in front the camera, and talent behind the camera.
And the talent is there, as screenwriters such as John Ridley discuss in numerous interviews. Even more talent than was available in the 60s and 70s is available now, the difference is, the cinemas are bought up, the advertising is cost prohibitive, and quite frankly the doors are closed.
In the 60s and 70s, Hollywood saw the need for an influx of diversity to save them from the rise of Independent Cinema (an outgrowth of viable and healthy local cinemas, local determinism), and there were a good number of people in the studios who were happy and excited for that diversity. They were part of the changing times, and part of changing it.
Today Independent Cinema has no way into the theaters, because the locally owned theater circuit, and indeed the community controlled mass-media circuit that served America, particularly Black America from the 20s to the 70s, has been bought out, legalized away, and generally dismantled.
For what was gained, more was lost in the compromise of integration.
The problem with the doctrine of separate and equal, was the fact that is was NEVER separate and equal, it was always separate and UNEQUAL. The Black Power movement and Black Panther movement was about making it SEPARATE AND EQUAL. Was to make the lie into the truth. And that is the reason we have integration today. Because the idea of separate and equal, scared the powers to be to their very soul.
They saw in the more moderate integration model of Martin Luther and his ilk, a compromise that could become a massive victory. They retreated from Separate and (Un)equal and embraced Integration of a sort, “you can now use our Bathrooms, you can now to an extent come into our house, but… you have to lose your house. You have to lose your radio stations, your movie theaters, your stores, your farms, your wallstreets, your sports teams, your attempt at self determination”.
Of course it wasn’t presented like that, but a few decades later that’s absolutely what has happened. The thriving economic base of Black America that thrived even under the odiousness of Separate but unequal, wherein they could still provide for themselves and be self sufficient, has been completely gutted under the together but even more UNEQUAL system of integration. And that robbing of local determinism has extended to all America. Has shown itself to be the most significant volley in a class-war that has America trillions of dollars in debt, and slaved, to corporations gross and immoral.
And television and cinema is the clearest example of this wholesale pillaging of a peoples economic potential.
So that’s what I see when I see shows like MADMAN or PANAM or REVENGE or SMALLVILLE (past season 4) I see prejudice and bigotry and class warfare… codified.
So you have a television and a cinema environment that has turned back the clock, and is again solely about showcasing the fantasies and the fears of the white and the rich, to the exclusion of all else.
It bores me to go backwards. To learn from the past is a great thing, to repeat the past is not. And we have a whole generation of studio execs and heads, who think they are doing something new by embracing the old, and all they are doing… is wasting time.
In a multi-cultural society, an increasingly multi-cultural society, these dreams of exclusion cannot stand, they will become unsatisfying, they always do. And in the end we will have to waste years just getting back to the same point of diversity as the 1970s. Getting back to the starting point from which we should be… evolving.
So let’s cut out some of the time wasting. Contact these studios signing off on this exclusionary television, the creators and producers, twitter them, facebook em, call’em, even write em, let them know the show doesn’t represent you, and to create a show that does. And let the advertisers know, say “this show boycotts me and mine. Since you are asking me to support your product, I want you to produce a show that supports me.”
It’s economics people. For all their crushing of competition, ultimately the decision makers and gate-keepers still need to create a product you want to buy. Let them know they are failing at that mandate.
Let them know you want to see more shows, that are both smart and diverse.
Let them know you want to see more DAY BREAK with Taye Diggs and Moon Bloodgood, more 55 DEGREES NORTH with Don Gilet, more KINGS with Eamonn Walker more BLOOD AND BONE with Michael Jai White, more James Purefoy and Jesse L. Martin in THE PHILANTHROPIST (the spiritual descendant of McGoohan’s DANGER MAN); more shows that look forward to solutions, rather than backward to evasions.
Challenge the creators, challenge the studios, challenge the advertisers, challenge the performers, and challenge yourself to go not marching backward, but to go forward… into the mystery. And ultimately we will as cities and a nation, have to eschew outside control, and embrace again local production of items and local determinism.
And it starts as simply as recognizing and calling out the prejudiced the exclusionary and the destructive when we see it.
Here endeth the lesson.
WEDNESDAYS WORDS is a new weekly installment that ranks the most interesting, intriguing books of the week (old, new, reissues, digital, etc). Contributors represent a variety of genres and sources. Each book includes Title and publisher blurb.
Robert S. Duncanson, 19th century Black romantic painter (The Sigma Pi Phi series)
Parks, James Dallas.
ROBERT S. DUNCANSON: 19th Century Black Romantic Painter.
Washington, DC: Associated Publishers, Inc., A Division of the Association For The Study of Afro-American Life and History, Inc., 1980.
x, 60 pp., 25 b&w illus., chronol., catalogue of works. Appendices include letters from Duncanson and note from Mrs. Ruth E. Showes, “A Relative”; letter concerning Duncanson’s illness from his wife Phoebe. 8vo (24 cm.), cloth.
When the Death-Bat Flies: The Detective Stories of Norvell Page- Best known for his Spider pulp stories, scribe Norvell Page was a master mystery writer as well. This 800-page book collects over 30 of Page’s detective stories from the pages of DETECTIVE TALES, THE SPIDER, DETECTIVE FICTION WEEKLY and STRANGE DETECTIVE MYSTERIES, most of which have never been reprinted before. Includes an all-new introduction by Will Murray.
Three short thrillers that offer variations on the theme of the innocent person caught up in murderous events. Dead Dolls Don t Talk (1959) allows a juror to find out what it s like to be on the other side of the law. Hunt the Killer (1951) is the story of a man just out from prison who is newly framed for a killing he didn t commit. And Too Hot to Hold (1959) is a case of mistaken identity that escalates when greed takes the place of common sense.
“Reading Page is like grabbing a live electrical wire. . . . Once you take hold, you can’t let go until the story comes to an end. Page paced his stories at one speed only-runaway locomotive.
“When it comes to writing grab-your-throat and hurtle-you-along at a hundred miles an hour fiction, there’s nobody better.”
—Robert Weinberg, from his introduction
From the author of The Spider, here are seven tales of weird mystery and strange crime. Follow Ken Carter as he unravels seven strange cases.
Bonus: Also included is a 1935 article by Norvell Page explaining his approach to writing.
With an introduction by Robert Weinberg.
Cover art by Walter M. Baumhofer.
City of Corpses
Statues of Horror
The Devil’s Hoof
The Sinister Embrace
“How I Write” by Norvell Page
In steamy Shreveport, Louisiana, two musical legends-in-the-making come together: a whiskey-soaked country singer named Hank Williams and blues artist Muddy Waters. What they’ve got in common over several hectic days of drinking, singing and whoring is an interest in staying alive despite local mobsters, bent cops, and a truckload of Ku Klux Klansmen. Then there’s the bankrobber’s daughter.
The Spider VS. The Empire State: The Complete Black Police Trilogy [Paperback]
Norvell Page – THEY SAID IT COULDN’T HAPPEN HERE. THEN THEY SAID ONE MAN COULDN’T STOP IT! Richard Wentworth spent his vigilante career as The Spider always in the shadows. Now evil acted in broad daylight. The Party of Justice swept into office, rewriting the laws of New York state overnight to benefit their criminal backers and make slaves of its people. This American Reichstag gave itself sweeping powers and raised a private army to exert its malevolent will. How could The Spider hope to stop a criminal conspiracy as big as the state itself? This time The Master of Men would go beyond taking the lives of evildoers… by bringing Hope to the tyrannized citizens of the Empire State! The “Black Police Trilogy” is author Norvell Page’s classic pulp fiction Nazi allegory from 1938. Originally published in three consecutive months of The Spider Magazine, the novels “The City That Paid To Die”, “The Spider at Bay”, and “Scourge of the Black Legions” are collected in book form for the first time! The Spider VS. The Empire State: The Complete Black Police Trilogy
The WEDNESDAYS WORDS column is a new blog feature, appearing (you guessed it!) every Wednesday. Come back next week to see which books make the list!
If you’re a publisher, writer, or other creative representative looking to submit items for WEDNESDAYS WORDS, just leave a comment on this post with your email/contact info, comments don’t get posted they come right to me, and I’ll reach out to you with the snail mail details.
And as far as readers, if you see items on WEDNESDAYS WORDS you’re considering purchasing then, if you are able and would like to support this blog, please utilize the attached links.
Your helpful purchases through those links, generates much appreciated pennies to keep this blog running. Your feedback and support… just way cool, and way appreciated. Thanks!
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Films or television shows that recall the 70s where you could have numerous characters of color in significant roles (that's key) both in front of and behind the camera are few and far between.
That said, movies with characters of Color in lead roles, not just as tokens or secondary characters, get made all the time, both domestic and foreign.
You can see them at the film festivals. Unfortunately they just don't get picked up for distribution.
Brilliant ones such as the Cuban made EL BENNY, which is one of my favorite films of the last ten years. And the fact that most of you have never even heard of it, much less seen it says volumes about everything that is wrong about America's monopolized and color conscious theatrical and DVD distribution system. "Oh this film has more than two people of color and it's not a comedy or a 'mama drama'? Nah, we're not distributing that movie."
Of course not. That would take away theater space from films such as the umpteenth AMERICAN PIE idiocy.
So if that's what I'm not looking forward to, you may ask "what, that is making it to theaters, looks interesting?"
Answer: a few look intriguing. Not necessarily good, but perhaps because of Director or Star or in the case of KEYHOLE premise… at least interesting.
Here are the posters of ones I'll be keeping an eye out for this Spring:
KEYHOLE- Genres: Drama Thriller Language: English, French
Synopsis: After a long absence, gangster and father Ulysses Pick (Jason Patric) arrives home to a house haunted with memories, towing the body of a teenaged girl and a bound and gagged young man. His gang waits inside his house, having shot their way past police. There is friction in the ranks. Ulysses, however, is focused on one thing: journeying through the house, room by room, and reaching his wife Hyacinth (Isabella Rossellini) in her bedroom upstairs. The equilibrium of the house has been disturbed and his odyssey eventually becomes an emotional tour, as the ghostly nooks and crannies of the house reveal more about the mysterious Pick family.
Haven’t seen a trailer yet, but the description/premise intrigues me. Seems a bit experimental and potentially original.
THE CABIN IN THE WOODS- Written and produced by Joss Whedon, this film looks to be a genre bending flick from what little I know of it. Count me interested enough to find out for myself.
SAMARITAN- This looks like a nice little crime thriller, but the trailer gives away pretty much the entire film. But that aside I’m still interested in seeing it. I would just urge people to avoid the trailer.
If you think I missed a film worth seeing this spring, feel free to put in your two cents. But I don’t think I missed any. .
L. R. Giles is a three-time contributor to the Dark Dreams anthology series edited by author Brandon Massey for Kensington Publishing (Dark Dreams, 2004; Voices from the Other Side, 2006; Whispers in the Night, 2007), a recipient of the 2006-2007 Virginia Commission for the Arts Fiction Fellowship, and a Top 10 finalist in the 2009 Tor UK and SciFiNow War of the Words competition. He resides in Chesapeake, VA with his wife.
L.R. Giles is also one of the authors paving the way for this new e-book phenomenon. Specifically I’m speaking of his support of the e-book format. You can find his e-books available on SMASHWORDS (which supports the popular and industry standard Epub format) as well as on AMAZON.
Or if you are like me and still enjoy having the real book in your hands go here.
Okay enough with the public service announcement onto the interview…
HT: Hi LR, First Welcome to Heroic Times. And second, a big thank you for taking the time out of your booked schedule to answer these crazy questions. So taking that into consideration, we’ll start with an easy one. What is your favorite genre or genres?
LRG: This one is tougher than you think, so I’m going to cheat a little and say it’s a tie between fantasy and horror. I grew up on both, and a bit of science fiction, too. See how I snuck a third one in?
HT: What is the favorite thing you’ve written?
LRG: There’s a story called “The View” that’s part of my indie published short story collection THE SHADOWS GALLERY. It’s about a man who opens a window to Hell so he can confirm his wife’s dead murderer is being properly punished. I wanted to play with the idea of divine justice and pose a question. Can a need for vengeance ever be truly satisfied? It’s one of my darker stories. Difficult to write. That’s probably why I like it so much.
HT: Name 5 classic or genre writers who inspire or impress or influence you?
LRG: Poe (for “The Tell-Tale Heart), Shakespeare (for many works, but *MacBeth* in particular), Lovecraft (mostly for “The Dunwich Horror”),Nathaniel Hawthorne (for “Young Goodman Brown”), George Orwell (for ANIMAL FARM). With the exception of Lovecraft, I think I just gave you the reading list from my sophomore year of high school. Nevertheless, that was a formative time for me and those writers/stories stuck.
HT: Name some current or new writers, whose work you’ve recently read or discovered and blew you away.
LRG: Tananarive Due & Steven Barnes, they’re a husband and wife team who write an incredible mystery series starring a former male prostitute turned detective named Tennyson Hardwick. The first book in the series is called CASANEGRA and I HIGHLY recommend it.
Charlie Huston’s fiction really impresses, particularly THE SHOTGUN RULE.
And I recently read DAUGHTER OF SMOKE AND BONE by Laini Taylor; it’s incredible and I can’t wait for the upcoming sequel.
HT: Going along with the above name an author or authors (either new or old) who you think don’t get the attention they deserve, and everyone should be reading.
LRG: I have to go with Tananarive Due & Steven Barnes here. They’re veteran genre writers (horror, fantasy, and sci-fi), but people may not know how incredible their mysteries are. Reading their series inspired me to take a crack at the mystery genre, the resulting novel is WHISPERTOWN, a book I sold to HarperCollins last year. I can’t sing their praises enough.
HT: Name 2 or 3 of your favorite horror short stories
LRG: I’ll try not to borrow from my previous answers, though I certainly count those. For the sake of freshness, let’s say “The Barrens” by F. Paul Wilson, “The Man in the Black Suit” by Stephen King, and “The Yattering and Jack” by Clive Barker.
[I couldn't find any of these stories available online, but you can listen to a different F. Paul Wilson short story here.--- ht]
HT: Anthologies are usually theme based, so you have your Poe anthologies or Lovecraft etc. If you could do a short story for such an anthology, if you could decide/choose, what would the anthology be about.
LRG: Lovecraft, for two reasons. 1) The concepts of the Old Ones and universes running parallel to our own fascinate me, and I’d love to play in that sandbox. 2) Given some of Lovecraft’s musings on (human) races different than his own, I’d like to think that if he were still here, I could help show him we CAN have mutual respect for one another despite having different backgrounds.
[I love that take on Lovecraft. A writer I myself have very little love for . But I do acknowledge his imagination and influence.--ht]
HT: Name 5 Favorite films, horror or otherwise.
LRG: I could probably give you 50, but here we go:
BLADE – Say what you want, Wesley was a badass and, sadly, one of the few heroes of color to grace a genre film and survive. This will always be at the top of my list.
THE SHAWSHANK REDEMPTION – I could recite lines from this film all day.
A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS: DREAM WARRIORS! Don’t wanna dream no more!
TERMINATOR 1 & 2 – Cameron just knows how to make entertaining films. Period.
SEVEN – I still squirm at the end, and I KNOW what’s in the box.
HT: What do you think can or should be done to get more writers of color producing genre fiction:
LRG: I think the first thing we need to do is keep discussing the image systems that dominate novels, comic books, and scripts that become television shows/feature films. Writers of color* producing genre fiction?
Believe it or not, there are tons of them. The problem is there are few opportunities for them to showcase their talents when they’re writing about characters *who look like them, *particularly lead characters.
This is nobody’s fault, per se. There’s nothing productive about pointing a finger at Hollywood, or Big Publishing, or ‘The Man’. Numbers talk, and major successes for writers/characters of color have been few and far between.
If we want more writers of color making names for themselves in genre fiction, we have to reach a point where the general buying public is more open to the variety of stories such writers bring to the table and start voting with dollars. The great thing is, I think we’re getting closer every year.
Time will fix this. I want to be clear, when I say color I don’t just mean black writers. There are many stories to be told, and many writers who want to tell them.
HT: And finally in closing with a little less than 10 months left in 2012, what are you looking forward to?
LRG: Other than THE AVENGERS? I’m just looking forward to finishing up a couple of writing projects and meeting more authors and readers. That is, by far, the best part of this gig. I hope to be doing it for a long time. 10 months +.
HT: LR, Those are great answers! Thank you for taking time out of your busy schedule to introduce me and the HEROIC TIMES readers to not only your work, but great work from writers old and new. Thanks again!
Language interests me. Possibly because I’m so bad at picking up new languages. It interest me the things that are lost and changed in translation.
The Uncanny X-men in Spanish becomes La Impossible Patrulla X, which does not mean ‘The Uncanny X-Men’. It translates literally into The Impossible Patrol X. Patrulla meaning Patrol, a small detachment of soldiers to secure the safety or peace of a place.
So the X-MEN though translated, is changed in the translation, to PATROL X. A subtle change admitted, but change none the less.
Closing out Black History month, I have to remark I really hate the term African American.
It’s right up there with morons using the term political correctness instead of the word respect.
Just use respect whenever you rant about political correctness, and you’ll realize what the eff you’re really complaining about. Racist bastards.
Now back to African American.
Nationalistic boundaries have no place in an ethnographic designation. It’s been removed from the unifying way it was first broached in the 60s, to a moronic misnomer. What is wrong with Black or Colored or Moor or Nubian or hell even Pan-African, all of which are inclusive terms that define your ethnicity regardless of whether you live in Canada or France or Brazil or China or Honduras or Haiti or Senegal.
How such a stupid term is not only in general parlance, but is on federal forms just goes to show you how poorly most people in America reason. And don’t even get me started on separating Black from Hispanic. What the eff are you talking about? How do you separate blood from blood? Keep your divide and conquer nonsense.
“Just like the Spanish, raping the Black and Indian women and creating Latinos!”— Immortal Technique
If you’re walking around and defining your ethnicity based on your nationality, which may work in homogeneous society but does not work in a heterogeneous society, then you sir and mam… are doing something moronic.
And you may want to stop and think, and scratch out that stupid line on federal forms that says African American, and write instead… “Eff You! I Wont Do What You Tell ME! ” (Yeah, that is from RAGE AGAINST THE MACHINE).
It’s the only salvation you have.