Friday, February 19, 2010

Rossellini's "Stromboli"



This is an excellent and very enlightening review of this film broad and raw in showing the slices of life bursting forth in this rural and nnot so peaceful setting seething beneath the not so apparent surface.Theother Rossellini productions mini reviewed and commented on give further persoective the review as a whole. His holy simplicity is the allurement of his art. The untrained performances of the non actors add to the entire setting and mood of simplicity and raw energy.
___________________________________________________________________
Though already written before I was aware of the series, I am now submitting this as an entry in the For the Love of Films: Film Preservation Blog-a-Thon of Ferdy on Films & Self-Styled Siren. A full-fledged entry will be appearing on the Dancing Image on Sunday, the last day of the blog-a-thon. Stay tuned.)Despite seeing many of his films, I've never really responded to Rossellini the way many cinephiles do. His holy simplicity has occasionally struck me as, well, just plain simple. Flowers of St. Francis (a blind buy on my part, and a satisfying one) is charming and Voyage in Italy compelling - though I wonder if Antonioni didn't eventually pick up Rossellini's ball and run further with it a few years later. Europa 51 I found embarrassing and remain rather mystified as to how its obviousness is supposed to be transcendent. Open City and Germany Year Zero are effective and absorbing but they're films I respected without being enthralled by. Neither one seemed to capture the lingering, simple, pure power of Bicycle Thieves (though both are overripe for revisiting, especially in the wake of the recent Criterion releases). Paisan was compelling in the abstract but I found its actuality too messy. Unlike Rossellini's acolytes (one recalls the zealous cineaste in Before the Revolution who admonishes the protagonist, "Remember, Rossellini is a god!") I was always unable to take the raggedness of his work in stride, to embrace it as not just a necessary evil but somehow fundamental to the work's appeal.All of which is preface to my enthusiastic viewing of Stromboli. Rossellini's first film with his new (and newly controversial) wife Ingrid Bergman, it's bursting with energy, invention, and showmanship. The film ripples with rich tensions, between its desire to simply document village life and its allegorical overtones, between frustration with Bergman's spoiled character and sympathy with her own frustrations, between the melodramatic extremes (heightened by the literally incessant music which at one point pounded consistently for about half an hour!) and documentary naturalism. Certainly between Bergman's professionalism and glamor and the untrained "performances" of the nonactors in the movie - a healthy balance is struck here, with the real people convincingly inhabiting their characters and a terrific Bergman dialing down her polish while turning up her acting chops. The provincial folks and the Hollywood goddess gel remarkably well.The centerpiece of the film perfectly demonstrates the subtle synthesis of Rossellini's artistry with his method of understated observation. A squad of fishermen are out at sea, as they are every day, but this time Bergman's character is out there with them to observe their activity. Slowly, as they pull in their nets, shapes begin to emerge beneath the watery surface, and then a chaotic explosion of whitewater and flailing fins. I had experienced this scene years ago, excerpted in Martin Scorsese's "My Voyage to Italy" and been blown away. Oddly enough, I couldn't quite remember why anymore. Now it came flooding back - these fish are gigantic! Their capture and seizure is brutal, violent, beautiful; the set piece is so strong that it overpowers everything else. Allegorical readings are possible but unnecessary - the forcefulness of the scene empowers the rest of the film rather than vice versa. The way a note will shift the "meaning" of a piece of music without our being able to articulate exactly why, so this sequence prepares the way for Bergman's journey across the volcano in the film's climax.The ending is very abrupt, but of a piece with the movie's ragged, punchy, honestly intense and intensely honest effect. This is that rare and satisfying discovery - when an auteur's appeal becomes apparent not in a mitigation of their usual approaches but in taking these approaches to their extreme and making you see, in the burning light of their purity, what they were up to all along. The film is like its titular volcano, not exactly dormant, not exactly active, but rumbling, quaking, occasionally erupting in spurts - in short, living but limned in by all the limitations which usually encumber life though they need not extinguish its flame.It occurs to me that, in speaking in abstract and vague terms about the movie's appeal, I may be doing it a disservice. Perhaps a better approach would be to tackle it in clear, precise, yet pungent language, language which mirrors the film's own aesthetic. This may be the case, yet having seen it about a month ago, I'm trying to recollect its fragments, like lava rocks in the wake of an explosion.

Thursday, February 11, 2010

Credo Mutwa and African Mysticism

http://quantumlifebodyworks.typepad.com/weblog/Mystical%20Safari%20Itinerary.pdf






Credo Mutwa
Credo.V.Mutwa was born in the Natal area of South Africa on July
22
1921.His very name is a composite of his cultures origin.
“Vusamazulu” is a Zulu honorific meaning,” awakener of the Zulus”,
given
to him during his initiation as a Sangoma.The name “Credo”
from the Latin,”
I believe” and Mutwa is Zulu for “little bushman”.
True to his middle name
Vusamazulu, he is a spiritual leader
dedicated to caring for his people and
[preserving their cultural
traditions.
As an authority on the history,
lore, legends and fables of tribes
throughout the sub-continent, Credo
excels in the medium of story
telling. He believes that the tales that he
learned from his elders gave
directions for his life and motivated him to
further his knowledge of
his people’s past, and share that learning. He
earned international
recognition with his first published work in the 1960’s
“Indaba My
Children”
, re-printed internationally and translated into several
languages followed by “Africa Is My Witness” and “Let Not My
Children
Die”.
The multi-talented man is also an artist, a sculpture
and healer.
1996 he published “Song of the Stars” and “Isilwane The Animal”
As a
true pioneer, Credo has travelled internationally and become an
acknowledged
cultural historian on traditional healing. He has
attended and spoken at
conferences and is a guest of philosophers,
therapists and creative artists
around the world.
There is a Zulu saying that travelling creates an Induna.
This means
that one who is to become a leader must first gain wide
experience
before assuming his duties.
Credo is a perfect example of a
wise global leader.
His home is open
to those who come with respect and love
and he willingly shares his
amazing and wide-ranging knowledge.
Suggested topics for discussion with Credo
• Initiation practices for
the Sangoma and Sanusi
• The nature of disease, herbalism, and healing
practices generally
• The meaning of the sacred objects, the meaning of the
sacred sites
• Sound and its role in healing
• Prophesy and the future
• Shamanic practice
• Africa's role and gifts for the world
You can
bring your suggestions to Credo as he will wait for you to
state your
purpose in coming.
Simon Green
SIMON GREEN. An initiated shaman in his
own right, Simon is a
remarkable healer teacher and facilitator. He has
travelled the world
learning from many wise people and disciplines. He is
accomplished
in Cranio-sacral therapy among other modalities, especially in
energy
work. The opportunity to take such a journey with Simon is rare and
wonderful chance.
LIZ WATTERS. Mother of five, experienced African
safari leader,
psychic, spiritual teacher and therapist, Liz brings her
guidance and
wisdom to the journey. Together they will share knowledge,
wisdom
and the desire to learn
.

Tuesday, February 2, 2010

DARK AGES THEY WERE A VIBRANT HUMAN CIVILIZATION

http://www.realitysandwich.com/beyond_life_inc_talking_douglas_rushkoff




It seems like the Dark Ages were not perhaps so "dark?"
Yes, I think that's disinformation. I'm not usually a conspiracy theorist about these things, but I think the reason why we celebrate the Renaissance as a high point of western culture is really a marketing campaign. It was a way for Renaissance monarchs and nation-states, and the industrial age powers that followed, to recast the end of one of the most vibrant human civilizations we've had, as a dark, plague-ridden, horrible time.
Historically, the plague arrived after the invention of the chartered corporation, and after central currency was mandated. Central currency became law, and 40 years later you get the plague. People got that poor that quickly. They were no longer allowed to use the land. It shifted from an abundance model to a scarcity model; from an economy based on annual grain production to one based on gold released by the king.
That's a totally different way of understanding money. Land was no longer a thing the peasants could grow stuff on, land became an investment, land became an asset class for the wealthy. Once it became an asset class they started Partitioning and Enclosure, which meant people weren't allowed to grow stuff on it, so subsistence farming was no longer a viable lifestyle. If you can't do subsistence farming you must find a job, so then you go into the city and volunteer to do unskilled labor in a proto-factory for some guy who wants the least-skilled, cheapest labor possible. You move your whole family to where the work is, into the squalor, where conditions are overcrowded and impoverished -- the perfect breeding ground for plague and death!

How does idea of the individual fit into these other developments?
Corporatism, with its promotion of competition between individuals over scarce resources and money, laid the ground for individualism and for a heightened concept of the self. I'm a media ecologist, I look at media and society as an ecology in which changes in one area reflect changes in another. The notion of the individual was invented, re-invented, in the Renaissance. This is part of why it was a re-naissance, a re-birth of old ideas, the rebirth of Greek ideals. The the Greek notion of the individual, which was always "the individual in relationship to the state," the citizen, was recast as "the individual."
The first individual in Renaissance literature was Dr. Faustus, who represented the extreme limits of greed. This was the new man, not a citizen of the city-state but an individual who has his own perspective on the world. We get perspective painting in the Renaissance, which meant the individual was a self-sufficient being whose point of view is important; we get reading in the Renaissance, which meant that a man can sit alone in his study and have his own relationship to the Bible, instead of gathering in the town square or the church, having the Bible read to him by a priest, as part of a congregation. So on the one hand it was this beautiful celebration of individual consciousness and perspective, but on the other it was all in the context of a new economy, one in which individuals were in competition against one another for scarce jobs, scarce resources, scarce land, and scarce money.
Everyone is going to ask, but what about the artists? So: what about the artists?
Historians say that one of the great things about the Renaissance were the patrons who could patronize a great artist. But before the Renaissance you didn't need a "patron" in order to be an artist! You could actually live in a town and do some stuff and be a great artist. The Renaissance model of commerce and arts was not a pre-existing condition of the universe. Yes, the Vatican could commission some basilica to be painted, but . . . I'd be interested to see what Leonardo da Vinci or Michelangelo would have been like had they not been part of a centralized bureaucracy, but instead been independent little homespun artist guys. They might have been better artists, you never know.

So now we have individuals and corporations as we know them.
The king's currency, centralized currency, is monopoly currency; demurrage currencies were declared illegal by the king. Why? First, centralized currency is easier to tax. Second, the king could remove gold from the currency whenever he wanted, he could basically suck the value out of it at will. And finally, because this is a currency based in scarcity, everyone has to compete for it. It's a way to help people who have money be powerful just for having money -- not because of what they can spend, but because of what they can hold.
So money becomes a resource.
It becomes a resource in itself. Actually it's a resource once-removed, literally a derivative, the first derivative. Centralizing turns money from a representation of something real into a derivative asset class. We live in this derivatives-based economy today, it has trickled down to us in the form of central banking. Now most people believe that the way to fuel an economy is for a bank to inject money, and the way to start a business is by borrowing from the bank. The way that money comes into existence is it is literally lent into existence. But for every dollar that is lent into existence, for every dollar you earn, there's a negative on the balance sheet somewhere.

The money supply has to grow as a function of interest. The rate at which we do business and make profit is actually driven and determined by the debt structure of the company rather than supply and demand. This is what Adam Smith was actually talking about. Adam Smith was NOT a free market libertarian, he was not a corporate industrialist the way the Economist or the Wall Street Journal likes to paint him. Smith said that economies only work in scale, they only work locally. He was living in a world where everyone was a farmer, and he hated corporations as much as he hated central government, because he knew that an interest-based economy does not ultimately work. And that is because debt is not actually a product! There's nothing there. Nothing. Yet that's what it was made for. The debt-based economy was invented so that people with money could get richer by having money, that's what it's FOR. I'm not saying it's evil, it was an idea. But, it doesn't actually work. If the number of people who want to make money by having money gets so big that there are more people existing that way than actually producing anything, eventually the economy will collapse.

What kind of stuff?
Sitting with a friend . . . OK, I'll sit with a friend as long as I have my Paxil or something, because it's almost like we've been acculturated to be desocialized.
We have been!
I can spend time with you because we're doing work, right?
Right, it's productive.
Productive -- and we can measure it on the tape! Is it still turning? [yes]

You're saying money is not value-neutral.
Not only is money not value-neutral, but our money is not money-neutral. Our currency is not the only money. There are other kinds of money, just like there are different kinds of media out there, and they all encourage different behaviors. Computers encourage certain kinds of behavior, television encourages certain kinds of behavior. A gold-based money encourages certain kinds of behavior, a centralized currency encourages certain kinds of behavior, and a demurrage local grain-based currency encourages certain other kinds of behavior. The kind of behavior that our money encourages, intentionally, by design, is: hoarding. This is currency that earns interest over time so you want to hoard it and not spend it. And that's OK if you need that tool.
Did the rise of PR just happen, or did they have to do that in order to prevent things from getting out of control?
They had to do that in order to prevent things from getting out of control. The significant points in the development of public relations were all at crisis moments. For example, labor movements; it's not just that labor was revolting but that people were seeing that labor was revolting. There was a need to re-fashion the stories so that people would think that labor activists were bad scary people, so that people would think they should move to the suburbs and insulate themselves from these throngs of laborers, from "the masses." Or to return to the Quaker Oats example, people used to look at long-distance-shipped factory products with distrust. Here's a plain brown box, it's being shipped from far away, why am I supposed to buy this instead of something from a person I've known all my life? A mass media is necessary to make you distrust your neighbor and transfer your trust to an abstract entity, the corporation, and believe it will usher in a better tomorrow and all that.
It got the most crafty after WWII when all the soldiers were coming home. FDR was in cahoots with the PR people. Traumatized vets were coming back from WWII, and everyone knew these guys were freaked out and fucked up. We had enough psychology and psychiatry by then to know that these guys were badly off, they knew how to use weapons, and -- this was bad! If the vets came back into the same labor movement that they left before WWII, it would have been all over. So the idea was that we should provide houses for these guys, make them feel good, and we get the creation of Levittown and other carefully planned developments designed with psychologists and social scientists. Let's put these vets in a house, let's celebrate the nuclear family.
DISCRETE FREEDOM RALLY DISCRETELY CONTROLLED
In high school when I needed to do a research project, I would go to the library to find a book. I couldn't help but see the 20 other books on the shelf nearby, I had to read 20 spines before I found mine. And in reading those 20 spines I would see stuff I wouldn't have found otherwise, and I might get ideas for my paper randomly -- not by predetermined choice! I would see them by virtue of the fact that some librarian who was alive before me made a decision, by virtue of legacies and input and real life messiness. Whereas when I'm in the digital realm and I know the book I want, I type it into Google, and it's there. And nothing else.

This discrete freedom of choice sounds like a very controlled environment. I wonder how much real freedom that is?
Right, what are my range of choices?
And who's giving me that range? People are utterly unaware of that. So when I look at technology I say well great, people have the ability to write online, but they don't, most of them, have the ability to program. In other words we can enter our text into the little blog box, but we aren't thinking about the biases built into a daily blog structure, which are towards short, daily thoughts, not introspective . . .
Or look at online communities. I'm going to become friends with another person who owns a 2004 red Mini with a sunroof, like mine, rather than with my neighbor who happens to have a different car; I'm going to look for that perfect affinity. But that's not a real relationship, that's my digital relationship, which is discrete! Discrete communities end up groping towards conformity of behavior really quickly.
That's why it's a consumer paradise, because it really does celebrate the idea of increasingly granular affinity groups, increasingly granular product choices.
An over-arching theme I found in the book is how the common-sense stuff of our reality, the economy and money and shopping and working, is really science fiction; we don't live inside a "natural" economic structure -- we made it up.
It gets very much like Baudrillard in a way. We lived in a real world where we created value, and understood the value that we created as individuals and groups for one another. Then we systematically disconnected from the real world: from ourselves, from one another, and from the value we create, and reconnected to an artificial landscape of derivative value of working for corporations and false gods and all that. It is in some sense Baudrillard's three steps of life in the simulacra.
So by now, as Borges would say, we've mistaken the map for the territory. We've mistaken our jobs for work. We've mistaken our bank accounts for savings. We've mistaken our 401k investments for our future. We've mistaken our property for assets, and our assets for the world. We have these places where we live, then they become property that we own, then they become mortgages that we owe, then they become mortgage-backed loans that our pensions finance, then they become packages of debt, and so on and so on. We've been living in a world where the further up the chain of abstraction you operate, the wealthier you are.
So since this is a system we created, we can create something else?
Right, that's what open-source was supposed to be about. I believe that every realm of human experience and design is ultimately open-source if we choose for it to be. That's why I got interested in religion and money, because those seemed to be the two areas that people would not accept an open-source premise. Religion -- of course it isn't, those are sacred truths! But I would argue that Judaism was actually intended as an open-source religion. I've written a book about that, called Nothing Sacred, which was and still is controversial. Because if the Torah is open for interpretation, if it's this beautiful, myriad, hypertextual, hyperdimensional document that it is, then the whole thing is up for grabs: what happens to the real estate, the Israeli state?
Money of course is the other big area, it's still the one thing they won't let you print.

To order the book, see when Douglas Rushkoff might be speaking in your area, and access videos, podcasts, and tons of other stuff, check the Life Inc. website.

Peggy Nelson is a new media artist and writer. Her work has appeared in Litkicks, Hilobrow.com, The Brattle Theater's Film Blog, and OtherZine, a journal about experimental, avant-garde, and outsider cinema

Thursday, January 28, 2010

Rescuing Detroit's public schools Robert Bobb









































1-12-10 Time Magazine p48 Cleanup Artist
http://time.com/detroit_kids











  • To cleanup the Detroit school system's financial crisis due to widespread corruption
  • Saging enrollments due to emerging charter school and exodus to the subu
  • Budget deficit,and erosion of revenuesBobb's self perception of mission-to improve miserable academic performance of the system.Detroit's graduation rate is 58%.
  • abandonment of Detroit's schools. Tax base nearly gone.Poverty and unemployment pervasive.

  • Bobb arrived last spring and found the following: the district could not afford new books.The district met payroll by borrowing money. Bobb had a reputation of restoring fiscal sanity to city governments and school districts.
  • Denial of budget deficits though Bobb showed a deficit of 303 million. Closed 29 of the district's 194 schools and trimmed payroll of 14000 to 13000.Hired outside firms to restructure 17 schools
  • Bobb's unconventional war- 1.born New Orleans and grew up on a sugarcane plantation 2.During summers he worked in the sulphur pits,3.to cover tuition to Grambling State University,he buffed floors,4. had a series of city management jobs mentioned in next bulleted post.,,,
  • Kalamazoo MI Oakland CA Wash DC's mayor hired him as City Manager and deputy mayor managing a 48 billion dollar budget (annual) and 20000 employees.Three years later President of DC's board of education,

  • Why save Detroit's public schools? .."I wanted to go to an urban school district,the roughest and the toughest.Why? Because I understand the dynamics ,the grit,the opportunities,that are prevalent in urban America.
  • Cost shaving -High school classrooms look like lecture halls - Clashes of student from rival schools likely.Neighborhoods suddenly thrown under same roof137 guidance counselors cut and hired back. Cuts: "Is this good for the kids?" Barbara Byrd Bennett former CEO of Cleveland public schools.
  • Broad academic reforms. 1. system wide standards for prerequisite classes; extension of school day; shuffling of principals; percentage of 4th and 8th graders who perform at grade level in math and reading, wants significant gains in achievement and numbers;
  • By 2015 he wants 90% of all students to complete at least one Advanced Placement course before graduating. "Ambitious goals,he admits." Politics may hinder the attainment of these goals. The elected board states he is overstepping his financial portfolio.He must relinquish academic control to the acting superintendent. Ambitious project to build or renovate 18 schools approved by the voters last November. "We cannot be afraid to win or fail". "Change is painful."

Wednesday, January 27, 2010

Anwar al -Awlaki the double life of a terrorist

1-12-2010 Time Portrait of Anwar al -Awlaki
The Al qaeda connection-He hasw been leading a double life as a gentle Imam cleric yetFBI has ben unable to make connections of his stick to al Qaeda.
  1. In 2000 he met with Khalid al-Mihdhar and Nawaf al-Hazmi two of 5 men who on 9-11 jijacked 2001 would hijack American Airlined Flight77 and fly it into the Pentagon.
  2. Connections to the hijackers after5 9/11. Investigated by US intelligence agencies. Al-Awlaki's phone number found in the Hamburg residence of Ramzi Binalshibh a Yemeni and plotter of the 9/11 debacle.
  3. Left the US for Yemen in March 2002. In October,made one final trip to the US. He was then briefly dwetained at JFK sirport in NYC. FBI's attemto arrest him on false information on a passport came to nothing
  4. Left US and spent two years in London. In 2004,returned to Yemen where he taught at a radical University and was arrested by Yemeni authorities and imprisoned for 18 months for unknown reasons but was never charged. Al-Awlaki blamed the US for pressuring Yemeni authorities to detain him and claimed FBI inettogated him in prison.
Terrorism speaks your language
His books and CD's have become best sellers -You Tube sermons have had thousands of hits.
His target audience is what distinguishes him Young Muslims in the US and Britain. He is a rare specimen who can communicate as a jihadist cleric effortessly with audiences in the West.He has lived among Muslim immigrants with English speaking children who fear that the children will be severed from their roots.(Jarret Brachman Global Jihadism:Theory and Practice, His blog posts contain his fire and message of the conflict of Islam and the West and the duty of all Muslim to join in a holy war against the West as best they can.He has written "44 ways to support Jihad".
From Propagandist to operational player
-It is enough to have the right intention
-Now the preachings tend toward undiluted involvement as a holy warrior
-Physically fit-spiritually to prepar-pray for martyrdom
-Blog post- " I pray that Allah destroys America and all its allies.and the day that happens,and I assure you it will and sooner than you think."
-He is no longer content to preach re:counterterrorism experts and due to his association with AQAP which may be the terrorists' most ambitious franchise.
-Operational role in dispute-sitting and planning attacks? Nothing seems to suggest this role. (Ben Veneke of IntelCenter states his connections with Hasan and Abdulmutallab shows a more than passive role as literature disseminator.Yet he lacks combat experience.Pete Hoeksyta ranking Republican on House Intelligence says he influences operational issues . He plays a role in setting strategic direction fo r AQAP.He is vocally encouraging the killing of Americans.
-Since the missile attack on his house,he is in hiding with his tribe in Shabwa province in Yemen.The likely US alternative will be a drone strike which has precedent, but it is also an unpleasant reminder that al_Walaki is not the first brought up in the West and will not be the last.
-In Nov 2002, one of the frist everdrone operations took place in Yemen killing Ahmed Hijazi a suspected Al Qaeda operative.He was an American.

Tuesday, January 26, 2010

Dr David Ho AIDS vaccine

HIV Vaccine -is a potent vaccine possible? Dr David Ho answers in the affirmative! Time p44
1-12-10 issuePoints in the article that caught my attention were as follows:
  • Not to awaken the immune system with injecting snipets of the virus.Do not expect the bofy to do all the work of first recognition.
  • Why not present the bofy with a ready made arsenal of antibodis? No prepping and priming the immune system needed.
  • Aaron Diamond Research Center NYC and the Bill Gates Foundation steering 7 million his way.
  • Second key receptor the virus uses to invade cells
  • The virus is a moving target Dr Gary Nabel Nat Inst of Health
  • Malaise at Dr Ho's Lab- Thought he found X Factor and had to retract paper- low morale at the lab
  • Scientific slump at the lab personality conflicts. Certain studies kept under wraps
  • 2004 Merck tests ended 3 years later with disappointing results and incrased the risk for some people.
  • 2007-Ho's discovery of the compound produced possibility of an answer. In Houston, the biotech firm Tanox developed a compound that it thought might interest Ho. IBALIZUMAB. Block's HIV entry into healthy cells.
  • Was it worth developing further? Would the virus resist it?
  • IBALIZUMAB works at a critical juncture where HIV meets a healthy CD4 cell.
  • It prevents the infection from entering the cell.
  • A bypassiong vaccine bypassing the traditional and frustrating process of what the immune system needs to fight HIV.
  • Phoned his lab to investigate the literaure on this drug. Functions of the drug. First CD4 is like an immunological sentinel recognizing various pathogens such as influenza and mark them for destruction by other cells. HIV attaches to this CD4 and intrictaely works to invade this cell.IBALIZUMAB. disrupts this "molecular choreography .It binds to the CD4 cell serving as an immunological snare.
  • Tying up CD4 may not be such a good idea.Patient may be vulnerable to other infectious agents .IBALIZUMAB is kmore agile and does not imapir the CD4 function of immunological defense according to Ho.
  • Not on the level of a polio vaccine to wipe out thedisease but one of many weapons to treat HIV.
  • "It takes more than instinct to make good science".Intuition and technical skill is needed to make contact with a significant treatment.

Monday, January 25, 2010

Infinity in the Palm of Her Hand, Jasmine Cutting Loose

http://bookloons.com/cgi-bin/Review.asp?bookid=10862
http://needmoreshelves.blogspot.com/2009/06/review-cutting-loose-by-nadine-dajani.html


Infinity in the Palm of Her Hand

Gioconda Belli's retelling of the Adam and Eve story begins, as it should, in the Garden. Adam and Eve suddenly are - 'From not being to being conscious that he was.' As they begin to explore their idyllic world, they are aware of the Other, a mysterious being who seems to have some stake in their existence. Adam knows the Other's name is Elokim, and hears the Other speak to him on occasion. They also make the acquaintance of the Serpent, a cryptic being who answers more of their questions than the Other. They soon find out, though, that the Serpent may not necessarily be their friend.Staying true to the major events in the narrative, Belli's Eve eats the forbidden fruit, and gives it to Adam, who also eats. The couple is expelled from the Garden, they make their first clothing, kill their first food, and bear their first children. To many readers who cherish the Biblical story, however, this Adam and Eve may be almost unrecognizable.In her Author's Note, Belli talks about discovering the variations on the Adam and Eve tale found in ancient texts such as the Nag Hammadi library and the Dead Sea Scrolls. Drawing inspiration from these and other sources, Belli paints a picture of Eve and Adam much different from the one we are used to reading. Eve is curious, adventurous, and quick-witted, and actively seeks answers to many difficult questions. Adam is more cautious, protective, but driven by his love for Eve, and his desire not to be alone. God, in the form of the Other, is distant and cold, seeming to care little about the creatures he chose to make.Gioconda Belli is a poet, and that is obvious throughout the novel. Her words are incredibly beautiful, and even in translation her narrative sings. Her ideas about the nature of God, good, and evil, are fascinating, and make the well-known story come alive in new and unique ways. While her twisting of the traditional narrative will inevitably bother some readers, Infinity in the Palm of her Hand is an excellent addition to the shelves for those who enjoy biblical retellings.

Bharati Mukherjee Jasmine

When Jasmine is suddenly widowed at seventeen, she seems fated to a life of quiet isolation in the small Indian village where she was born. But the force of Jasmine's desires propels her explosively into a larger, more dangerous, and ultimately more life-giving world. In just a few years, Jasmine becomes Jane Ripplemeyer, happily pregnant by a middle-aged Iowa banker and the adoptive mother of a Vietnamese refugee.
Jasmine's metamorphosis, with its shocking upheavals and its slow evolutionary steps, illuminates the making of an American mind; but even more powerfully, her story depicts the shifting contours of an America being transformed by her and others like her — our new neighbors, friends, and lovers. In Jasmine, Bharati Mukherjee has created a heroine as exotic and unexpected as the many worlds in which she lives.
My thoughts:
Initially, I thought this was going to be another novel to put in my Sunday Shorts post of books that didn't really capture my imagination. However, when I realized I was still thinking about it several days later, I decided maybe it deserved a post of its own after all.
This is, upon first glance, a novel about the immigrant experience in America. Jasmine, and her adopted son, Du, both experience the ups and downs of navigating a new world. The story jumps around in time a bit, so it can be confusing until you are able to figure out exactly what the timeline is. Jasmine's observations about the strange and difficult ways of Americans are funny and pointed, often uncomfortably observant about the life her new country leads:
"In America, nothing lasts. I can say that now and it doesn't shock me, but I think it was the hardest lesson of all for me to learn. We arrive so eager to learn, to adjust, to participate, only to find the monuments are plastic, agreements are annulled. Nothing is forever, nothing is so terrible, or so wonderful, that it won't disintigrate."
She sees the irony of people telling her she fits in - that she is "doing well" - because well, as she is aware, is all a matter of perspective:
"At school they say Du's doing so well, isn't he, considering. Considering what? I want to say. Considering that he has lived through five or six languages, five or six countries, two or three centuries of history; has seen his county, city, and family butchered, bargained with pirates and bureaucrats, eaten filth in order to stay alive; that he has survived every degredation known to this century, considering all those liabilities, isn't is amazing that he can read a Condensed and Simplified for Modern Students edition of A Tale of Two Cities?"But deeper than that, this is a novel about naming your own destiny. Jyoti becomes Jasmine when she stows away to America, and then Jase when she lives with the ultra-cool New York couple, and then Jane when she moves to Iowa. Each of these names brings a shift in personality, and the power of naming is subtly examined with each shift. I think part of the reason I wasn't sure I liked the novel initially is because I don't think I like the choice she ultimately makes, and the persona she finally chooses. Of course, that eventually makes me realize exactly how real Jasmine is to me - real enough that I want to read another chapter, or five, to see if that choice actually does end up being the right one.It's an interesting novel - not high adventure, but a great deal to think about. It may not be my favorite of the year, but I'm certainly glad I read it.

Cutting Loose by Nadine Dajanipublished 9/08384 pagesSynopsis from publisher:Meet three women who are as different as could be—at least that’s what they think—and the men who’ve turned their lives upside down as their paths collide in sizzling, sexy Miami. . . .Ranya is a modern-day princess—brought up behind the gilded walls of Saudi Arabian high society and winner of the dream husband sweepstakes . . . until said husband turns out to be more interested in Paolo, the interior-decorator-cum-underwear-model, than in his virginal new wife.Smart, independent, but painfully shy, Zahra has managed to escape her impoverished Palestinian roots to carve out a life of comfort. But she can’t reveal her secrets to the man she adores or shake off the fear that she doesn’t deserve any of it. She also can’t shake the fear that if she holds on to anything—or anyone—too dearly, they will be taken away in the blink of a kohl-lined eye.Rio has risen above the slums of her native Honduras—not to mention the jeers of her none too supportive family—to become editor in chief of SuĂ©ltate magazine, the hottest Latina-targeted glossy in town, and this in spite of Georges Mallouk, her hunky-yet-clueless boss, and in spite of Rio’s totally wrong but oh-so-sinfully-right affair with the boss’s delicious but despicable younger brother, Joe.In this city of fast cars, sleek clubs, and unapologetic superficiality, Ranya, Zahra, and Rio wrestle with the ties that bind them to their difficult pasts, and it just might be time for them to cut loose. . . .My thoughts:I'm not sure I've read a book that was this much fun in a long time. Things are heading toward summer in my neck of the woods (I say heading, because we've had a pretty gray and gloomy week, but I still have hope), and Cutting Loose just FELT like a summer book. It's set mainly in sunny Miami, and has a light, breezy tone that would make it perfect "sitting in the sun with a tropical drink in your hand" fare.Dajani's three main characters take turns narrating the novel, and each voice is distinct and developed. I felt an immediate empathy with both Ranya and Zahra - each was facing issues I could completely relate to, and it made me feel a connection to the characters right away. Rio took a little bit longer to click with me, but I came to appreciate her strength and drive, and by the end of the novel was rooting for her as well.When I say the novel is fun and light, I don't want to imply that it is lacking in depth or emotion. All three women have serious obstacles to face - from money and job situations to difficult family and personal relationship issues, each has to face up to their past and decide which path to take, and how to grasp happiness for themselves. It was this honest journey for each of her characters that kept me turning pages, eager to find out what happened next.I completely enjoyed this novel. It would make a perfect beach or vacation read! It does contain adult language and situations, so if that bothers you, you might want to steer clear of this one. However, if you are looking for a novel that goes deeper than the usual chick-lit fare, but still retains the fun and romance, I would definitely recommend you pick up this book.