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When Marvel’s Lauren Sankovitch left Marvel to pursue West Coast job ops, we were all sad to be losing a fine comics editor. Happily she is still keeping a toe in the game, as this release from the CBLDF reveals that she’ll be editing this year’s Liberty Annual, a fund-raising anthology published by the fund each year. So yay for Lauren! We may hear her karaoke yet again!
Included in the CBLDF release is news of their expanded efforts with retailer members and a very successful fundraising drive at the recent ComicsPRO meeting. All good news, as the CBLDF does a fantastic job of keeping free speech issues at the forefront of comics.
From the Guardian:
The former children's laureate Anne Fine, added her voice to the campaign, speaking of how "exasperating" it was that "these false and stupid assumptions about what each gender 'wants' are back in force, narrowing the horizons and possibilities for children of both sexes".
"You'd think this battle would have been won decades ago. But even some seemingly bright and observant adults are buying into it again - quite literally buying into it in the area of 'pink for girls and blue for boys'," said Fine. "There are girls of all sorts, with all interests, and boys of all sorts with all interests. Just meeting a few children should make that obvious enough. But no, these idiotic notions are spouted so often they become a self-fulfilling societal straitjacket from which all our children suffer."
By: Heidi MacDonald
Blog: PW -The Beat
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Straight from the offices of Publishers Weekly, it’s More to Come! Your podcast source of comics news and discussion starring The Beat’s own Heidi MacDonald.
In this week’s interview special, Publisher’s Weekly’s Calvin Reid interviews indie comics master Dean Haspiel about his beginnings as well as his latest work, including The Fox from Archie Comics and Fear, My Dear: A Billy Dogma Experience from new publisher Z2 Comics. Haspiel, known for his work on such books as “The Quitter” with Harvey Pekar and “The Alcoholic” with Jonathan Ames is also a co-founder of the web comics collective Act-I-Vate. All that and more on PW Comics World’s More To Come podcast.
Listen to this episode in streaming here, download it direct here and catch up with our previous podcasts on the PublishersWeekly website, or subscribe to More To Come on iTunes
It is not every day you see Fantagraphics associate publisher Eric Reynolds and legend Abe Vigoda in the same place (as seen on Reynolds’ FB page.). But it happened last night at the Society of Illustrators opening for Drew Friedman’s Old Jewish Comedians show. Also in attendance: Gilbert Gottfried, Paul Shaffer, Robert Klein and JAY EFF Joe Franklin. And from the arty/comicksy crew many people, including Mark Newgarden, Bob Sikoryak, Stephen DeStefano, Karen Green, Cliff Galbraith, J. David Spurlock, Jim Salicrup, Charles Brownstein, Anne Bernstein, Kriota Wilberg, Scott Eder and many people I’m forgetting. It was one of those “only in New York” times. Sadly, I arrived too late to catch Mr. Vigoda, whose existence I recently celebrated here.
Friedman’s painstaking, eerie and unforgettable portraits of the vast world of old Jewish comedians have been collected in three books, all from Fantagraphics, available as one rib tickling compilation. The exhibit includes some items—presumably from Friedman’s own collection— of books, puppets, and other tchatkes of the Vaudevile-to-Catskills world, now long vanished. However, I did learn from the biographical cards accompanying each art piece that Jack Carter and Marty Allen are still alive, both in their early 90s! VERY old Jewish comedians.
The work itself is a monument to this world so far behind us in the rearview mirror, disturbing yet familiar, creepy yet humane. Friedman’s originals are tiny, they are actually blown up to be reproduced, but his level of detail survives in such a scale, and somehow gain a patina of memory. From Jerry Lewis to Buddy Hackett to Sophie Tucker, it’s a twilight world of schtick, and we’re fortunate that Friedman has captured it for posterity.
Also up at the Society — a huge display of the art of Jeffrey Catherine Jones, including Idyll and most of his most famous works. It’s probably the biggest display of his work ever mounted, and perhaps the only one. There will be a big event for this show in the 21st, including a showing of Better Things, the documentary of Jones’ life, directed by Maria Paz Cabardo. That will doubtless be another only in New York evening.
After quizzing a cross section of the attendees I came to the conclusion that the fanbases for Jones and Friedman don’t overlap too much. Perhaps the Venn diagram includes only Heidi MacDonald. But both are well worth seeing, as is the MoCCA gallery show of Charles Rodriguez.
I’ve been going to SoI events for a while, but I have to say since director Anelle Miller started expanding the membership and the events calendar, it has once again become a true clubhouse as it was in the great days of illustration—and last night’s vastly entertaining event was just one example.
Taiyo Matsumoto’s Sunny and Emily Carroll’s Out of Skin have been named winners of the Cartoonist Studio Prize 2014.
The prize is presented each year by Slate in conjunction with the Center for Cartoon Studies which helps select the nominees. This year’s judges wereSlate’s Dan Lois, Dan Kois, the faculty and students at the Center for Cartoon Studies, and guest judge, Christopher Butcher.
Sunny, which won the Graphic Novel Prize, is an understated, sad story about Japanese orphans who fantasize about a better life via a junked yellow car.
Caroll’s Out of Skin, which won Best Webcomic, is the latest in her series of groundbreaking digital horror comics which use navigation and screen size to generate the mystery. Just click on it and read!
Here’s the whole list of shortlisted works and winners — click on some of these links! I guarantee you won’t be disappointed.
*** Sunny by Taiyo Matsumoto
Boxers and Saints by Gene Luen Yang.
The Encyclopedia of Early Earth by Isabel Greenberg.
The Initiates: A Comic Artist and a Wine Artisan Exchange Jobs by Étienne Davodeau.
Julio’s Day by Gilbert Hernández.
Map of Days by Robert Hunter.
Paul Joins the Scouts by Michel Rabagliati.
The Property by Rutu Modan.
Susceptible by Geneviève Castrée.
Today Is the Last Day of the Rest of Your Life by Ulli Lust.
***Out of Skin by Emily Carroll
As the Crow Flies by Melanie Gillman.
Bouletcorp by Boulet.
Gunshow by KC Green.
Household by Sam Alden.
The Lone Wolf by Jennifer Parks.
Lucky by Gabrielle Bell.
Oh Joy, Sex Toy by Erika Moen.
Sticks Angelica by Michael DeForge.
Subnormality by Winston Rowntree.
By: John Mark Boling,
Blog: The Winged Elephant
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Everyone at Overlook is brimming with excitement over Clifford Chase’s new book THE TOOTH FAIRY, but we’re not the only ones! Check out Alexander Chee's review for Slate and see for yourself why everyone is raving about Chase’s
radically candid new new memoir!
The White Space Between the Sentences
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, Classics & Archaeology
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, 300: Rise of an Empire
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By Paul Cartledge
Let’s be clear of one thing right from the word go: this is not in any useful sense a historical movie. It references a couple of major historical events but is not interested in ‘getting them right’. It uses historical characters but abuses them for its own dramatic, largely techno-visual ends. It wilfully commits the grossest historical blunders. This is in fact a historical fantasy-fiction movie and should be viewed and judged only as such. But in case any classroom teachers of Classical civilization or Classical history should be tempted to use it as a teaching aid: caveant magistri — let the teachers beware! Here are just five ways in which the movie is at best un-historical, at worst anti-historical.
(1) Error sets in with the very title: the ’300′ bit is a nod to Zack Snyder’s infinitely more successful 2006 movie to which this is a kind of sequel, and there is not just allusion to but bodily lifting of a couple of scenes from the predecessor. But which Empire is supposed to be on the rise here? I suppose that it’s meant to be, distantly, the ‘Athenian Empire’, but that didn’t even begin to rise until at least two years after the events the movie focuses on: the sea-battles of Artemisium and Salamis that both took place in 480 BCE.
(2) The movie gets underway with a wondrously unhistorical javelin-throw — cast by Athenian hero Themistokles (note the pseudo-authentic spelling of his name with a Greek ‘k’) on the battlefield of Marathon near Athens in 490 BCE, a cast which kills none other than Persian Great King Darius I, next to whom is standing his son and future successor Xerxes. Actually, though Darius had indeed launched the Persian expedition that came to grief at Marathon, he was not himself present there, nor was Xerxes.
Themistocles, on the other hand, was indeed present, but rather than carrying and throwing a javelin he was fighting in a dense phalanx formation and wielding a long, heavy pike armed with a fearsome iron tip made for thrusting into the Persian enemy hand-to-hand.
(3) From the Persians’ Marathon defeat, which (historically) accounts for their return revenge expedition under Xerxes, the scene shifts to the Persians’ fleet — in fact, a whole decade later. Connoisseurs of 300 will have been prepared for the digitally-enhanced, multiply-pierced and bangled Rodrigo Santo reprising his role of ‘god-king’ Xerxes. (Actually Persian king-emperors were not regarded or worshipped as gods.) Even they, though, will not necessarily have expected the Persian fleet to be under the command of a woman, and a Greek woman at that: Queen Artemisia of Halicarnassus (modern Bodrum), who is represented (in the exceedingly fetching person of Eva Green) as the equal if not superior of Xerxes himself, with her own court of fawning and thuggish male attendants, all hunks of beefcake.
Here the filmmakers are indeed drawing on a properly historical well of evidence: Artemisia — so we learn from Herodotus, her contemporary, fellow-countryman, and historian of the Graeco-Persian Wars — was indeed a Greek queen, who did fight for Xerxes and the Persians at Salamis. She did allegedly earn high praise from Xerxes as well as from Herodotus for the ‘manly’ quality of her personal bravery and her sage tactical and strategic advice.
But she was far from being admiral-in-chief of the entire Persian navy. She contributed a mere handful of warships out of the total of 600 or so, and those ships of hers could have made no decisive difference to the outcome of Salamis one way or the other.
(4) For some reason — perhaps because they were conscious of the extreme sameness of most of their material, a relentless succession of ultra-gory, stylised slayings, to the accompaniment of equally relentless drum’n'bass background thrummings — the filmmakers of this movie, unlike of 300, have felt the desire or even the need to include one rather prolonged and really quite explicit heterosexual sex-encounter. Understandably, perhaps, this is not between say Themistokles and his wife (or a slave-girl), or between Xerxes and a member of his (in historical fact, extensive) harem.
But — utterly and completely fantastically — it is between Themistokles and Artemisia in the interim between the battles of Artemisium (presented as a Greek defeat; actually it was a draw) and Salamis. Cue the baring of Eva Green’s considerable pectoral assets, cue some exceptionally violent and degrading verbal sparring, and cue virtual rape — encouraged by Artemisia at the time but later thrown back by her in Themistocles’s face as having been inadequate on the virility front.
(5) The crowning, climactic historical absurdity, however, is not the deeply unpleasant coupling between Themistokles and Artemisia, but the notion that in order for Themistocles and his Athenians to defeat the Persian fleet at Salamis they absolutely required the critical assistance of the massive Spartan navy which — echoes here of the US cavalry in countless westerns — turned up just in the nick of time, commanded by another Greek woman and indeed queen, Gorgo (widow of Leonidas, the hero of 300), again played by Lena Headey.
Actually, Sparta contributed a mere 16 warships to the united Greek fleet of some 400 ships at Salamis, and like Artemisia’s they made absolutely no difference to the outcome, which was resoundingly and incontestably an Athenian victory. The truly Spartan contribution to the overall defeat of the Persian invasion was made in very different circumstances, on land and by the heavy-infantry Spartan hoplites, at the battle of Plataea in the following summer of 479. But that is quite another story, one in which the un- or anti-historical filmmakers show not even a particle or scintilla of interest.
Paul Cartledge is the A.G. Leventis Professor of Greek Culture at the University of Cambridge and the author of After Thermopylae: the Oath of Plataea and the End of the Graeco-Persian Wars (OUP, 2013). He hastens to make clear that he was not in any way a consultant on ’300: Rise of an Empire’, as he had been, in a minor way, on ’300′.
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Image credit: 300: Rise of An Empire. (c) Warner Bros. via 300themovie.com
The post Five things 300: Rise of an Empire gets wrong appeared first on OUPblog.
Hey kids, two shows coming up this month, First:
Middle Georgia Comic Convention 2014
This is a BRAND NEW SHOW, held March 15-16 at the Macon Centerplex in Macon, GA. I have NEVER been to Georgia before so this will be a first. Other guests include Mark Bagley, Colleen Doran, Francesco Francavilla, Brian Stelfreeze, Justin Jordan, Tommy Lee Edwards and MORE. There will be some Walking Dead background players there, but since they are local, it seems appropriate. As I said, this is a first time show but they are trying to ahve the kind of intimate, local show that has been booming of late. Should be a good time.
Emerald City Comic Con
Once again, Ben McCool and I will both be on hand, at table F-10. This will be our first time there in years and from everything I’ve heard it has become a huge super con, so this will be quite an experience.
I know everyone is tired of the dumping on Agents of SHIELD but Tuesday’s big episode had the lowest ratings yet for the show. Whoops. The 1.7 rating was down 23 percent from 2.2 for the previous episode. You got some heavy lifting to do, Sif.
It’s worth remembering that as rousingly entertaining as they may be, none of the Marvel movies are cinematic masterpieces. In fact they are cut from a very standard cloth. I watched this episode and it was okay, but in a world of True Detective and Breaking Bad, it looks painfully pedestrian. But as my friends with kids tell me, the younglings like it, so let’s just leave it for the intended audience.
Now can we all start being anxious about the upcoming Netflix Defenders?
Via I'm pointed to the Ipshita Mitra's Q & A in the Times of India with Philip Gabriel on translating Haruki Murakami.
...have been announced.
The Children's/YA list is:
Better Nate Than Ever, by Tim Federle
Boy In Box, by Christopher R. Michael
Girls I’ve Run Away With, by Rhiannon Argo
If You Could Be Mine, Sara Farizan
Openly Straight, Bill Konigsberg
Rapture Practice, Aaron Hartzler
Secret City, Julia Watts
The Secret Ingredient, Stewart Lewis
The Summer Prince, Alaya Dawn Johnson
Two Boys Kissing, David Levithan
What Makes a Baby, Cory Silverberg and illustrated by Fiona Smyth
Click on through for the other shortlists!
They've announced this year's recipients of the Donald Windham-Sandy M. Campbell Literature Prizes -- who each receive: "an unrestricted grant of $150,000 to support their writing".
They are: Nadeem Aslam, Kia Corthron, Jim Crace, Aminatta Forna, Sam Holcroft, Noëlle Janaczewska, Pankaj Mishra, and John Vaillant.
By: Mark Thwaite,
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Cindytalk got me through... much of my youth, and most of my twenties. This is an unreleased demo track recorded in 1982. It was, as Gordon Sharp says in the YouTube comments, one of the first ever Cindytalk recordings...
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By Janet Veitch
On Saturday, 8 March, we celebrate International Women’s Day. But is there really anything to celebrate?
Last year, the United Nations declared its theme for International Women’s Day to be: “A promise is a promise: Time for action to end violence against women.” But in the United Kingdom in 2012, the government’s own figures show that around 1.2 million women suffered domestic abuse, over 400,000 women were sexually assaulted, 70,000 women were raped, and thousands more were stalked.
So, why is there violence against women?
The United Nations talks about a context of deep-rooted patriarchal systems and structures that enable men to assert power and control over women.
In a nutshell, this means that men’s violence against women is simply the most extreme manifestation of a continuum of male privilege, starting with domination of public discourse and decision-making, taking the lion’s share of global income and assets, and finally, controlling women’s actions and agency by force if necessary.
Throughout history and in most cultures, violence against women has been an accepted way in which men maintain power. In this country, the traditional right of a husband to inflict moderate corporal punishment on his wife in order to keep her “within the bounds of duty” was only removed in 1891. Our lingering ambivalence over the rights and wrongs of intervening in the face of domestic violence (“It’s just a domestic” as the police used to say) continues more than a century later. An ICM poll in 2003 found more people would call the police if someone was mistreating their dog than if someone was mistreating their partner (78% versus 53%). Women recognise this culture of condoning and excusing violence against them in their reluctance even today to exert their legal rights and make an official complaint. The most recent figures from the Ministry of Justice show that only 15% of women who have been raped report it to the police. And when they do, they’re likely to be disbelieved: the ‘no-crime’ rate (where a victim reports a crime but the police decide that no crime took place) for overall police recorded crime is 3.4%; for rape it’s 10.8%. All this adds up to a culture of impunity in which violence can continue.
And it’s exacerbated by our media. When the End Violence against Women Coalition, along with some of our members, were invited to give evidence to the Leveson Inquiry, we argued that:
“reporting on violence against women which misrepresents crimes, which is intrusive, which sensationalises and which uncritically blames ‘culture’, is not simply uninformed, trivial or in bad taste. It has real and lasting impact – it reinforces attitudes which blame women and girls for the violence that is done to them, and it allows some perpetrators to believe they will get away with committing violence. Because such news reporting are critical to establishing what behaviour is acceptable and what is regarded as ‘real’ crime, in the long term and cumulatively, this reporting affects what is perceived as crime, which victims come forward, how some perpetrators behave, and ultimately who is and is not convicted of crime.”
When do states become responsible for private acts of violence against women?
The UN Committee on the Elimination of All Forms of Discrimination against Women (CEDAW) says in its General Recommendation No. 19 that states may be responsible for private acts “if they fail to act with due diligence to prevent violations of rights or to investigate and punish acts of violence.”
Due diligence means that states must show the same level of commitment to preventing, investigating, punishing and providing remedies for violence against women as they do other crimes of violence. Arguably, our poor rates of reporting and prosecution suggest that the UK is not fulfilling this obligation.
What are some possible policy solutions to eliminate violence against women?
The last Government developed a national strategy to tackle this problem and the current Government has followed suit, adopting a national action plan that aims to coordinate action at the highest level. This has had the single-minded backing of the Home Secretary, Theresa May — who of course happens to be a woman. Under this umbrella, steps have been taken to focus on what works — although much more needs to be done, for example on the key issue of prevention –changing the attitudes that create a conducive environment for violence. Research by the UN in a number of countries recently showed that 70-80% of men who raped said did so because they felt entitled to; they thought they had a right to sex. Research with young people by the Children’s Commissioner has highlighted the sexual double standard that rewards young men for having sex while passing negative judgment on young women who do so. We need to rethink constructions of gender, particularly of masculinity.
What will the End Violence Against Women Campaign focus on this year?
End Violence Against Women welcomes the fact that the main political parties now recognize that this is a key public policy issue, and we’ll be using the upcoming local and national elections in 2014 and 2015 to question candidates on their practical proposals for ending violence against women and girls. We need to make sure that women’s support services are available in every area. And we’ll be working on our long-term aim of changing the way people talk and think about violence against women and girls — starting in schools, where children learn about gender roles and stereotypes — much earlier than we think. We hope Michael Gove will back our Schools Safe 4 Girls campaign. We also look forward to a historic milestone in April, when the UN special rapporteur on violence against women makes a visit to the UK to assess progress.
On International Women’s Day this year, what is the most urgent issue for the world to focus on?
As Nelson Mandela said: “For every woman and girl violently attacked, we reduce our humanity. Every woman who has to sell her life for sex we condemn to a lifetime in prison. For every moment we remain silent, we conspire against our women.” While women across the world are raped and murdered, systematically beaten, trafficked, bought and sold, ending this “undeclared war on women” has to be our top priority.
Janet Veitch is a member of the board of the End Violence against Women Coalition, a coalition of activists, women’s rights and human rights organisations, survivors of violence, academics and front line service providers calling for concerted action to end violence against women. She is immediate past Chair of the UK Women’s Budget Group. She was awarded an OBE for services to women’s rights in 2011.
On 22 March 2014, the University of Nottingham Human Rights Law Centre will be hosting the 15th Annual Student Human Rights Conference ‘Mind the Gender Gap: The Rights of Women,’ and Janet Veitch will be among the experts on the rights of women who will be speaking. Full details are available on the Human Rights Law Centre webpage.
Human Rights Law Review publishes critical articles that consider human rights in their various contexts, from global to national levels, book reviews, and a section dedicated to analysis of recent jurisprudence and practice of the UN and regional human rights systems.
Oxford University Press is a leading publisher in international law, including the Max Planck Encyclopedia of Public International Law, latest titles from thought leaders in the field, and a wide range of law journals and online products. We publish original works across key areas of study, from humanitarian to international economic to environmental law, developing outstanding resources to support students, scholars, and practitioners worldwide. For the latest news, commentary, and insights follow the International Law team on Twitter @OUPIntLaw.
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Image credit: Crying woman sitting in the corner of the room, with phone in front of her to call for help. © legenda via iStockphoto.
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I’m happy to report that Sequart’s SHE MAKES COMICS documentary has been fully funded and reached a first stretch goal of making a special 15 minute mini-documentary about Jackie Ormes, the first black woman cartoonist.
The film will be directed by Marisa Stotter, and co-produced by Karen Green, and include an oral history of women in comics as fans and creators. (Disclosure: I’m scheduled to be interviewed to it at some point.)
This is a story that needs to be told. I can’t embed it, but Stotter made a little film shown here about going to Meltdown Comics and asking people to name female comics creators. The results may surprise you. Or not. Anyway, I’m excited to see the stories of people who were pioneers in moving comics forward—aside from any gender consideration—being told on film.
The most recent addition to the complete review is my review of Nobel laureate Kawabata Yasunari's early classic, Snow Country.
My copy is an ancient Berkley Medallion mass-market paperback -- anything to avoid the trade-paperback size, and to be able to carry the book around in my pocket -- but I must say I was disappointed to find in my copy -- the eighth printing ! -- the misprint:
"It makes me very said," she murmured to herself.
It makes me very said
, too, when such an important sentence is left with the misspelling intact across so many printings and years (it's a 1972 printing, of a version first published in 1960).
Nine years after the first SIN CITY created a whole new look for the movies, the first trailer for the sequel has been released. Starring Josh Brolin, Mickey Rourke, Jessica Alba, Rosario Dawson, Jaime King, Joseph Gordon-Levitt, Dennis Haysbert, Jamie Chung, Bruce Willis, Eva Green, Julia Garner, Ray Liotta, Juno Temple, Jeremy Piven and Stacey Keach, SIN CITY: A DAME TO KILL FOR was directed by Robert Rodriguez from a screenplay by Sin City creator Frank Miller. But no Clive Owen. Sob.
The first Sin City was electrifying in its original look, and kicked off the entire trend of basing comic book movies on the actual comic. So many of the visual styles of the first movie have become tropes now, it’s hard to remember just how eyeball searing it was at first. And it’s safe to say the careers of both Rodriguez and Miller haven’t gone in the direction you might have expected since then. But the sequel promises to deliver more razor-sharp black and white debauchery by an all-star cast.
The film opens on August 22.
New York’s MoCCA Festival kicks off on April 5 &6 at the Lexington Armory,and the key art by guest Fiona Staples has just been released. It’s a take off on Breughel’s classic Tower of Babel imagery except with flying carpets. That’s how MoCCA always feels to me.
Along with Staples, Howrd Cruse, Robert Williams and Alison Bechdel will be the guests of honor at this year’s show. While they won’t be able to enjoy a banh mi across the street, it should still be an awesome time.
This morning, twitter once again seemed to come a live for wizards and J.K. Rowling. As it is always a treat when our literary Queen takes time to post a tweet, it was a pleasant surprise to see her twitter a buzz with more rugby. Low and behold, Ms. Rowling was even responding to direct tweets and retweets directed at her. She made one request of her fans, if we retweet #wizards4Scotlandrugbyteam she would give us "loads" of new material on the Quidditch World Cup on Pottermore. As her twitter says:
No, you worked, the wizards just cheered. What a win!
All 3 suspected wizard-borns playing for Scotland tomorrow! If that makes no sense, try
Scotland-France . If you lovely people re-tweet I'll put loads on Quidditch World Cup on Pottermore x
Sorry James - retweet - could have saved a whole character.
From a Q&A in the New York Times with Teju Cole:
What books are you embarrassed not to have read yet?
I have not read most of the big 19th-century novels that people consider “essential,” nor most of the 20th-century ones for that matter. But this does not embarrass me. There are many films to see, many friends to visit, many walks to take, many playlists to assemble and many favorite books to reread. Life’s too short for anxious score-keeping. Also, my grandmother is illiterate, and she’s one of the best people I know. Reading is a deep personal consolation for me, but other things console, too.
At USA Today:
I slept horribly after Detective Grant left. I don't remember most of my nightmares, just vague images from the death visions I had of Nate's and Grace's possible ends. I think that the killer is the same person who pushes Grace into her car trunk and makes Nate choke on liquor. I have no actual proof—just a feeling. The odds of two killers in my small town seem impossible. Truthfully, even one seems impossible, but I know there is one. We all know that now. What I don't know—and need to figure out—is what it has to do with me. And why he tried to kill me.
Click on through to USA Today to read the rest!
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By Jose M. Madiedo
On 11 September 2013, an unusually long and bright impact flash was observed on the Moon. Its peak luminosity was equivalent to a stellar magnitude of around 2.9.
What happened? A meteorite with a mass of around 400 kg hit the lunar surface at a speed of over 61,000 kilometres per hour.
Rocks often collide with the lunar surface at high speed (tens of thousands of kilometres per hour) and are instantaneously vaporised at the impact site. This gives rise to a thermal glow that can be detected by telescopes from Earth as short duration flashes. These flashes, in general, last just a fraction of a second.
The extraordinary flash in September was recorded from Spain by two telescopes operating in the framework of the Moon Impacts Detection and Analysis System (MIDAS). These devices were aimed to the same area in the night side of the Moon. With a duration of over eight seconds, this is the brightest and longest confirmed impact flash ever recorded on the Moon.
Click here to view the embedded video.
Our calculations show that the impact, which took place at 20:07 GMT, created a new crater with a diameter of around 40 meters in Mare Nubium. This rock had a size raging between 0.6 and 1.4 metres. The impact energy was equivalent to over 15 tons of TNT under the assumption of a luminous efficiency of 0.002 (the fraction of kinetic energy converted into visible radiation as a consequence of the hypervelocity impact).
The detection of impact flashes is one of the techniques suitable to analyze the flux of incoming bodies to the Earth. One of the characteristics of the lunar impacts monitoring technique is that it is not possible to unambiguously associate an impact flash with a given meteoroid stream. Nevertheless, our analysis shows that the most likely scenario is that the impactor had a sporadic origin (i.e., was not associated to any known meteoroid stream). From the analysis of this event we have learnt that that one metre-sized objects may strike our planet about ten times as often as previously thought.
Dr. Jose Maria Madiedo is a professor at Universidad de Huelva. He is the author of “A large lunar impact blast on 2013 September 11” in the most recent issue of the Monthly Notices of the Royal Astronomical Society.
Monthly Notices of the Royal Astronomical Society is one of the world’s leading primary research journals in astronomy and astrophysics, as well as one of the longest established. It publishes the results of original research in astronomy and astrophysics, both observational and theoretical.
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