Skip to main content

But mightn't my Harvard crimson trump your Yale blue (12 March 2009)

As the editor who published this piece, I never saw it as a technical analysis of the economy. It is political analysis, a learned observer's sense of where power resides, how those with power must be appeased even when they may not have earned it, and, yes, where to lay some blame. Rather than shallow, I find Michael's take to be unencumbered by a bunch of economic and academic gobbledygook. He calls it as he sees it -- and he sees it as a noted professor of US history. (David Beers, "Tbarnston, another view," _The Tyee_. March 12, 2009)

Folks, don't dare object to the piece, for it's written from a "learned observer," " a "noted professor" -- that is, from someone from within an establishment David Beers evidently has great respect for. Considering that this journal (i.e., The Tyee) evidences some signs of being a guerrilla, alternative, "mouthpiece," some of us might now be confused as to when we're supposed to defer and when we're allowed to object. If the editor doesn't want to have to chime in again to tell the unsavy why this particular piece is one they should just just try and learn from, or if compelled to comment, just offer up a Jeffrey J. and be done with it, he should find some way of marking the piece so we're all in the know. He kind of did -- he told us this particular author is being published by YaleUP, but again, all that stuff about feisty fish confuses -- so we're NOT supposed to pour scorn on those who know what the little spoon is for? We're supposed to revere well-positioned plain-speaking academics, even though they tend to be conservative, and dump on those who talk in academic gobbledygoody, even though they tend to come from the postcolonial, feminist/gender studies, new historical, marxist schools, that tend to lean strongly progressive? Okay. Oh dear.

Link: Rescuing the Wealthy Idiots (The Tyee)

Comments

Popular posts from this blog

Discussion over the fate of Jolenta, at the Gene Wolfe facebook appreciation site

Patrick McEvoy-Halston November 28 at 10:36 AM Why does Severian make almost no effort to develop sustained empathy for Jolenta -- no interest in her roots, what made her who she was -- even as she features so much in the first part of the narrative? Her fate at the end is one sustained gross happenstance after another... Severian has repeated sex with her while she lay half drugged, an act he argues later he imagines she wanted -- even as he admits it could appear to some, bald "rape" -- but which certainly followed his  discussion of her as someone whom he could hate so much it invited his desire to destroy her; Severian abandons her to Dr. Talus, who had threatened to kill her if she insisted on clinging to him; Baldanders robs her of her money; she's sucked at by blood bats, and, finally, left at death revealed discombobulated of all beauty... a hunk of junk, like that the Saltus citizens keep heaped away from their village for it ruining their preferred sense ...

Salon discussion of "Almost Famous" gang-rape scene

Patrick McEvoy-Halston: The "Almost Famous'" gang-rape scene? Isn't this the film that features the deflowering of a virgin -- out of boredom -- by a pack of predator-vixons, who otherwise thought so little of him they were quite willing to pee in his near vicinity? Maybe we'll come to conclude that "[t]he scene only works because people were stupid about [boy by girl] [. . .] rape at the time" (Amy Benfer). Sawmonkey: Lucky boy Pull that stick a few more inches out of your chute, Patrick. This was one of the best flicks of the decade. (sawmonkey, response to post, “Films of the decade: ‘Amost Famous’, R.J. Culter, Salon, 13 Dec. 2009) Patrick McEvoy-Halston: @sawmonkey It made an impression on me too. Great charm. Great friends. But it is one of the things you (or at least I) notice on the review, there is the SUGGESTION, with him being so (rightly) upset with the girls feeling so free to pee right before him, that sex with him is just further presump...

The Conjuring

The Conjuring 
I don't know if contemporary filmmakers are aware of it, but if they decide to set their films in the '70s, some of the affordments of that time are going to make them have to work harder to simply get a good scare from us. Who would you expect to have a more tenacious hold on that house, for example? The ghosts from Salem, or us from 2013, who've just been shown a New England home just a notch or two downscaled from being a Jeffersonian estate, that a single-income truck driver with some savings can afford? Seriously, though it's easy to credit that the father — Roger Perron—would get his family out of that house as fast as he could when trouble really stirs, we'd be more apt to still be wagering our losses—one dead dog, a wife accumulating bruises, some good scares to our kids—against what we might yet have full claim to. The losses will get their nursing—even the heavy traumas, maybe—if out of this we've still got a house—really,...