Archive for the ‘onEntertainment’ Category

College Concerns and Worries

Wednesday, September 5th, 2012

As young adults, we are prone to taking a “trial and error” approach to life. We know one of the many goals associated with college is the promise of a better life. We also know getting through college is a mission itself, filled with all types of twists and turns we never see coming. Here are a couple of concerns you may or may not have experienced, and some pretty good solutions to help keep your stress leveled.

 

Finances

 

Money will always be a major issue. Unless you hit the lottery or were born into royalty, you’re probably counting every penny you spend. Everything from getting to school to the afternoon snack craving can become a problem.

As college students we tend to want to blow our money on the first things we can think of. Saving is a minimal priority. HelpSaveMyDollars.com’s creator Scott Gamm developed a theory stating fifty percent of college students have 4 or more credit cards. An even more shocking statistic is that eighty percent of students fail to pay off their credit card bill.

The key is to keep an eye on your money and always track what you are spending. I’ve written an article entitled “College Savings Doesn’t Mean College Boredom” in which I talk about having fun in New York the cheapest way possible.

 

 

Social Life

Balancing school and anything else can prove to be quite complicated. Whether it’s a job or an internship, you will find you don’t have much time for anything else. Twenty three percent of full-time undergrads, who are 24 or younger, work 20 hours or more a week. With hours like that plus the 15 hours or more you plan to spend in classes and on after class activities (labs and group projects anyone?), you won’t have much time for anything else.

Although having any kind of social life can seem like an extra burden, it’s not impossible and is more than healthy for a college student. Someone paying you a visit after you come home from work is one way that comes to mind (because you know . . . you’ll be too tired to go out and all). Someone can come meet you at your job after your shift. Meeting people at school is also a good way to kill two birds with one stone. Trust me . . . you’ll be spending A LOT of time with these people, so you might as well get to know them. You might like them.

 

Professors

 

We’ve all heard it before, “I have to take Professor (place name here). He’s an easy A” or “I don’t want Professor (alchy). He’s always drunk.”

Okay . . . maybe the last one is just me, but you get the idea.

There are those out there who simply don’t care who ends up teaching them a specific course, but for many of us, there’s that one professor that just gets us. Early registration is the key to getting the professors you want, the classes you want, at the times you want to take them. Some schools even give you cash stipends for early registration, which is even more of an incentive.

Personally, I never understood math until I had this one professor. She never let me (or anyone for that matter) leave class until she was sure we understood the material. This may seem like torture but I didn’t fail a test that whole semester . . . . . So I guess it worked, at least in my case

 

Personal Problems

 

We all have lives outside of college and many times it’s hard for our personal issues to not get in the way. Students with children have to constantly worry about their kid as it will always be one of their top priorities. Students can be involved in relationships that just swallow up their time (and if this is you, you should really learn how to prioritize) among other things.

I’ve been in three different living situations ever since I started school and I’m working on a fourth and hopefully my last for a while. Going to school and not knowing if I’ll even have a home to come back to has definitely been one of the hardest things I’ve had to deal with in my life. All the “stay focused” and “keep your eyes on the prize” speeches never made any sense until I reached this period in my life.

Even though life can overwhelm you at times, it is important to know why you enrolled in this first place. It’s easy to forget why we started on this journey when all the unnecessary crap is constantly thrown in our face. Whatever the issue is, it’s important to know you have the strength, the tools and the support to get through whatever you’re going through. Also, you ARE working towards a better future and that’s more than most people can say.

 

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Carlos L., Monroe College. Read my blog!!  Follow me on Twitterand Facebook :)

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Books: On Selling and Borrowing

Monday, September 3rd, 2012

College savings are important. Just this month, I had to pack all of my books along with my essential goodies into a car and drive it almost 400 miles only to take the boxes back out and lug them into my parents’ house. It cost a pretty penny. The books are still unpacked and I don’t have space to store them anywhere. This got me thinking: why don’t I start selling on Amazon again?

While living in an apartment in Western New York, I sold books and video games, but mostly books. I made a nice chunk of change selling them, and got rid of things that I had no use for. Of course, I had to invest about $20-$30 to start in order to buy a nice Sharpie and bubble mailers in which to safely mail books, DVDs, CDs, and games. Towards the end, I got a bit lazy and decided to remove all of my listings on Amazon. This time, however, I plan to start up again.

Selling items online is a great way to make extra money and lighten your load. It is not as time consuming as people think it is. All you need is about 25 minutes (or less, depending on how many items you are going to sell) to punch in the ISBN numbers and the UPC code and just set a price that you are willing to sell the item at. You don’t want the selling price to be too low, because you won’t make profit. Try to avoid selling items at 99¢. Only large-scale sellers can afford to do that. You might reason that Amazon gives you $3.99 for shipping and handling, but they take a percentage of that and you have to mail the item too—out of your pocket. That’s not worth the money and time for you. I try for items that sell for $3.99 and up. Try to sell your books during back-to-school seasons. Prices skyrocket during these times. It’s actually pretty crazy. I have a book that I bought for $4.99 + S/H three years ago that is now sold on Amazon for $50.99. I don’t get it, but that’s $46 profit in my pocket.

Also, go to book sales if you want to make this a money-making hobby. I bought a fairly large amount of books at $1 each and profited off of them. I’ve found out (although it may be common sense) that older books can make more money, especially if they are OOP, or out-of-print. Some can go for as high as $250 if they are in great condition. Can you imagine paying over $200 for a paperback?

When you mail items like books, especially if they are large like chemistry textbooks, or textbooks in general, send them via Media Mail. It’s the cheapest way to send heavy books to your customer. Don’t bother with First Class or Priority unless the customer has paid the extra for faster delivery. Of course, there are instances where First Class is cheaper than Media Mail. Just ask the teller at your Post Office and they will tell you.

Now, what am I going to do when I have no books to sell? What am I going to do when I want to read books? Lucky for me, I live near a library. It was just this summer that I’ve come to understand how useful libraries are. I can order books—if the local library doesn’t have it—through the library system, and other libraries within that branch will send the books to the closest library to you for pick up, and best of all, it’s free. Well, not exactly free, but you don’t pay for the books, right? You can borrow as many books as you want as long as you have a library card.

I’m not sure about other libraries, but for the library I frequent, you have to show a proof of residence to that particular area. Just show a utility bill or your driver’s license and you should be able to sign up for a card fairly easily.

I can spend all day in a library. It’s a luxury that I can afford—because it’s free. Of course, university libraries are far more extensive, but I can’t complain—well, sometimes I do.

Owning books, of course, has its perks. There’s no due date, you can write in them, and you can take it out of your bookshelf and leaf through the pages for that certain paragraph or sentence at any time. But they do take up space, especially if you move around a lot. However, I don’t plan on selling all of my books. There are a couple that I will hold on to for a long time, if not, forever. These books represent my thoughts and ideas. These books have been read over and over again. Unfortunately, there are books that I do not have time for and have no interest in reading that have found themselves in my possession that I let go with a heavy heart.


Sold some books, did you? Treat yourself and a friend to some delicious Thai food at Reserve!


Michael Koh. Read my blog!!  Follow me on Twitter!

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Going Out in the City on a College Budget: Five Whys and Five Hows

Tuesday, August 21st, 2012

Growing up, going to “the city” (that is, New York City) meant dressing up in whatever dress I wore for Easter Sunday or Christmas Eve and going out to dinner at a Zagat-rated restaurant somewhere in Little Italy with my family.  In those days, Mom and Dad paid.  When I first moved to the city from Westchester four years ago, going out meant throwing on a shirt and skirt in hopes of looking somewhat decent on the line of an overhyped 18+ club that I or my roommates were “on the list” for, thanks to a Facebook group that boasted to keep us up-to-date on the hottest and cheapest NYC college-age nightlife.  I quickly denied the existence of such a life.

pitfalls of fake IDs

When I turned twenty-one, I retired my once-used, two-years-expired fake ID that flaunted the image of a girl who looks absolutely nothing like me except for the fact that we are both 5’4” and have brown hair and brown eyes. At 5PM on my twenty-first birthday, I entered a heavenly paradise: Trader Joe’s Wine Shop.  Knowing that I would, without a doubt, be carded there, I stood on line with two bottles of Three-Buck-Chuck and my awkward but somehow freeing sixteen-year-old smile staring at me from my driver’s license.

When it comes to going out, the city has much to offer besides Trader Joe’s Wine Shop.  Bars are everywhere, nightclubs are plentiful, and parties often literally happen in the streets and under them in the subways.  Having gone to Manhattan for college, I was faced with the challenge of the city in addition to traditional college distractions.  Still, I believe that the ups outnumber and outweigh the downs when it comes to the typical college student’s desire to celebrate the weekend, weekday, or lack of knowing what day it is.

  1. You can leave your apartment without a set destination.  Don’t know where to go?  Just go.  Look for “two for one” signs.  Follow crowds.  Gravitate towards noise.  Ask loud people you cross on the street where they just came from and hope they remember.
  2. You meet people (whether you want to or not).  Though you may unwillingly find out about a stranger’s hygiene, astrological sign, and pick-up techniques, you may also make some new friends or at least go home with an interesting story or characters for that screenplay you’ve been working on.
  3. You don’t have to designate a driver.  Subways, taxis, and sidewalks are a New Yorker’s best friends.  Because few people going to college in the city have a car with them, there is no need to draw straws at the beginning of the night (though you may want to designate a pack leader to lead the way home if you’re sleepily returning at three in the morning).

    Designate your shoes when you don't designate a driver. Walking in heels can be tough!

  4. You can always find a place to eat.  From cookies to dollar pizza to street meat to pretty much anything, food is always available and often cheap.
  5. Nowhere is off-limits.  Though you may have to wait a bit longer for subways to arrive the closer it gets to sunrise, every borough is at your fingertips.  This also allows for you to try a new place when “the usual” just isn’t enough. 

The bad news?  Money doesn’t grow on trees, and, if it did, you still wouldn’t have any because you likely don’t have any trees growing on your fire escape.  The city is always outside your door, always awake, and always hungry for your wallet.  Plus, the fact that you may or may not already be going broke paying for a college education doesn’t help any.

However, if there’s one thing I’ve learned in the past four years, it’s that you should always be prepared.  If you plan out at least part of your night ahead of time, you don’t have to pay much for a night of fun.

  1. Eat dinner home.  Instead of going out to eat, make dinner with some friends in someone’s kitchen or have a potluck dinner.  This is often cheaper and healthier, and allows you to start the weekend celebration together and then head out when everyone is accounted for.

    Leave yourselves a large tip with all the money you save when you celebrate at home with friends.

  2. Buy your own alcohol. If you are 21 and drink, look online for which liquor stores or beer distributors have the best deals on your beverage(s) of choice, and hit them up before they close.  Make your own concoctions, which can be fun!  And, if you do go out afterwards, you’ll probably be less tempted to spend money on overpriced drinks.
  3. Arrive early.  Many locations (bars and clubs alike) that charge cover fees charge differently according to what time it is.  If your usual bar has a good happy hour, meet up with a few friends for cheap drinks.  If a club says that admission is free before ten o’clock, consider getting there early.  Don’t forget to account for the time it takes to wait on line!  Also, when possible, be female—you’ll probably pay less to get in to some places.
  4. Have your own dance/karaoke/movie/theme party.  Sometimes a night in can be even more rewarding than a night out.
  5. Take advantage of your college or university.  While you might associate school events with middle school dances when the sexes stood on opposite sides of the room and stared at their feet or giggled in circles, school-sponsored events can often be fun.  The people putting them together are probably either paid to do it (and probably at least somewhat good at it) or they are college students just like you with similar ideas of fun.  Check your school events calendar, as well as any deals that your school and local businesses offers like student-price movie tickets, coupons, brochures, and other student savings.  You’ll be surprised what you can find!

It's who you're with that counts most.

Of course, there is no perfect formula for saving money, but over time you should discover what works for you and learn your own methods along the way.  While you’re in college, remember that you’re in college.  Remember that you’re not the only one concerned about saving money while having fun, that there are whole schools of students worried about the same thing.  In this realization you can find your savior—your friends.  No matter where you’re going or what you’re doing, surround yourself by good people and you can’t go wrong.

 

Take advantage of a great happy hour at Cuba!

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Carina, New York University. Read my blog and check out my Twitter! FOLLOW ME!!

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On Watching the Olympics

Monday, July 30th, 2012

The opening ceremony for the 2012 Summer Olympics was held on Friday, June 27th across the pond in London. I, along with billions of people from around the world, witnessed a bizarre spectacle of British history (mostly all happy stuff, no Spanish Armada destroying the British fleet, or the British invading India). It ranged from coal miners emerging from a cave(?) and then moved on to Mary Poppins and a parody of James Bond. The ending, I thought was quite spectacular, considering that London seemed to embrace the dubstep/grime culture that’s been so central to their youth. The social media thing was clever in a way that did not alienate the majority of viewers—except for men and women hailing from certain countries that limit freedom.

Since the opening ceremony, I (like many others) have been keeping an eye on medal counts, and I felt that there was something a bit amiss between the initial celebrations and the celebrations on the podium.

I took a look at the 2008 Beijing Olympics and the current medal standings at London. The New York Times actually has a pretty cool interactive map of the medal winners from previous Olympics that, interestingly, lists the countries by number of medals won, not by the number of gold medals won (which would have put China in first place, not the United States).

Here are the current top 10 medal-winning countries from the 2012 Summer Olympics in London:

Here are the top 10 medal-winning countries from the 2008 Summer Olympics:

…and the 2008 interactive map provided by the New York Times:

Do you see a difference? There are obviously countries that consistently dominate in the Olympics. Although it’s still very early in the Olympics 2012, by an extrapolation of data from previous Olympics, it’s pretty clear which nations will be  in the top 10 at the end of the Olympic games.

Here are the top 10 countries from the 2004 Summer Olympics in Athens:

…and the 2000 Summer Olympics in Sydney:

Interesting, isn’t it?

How about one more, from the 1996 Summer Olympics in Atlanta:

Time and time again, you see the same countries place in the top 10. Obviously, the United States hasn’t placed lower than No. 2, and I guarantee that this summer, the US will place first or second (probably second) with China.

But, this isn’t a medals race, no way. The media might focus on the medal count—I mean, we’re all suckers for high numbers—but really, this is a celebration of the achievements these athletes have accomplished.

This is a celebration of the world.

The Olympic Committee has a commission called “The Commission for Culture and Olympic Education” for support and promotion of health, peace, and a better world through cultural exchanges and recognizing cultural diversity.

The Olympic games moved from a competition to an exhibition, successfully incorporating the elements of the arts into the mix. It embraced the presentation of culture through the subjective, the incorporeal attitudes of certain cultures depicted only though the means of sculptures or paintings.

In its very essence, with countries showcasing their best athletes, the participants of the Olympic games are not only competing against one another, they’ve become participants of a global museum; that is, the best athletes are watched and scrutinized and admired, not just as men and women with incredible athleticism, but as part of the cultural exhibit put on show for the world. The athletes become, basically works of art, rather, “sculpture-esque,” and are canonized into the halls of the Olympians.


Read my blog and check out my Twitter!

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Love is on the Air: FOX’s The Choice

Saturday, July 21st, 2012

I turned on FOX television network’s reality TV show Take Me Out one Thursday night after seeing Ingrid Michaelson tweet about it. Having only caught the last half hour (which, factoring in commercial breaks, means I saw maybe about fifteen minutes), I was in that weird, bad-reality-TV mood and threw the remote to the other side of the couch. I proceeded to watch The Choice.

http://www.youtube.com/watch?v=DnOKEsAfXsM&feature=relmfu

Hosted by Cat Deeley, the English girl with the nice legs who’s also hosted Dancing with the Stars, this episode starred Pauly D from The Jersey Shore, recording artist Romeo, Olympic skier Jeremy Bloom, and actor Jason Cook. The four celebrities sat in chairs facing the audience and away from the stage—if you’ve ever watched The Voice, it’s the same idea (and not coincidentally, because apparently The Choice is a parody of NBC’s more viable show). The concept of the dating show is essentially to give “regular” people the chance to have a dream date with a celebrity, based off of their personality and not their looks.

This latter aim is an ironic one because the show very obviously fails to achieve its don’t-judge-a-book-by-its-cover facade. First off, the pre-show contestant selection process seems to weed out anything-but-decent looking people, all who have clearly put a lot of effort into their appearances. Secondly, during the show, the “blind” celebrities are allowed, very early on, to see the contestants, and can easily choose according to their physical preferences.

Like any date, The Choice starts off with introductions: all the chairs are turned and a contestant’s name is announced. A large recorded silhouette of her body is displayed (I mean large, like the-wizard’s-face-in-the-Wizard-of-Oz large) while she attempts to show off how much she can shake her hips or grind or flip the hem of her dress. Then the walls of Oz part and she walks out as if auditioning for Toddlers and Tiaras, striking a pose at the end of her catwalk like a supermodel in training. The crowd cheers and often influences the choice of the celebs before anyone hears her speak. When she does open her mouth, she usually shouts as if she wasn’t already hooked up to a microphone. She describes herself in an over-rehearsed speech in terms of her personality and oftentimes also her looks, which is yet another step that makes the dates not-so-blind. Clichés, pick-up lines, and the corniest things you’ve ever heard fly across the stage in attempts to tickle the ears and other body parts of the lucky four celebrities.

Depending on who is in the chairs, there is a varied amount of room for sleaziness—while Pauly loved the girl who just got a stripper pole in her bedroom to exercise, Jeremy Bloom was all about the girl who liked to hang out with her grandma. The celebrity cast seemed to have been carefully chosen to present such a variety, which was a good thing because it left a chance for the small percentage of contestants who didn’t give hints about their love for giving oral sex.

The “blind” portion of the dating show can, from here forward, completely be tossed out the window, since the girls who least appeal to the celebrities physically can simply be eliminated within the next two rounds. Such is the case more often than not, and understandably so.

If more than one celebrity turns their chair for a contestant, then the decision-making power changes hands. It is then the celebrities’ turn to woo, which they are no rookies at, given their just-below-A-list statuses. While Pauly D described himself as “fun, ambitious, and trustworthy,” Romeo attempted to work his magic by remarking that looking at his contestant was “Better than looking at a Picasso.” The ladies were wooed in both cases, though the second girl probably shouldn’t have bought it because the most famous Picassos look like this.

Team Pauly standing beauty-contest style

The first round takes up the first half hour of the show, so after a hefty commercial break, round two commences. Once each celebrity has assembled a steamy team of three, the celebrities take turns asking their dates questions for fifteen seconds at a time—which is, obviously, the perfect amount of time to get an accurate impression of someone. Life or death questions like “Would you rather eat a bag of jalapeños or drink a beer that someone just dropped a cigarette into?” and stress-inducing demands like “Tell me a joke” put the girls on the spot as they stutter over their words. When they find a second of silence, the girls spit questions back at the celebrities which are often answered by another question. This is by far the most chaotic round and it doesn’t seem to achieve much except reveal a contestant’s choice of filler words.

When each girl has been asked two questions, the celebrities then eliminate one girl from their team of three. The last fifteen minutes (with, of course, another five-minute commercial break in the middle) revolve around the third and final round in which Cat Deeley reads a question to the contestants individually. After both girls have answered the question, the celebrity goes up on stage and chooses between the two, carrying her back to his chair on his arm so that he can whisk her off on a celebrity dream date.

This round proved to be very funny in the episode that I watched. When Cat asked Jason’s team, “What would you prescribe Jason if he came to you with a broken heart?,” the darker skinned girl replied “Coffee for your cream” (which doesn’t really make sense, unless cream has healing properties that I don’t know about). Ironically, when the second girl came out from backstage, her answer was “a lot of chocolate.” The crowd laughed and the poor girl was so confused that she almost stopped her answer there.

Pauly's unsurprising choice for a date

Jason, of course, couldn’t not pick the first girl after the chocolate comments, and so the commercial break that preceded his big decision was the least anticipation-filled commercial break ever. Completely unsurprising also was Pauly D’s choice, which anyone who has watched The Jersey Shore could easily predict from the end of round one. Despite the fact that the second girl on his team gave a fuller answer that actually made sense, he claimed, once on stage, that “If you looked up my type in the dictionary, there’s a great big picture of Elyse,” and chose the first girl.

Later episodes have featured female celebrities with male contestants and, from one other episode I regrettably watched, have the potential to be slightly less hectic than this first premier episode. Still, the main rule seems to be that if you want to win a date with a celebrity, your success depends on who the celebrity is. If you want a date with someone who is ambitious and career-focused, show interest in things that are relevant to him, like music. If you’re aiming for a date with someone with a sense of humor, make them laugh, even if the laughs are a result of coincidence. If you want to date someone sweet who cares about their family, show them that you are nice and family-oriented and be someone who he/she would want to take home to Mom. And, if you want to date someone who loves to party, look like someone he would want to take to the club and then, perhaps, home to his bedroom.

Then again, if you want to not blend into the crowd and be like every other date, just be yourself, give specificity in your answers that distinguish you from others, think on your feet, be memorable, and be real.

But perhaps the most valuable lesson from this show can be taken from the contestants that do not “win” the date. The dating world is crowded and competitive, and just because you may not be a particular person’s pick of the litter, doesn’t mean that you should give up. Sometimes you don’t stand a chance against the odds when someone has a “type” that you don’t fit into or when a simple coincidence sways them the opposite way. Most of the time, the reasons for not being “selected” are less obvious; but no matter what, it is important to remember that just as there are a million options out there for the other person, there are many options for you as well. Real life dating is more than a three-step process, but if you keep at it you may find that one day you have a dream date with the Choice of your own.

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Brighten your smile with this great student discount coupon so that you can dazzle your date the second you meet eye-to-eye!

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Carina, New York University. Read my blog and check out my Twitter! FOLLOW ME!!

Click here to download the Campus Clipper iTunes App!

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Interested in more deals for students? Sign up for our bi-weekly newsletter to get the latest in student discounts and promotions  and follow our Tumblr and Pinterest. For savings on-the-go, download our printable coupon e-book.

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2 Broke Girls: Solidifying Racial Stereotypes

Tuesday, July 17th, 2012

Created by Michael Patrick King and Whitney Cummings, the nationally-syndicated show on CBS, 2 Broke Girls, manages to transcend the thin line that constitutes political correctness. It wholeheartedly—for cheap laughs, nonetheless—embraces ethnic stereotypes and sexism and, by doing so, further solidifies it in the audience’s consciousness.

King was in a heated debate with the show’s creators in a panel discussion about the racial and sexual overtones used throughout the show:

“The big story about race on our show is that so many are represented,” King said. “The cast is not only multi‑ethnic, including the regulars and the guest stars, but it’s also incredibly not ageist. We represent what New York used to be and what is currently very much still alive in Williamsburg, which is a melting pot.”

On the show’s Asian character, Han Lee, King said:

“I like Han. I like his character. I like the fact he’s an immigrant. I like that he’s trying to fit into America. I like the fact in the last three episodes we haven’t made an Asian joke, we’ve only made short jokes … Would you say the ‘blonde rich bitch’ is a stereotype? Would you say that the tough‑ass, dark, sarcastic‑mouthed waitress is a stereotype? I like all of them.”

King uses his sexuality to try to defend his use of stereotypes, saying, “I’m gay! I’m putting in gay stereotypes every week. I don’t find any of it offensive, any of it. I find it comic to take everybody down.”

King conveniently forgets, however, that Asian stereotypes were extremely hateful up until the 1960s, when both black Americans and Asian Americans were finally given the right to vote and participate in civic duties.

There were a string of riots against the Chinese in the early and late 19th century by Americans. In Los Angeles in 1871, seventeen Chinese were massacred in broad view of public eyes. In fact, the public enthusiastically took up violence along with the perpetrators. “Hang them!” was a common phrase exclaimed by the bystanders and “as the Chinese were hauled up, a man on a porch roof danced a jig and gave voice to the resentment many Americans felt over the Chinese willingness to work for low wages. ‘Come on, boys, patronize home trade,’ the man sang out.” Seventeen Chinese men were lynched in front of men, women, and children. (Scharf, J. Thomas, “The Farce of the Chinese Exclusion Acts,” The North American Review. Jan. 1898. Volume 166, Issue 494, pp. 85-98.)

I’m surprised that the show doesn’t have Lee wear some “traditional” Asian attire and have him speak in a farcical “Chinese” language to further drive him from the realm of the American. When King says, “I like the fact in the last three episodes we haven’t made an Asian joke, we’ve only made short jokes,” he means, Asians are short, so we’re going to run with that. The New Yorker called the show  “so racist it is less offensive than baffling.”

Look at successful comedies out on television now: How I Met Your Mother pokes fun at contemporary social life with complex characters (Barney Stinson is an enigma), New Girl shows character-layering while still allowing Zooey Deschanel be her bubbly self, Modern Family portrays all likable characters who, although they may follow some stereotypes, are able to present complexity, and the cast of the long-cancelled Arrested Development consists of diverse characters all with their own specific personalities, not just a quick scheme to establish what’s already known in our collective consciousness.

Tim Goodman of the Hollywood Reporter probably put it best:

“Every time Han gets to say something on 2 Broke Girls, the undercurrent is that it’s funny because it’s broken English. Plus he’s really short and geeky and non-sexual (there may have been other stereotypes to plop on top of him, but maybe creators Whitney Cummings and Michael Patrick King thought too much was enough, which would certainly stick with the general theme of the show). In any case, what CBS is doing every Monday night is trotting out one of the most regressive and stunning racist devices a network has produced in five or more seasons.”

King does admit that he wants to flesh out the supporting characters, but that’s what stereotypes create—one-dimensional figures for the sake of cheap, unwitty and predictable laughs. Count the number of times you hear the laugh track played throughout the show—you’ll understand what I mean.

I’m surprised the show hasn’t ended up yet as two broke writers. Michael Imato and Michael Anderson call the show “creatively bankrupt” and “just bloody awful.” I also found a comment on Grantland to be very poignant:

 

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The Romance Novel: A Most Popular and Best-Kept Secret

Saturday, July 14th, 2012

My first time was in a Kmart. My best friend and I were walking around a shopping center near home, looking to kill time after school before starting our homework. We stumbled across the section of discounted books and could not help but pause to giggle at the shirtless, six-packed Fabios on white horses holding women in flowing white dresses (I’m not sure if any of the books actually had that cover, but I wouldn’t doubt it). Once I saw the “2 / $6” stickers on some of the books, I knew that I would be making a purchase that day.

Beth purchased The Millionaire’s Inexperienced Love-Slave while I went for The Glass Slipper and Pure Temptation, which flaunted a muscly man with medium-length brown hair lounging under satin sheets with his arms thrown back as if he thought that he was posing for a dictionary entry of the novel’s title. When we got to the registers with our books, I found out that the bargain price stickers on my two books were lies, and that I would be making the cheapest purchases of my life: books that cost a penny each. I suspected two things: first, that there was a glitch in the register system, and also that the books were even worse written than originally suspected, with its writing perhaps as cheap as my receipt suggested.

Romance novels have been referred to as “smut” and female pornography due to the sexual content that some books contain. However, while some books certainly do contain explicit scenes, others contain nothing more than hand-holding and church-rated kissing. Happy endings, which usually lead to marriage, are essentially required by the genre (Romeo and Juliet is one of the most famous unhappily-ending romances); there are, by definition of the romance novel, requirements concerning plot. If the storyline can only be damaged without the sexual elements, the novel is most likely to be classified as an erotic romance novel (example: Fifty Shades of Grey).

Though I’ve held myself back from reading the Fifty Shades of Grey trilogy in public, not as daring as the several women in whose laps the books can be found on the train I take every day (I’m sure there are some with the e-book, too), I have a steadily increasing amount of experience with this division of women’s fiction. Apart from my internship with the Campus Clipper, I work with a literary agency. Having only found a small amount of information about the agency before my interview with the company, I resorted to thinking that the agency specialized mainly in helping authors publish romance novels, since most of the information I found suggested so. It turns out that while the agency does do this, it is by no means a romance-only agency. Regardless, I checked out a few romance novels the library, hoping to familiarize myself with the type of writing that the agency represents before I started working there.

My mother was recently recommended the now-infamous Fifty Shades of Grey trilogy, and she suggested that I also read it to bone up (no pun intended) on the genre as well as current popular reads. Now done with the first book, she is admittedly a little uncomfortable with this suggestion to her youngest daughter.

Ironically, despite being among the least respected, romance is the most popular North American genre, consisting of almost 55% of paperback books sold in 2004 (e-books are becoming increasingly popular in romance sales, particularly for erotic romance, probably because it allows discretion). About 91% of the consumers are women. While the stigmas that can come with the romance genre seem to be taken lightheartedly by the general public, there are those who are enraged by the books. While some argue for the sake literature, others believe that the books are immoral, degrading, and even dangerous.

 

What makes these books so appealing and popular? The Fifty Shades trilogy, the first of which was published in June 2011, has gone viral, surpassing the Harry Potter series as the fastest-selling paperbacks. But surrounding the book’s rise on the best-seller charts is a load (I can’t help myself) of controversy. The male protagonist’s appeal to BDSM makes the novel more risqué than the average romance, and the popularity of the trilogy has some worrying about the implications that the book gives about what is okay in the bedroom (or the setting of choice).

One woman wonders, “Do middle-aged women, the main audience for this book, really view the threat of violence as an aphrodisiac? And isn’t it dangerous to turn a BDSM-addict into a romantic hero? Would we want our daughters dating Christian Grey?”

Comments such as these might be related to concerns in the 1860s, when critical attention was focused on romance novels because the female reader was believed to be susceptible and vulnerable to ideas. It was believed during this time and for decades later that women should be reading more wholesome works like those that taught them about a moral society and how to be humble homemakers.

EL James’ books are by no means the first romance or erotic romance novels to be published. Fifty Shades has not invented anything new in either the world of literature or the world of sex, or even BDSM for that matter. People could just as easily get ideas from these books as from another million sources. Also, as critic Caroline Lucas argues, just as in the 1860s, readers can exercise “resistant reading,” choosing which ideas they will and will not adopt from a text. Besides, from what I understand, the trilogy distinguishes between BDSM and abuse, and never implies that abuse is okay.

Romance novels have been around for quite some time. According to RadioLab’s podcast “The Greatest Hits of Ancient Garbage,” the most common finding in a landfill of ten centuries of ancient Egyptian garbage is papers of a romance novel (you can hear snippets of it read at 16:13 on the podcast). Though it took an archaeology expedition to make this discovery, we can more easily find early evidence of romance in print such as in Medieval tales of courtship and chivalry and Renaissance literature such as plays and poems by Shakespeare. The Romantic Period shifted the focus towards courtly relationships ending in marriage, which is where most modern romance novels still end.

One major distinction of these earlier works from the modern ones is that most early works were written by and for men of a patriarchal society and from a male character’s point of view. The first best-seller romance novel was written during this time, in 1740 with Samuel Richardson’s Pamela. Written from the heroine’s viewpoint for a change, it sold like wildfire.

Light, enlightenment, or phallic symbol?

Jane Austen and Charlotte Brontë are two well-known Victorian romance writers, and though it can be argued that the sexuality in their romances is more subdued, I ask you to look at the symbolism within their work. I remember being a sophomore in high school and shaking my head in fear every time my English teacher suggested phallic symbolism in Jane Eyre. (Also, I suggest a look at Andrew Marvell’s 1650s poem “To His Coy Mistress” which might be summed up colloquially as “Stop being prude, let’s bang.”)

Such novels, particularly those written by female writers, helped to pave the road for women’s literature, introducing characters that were strong and generated sympathy for the condition of women in society. They often suggested a female quest for freedom and independence. As women outside of the fictional world of novels began to experience freedom for themselves and became literate, more liberated romance novels emerged.

Perhaps the most free expression in romance novels can be found in erotica, where authors have to have a decent set of balls to write without restriction (many just have a decent pseudonym instead). Renowned writer Anaïs Nin, after having drafted an apparently-withheld draft, was once told by her agent to “Leave out the poetry and descriptions of anything but sex.” The result was Delta of Venus, which has apparently been forgotten about in the midst of the Fifty Shades outrage.

Working at the literary agency, I have gained a greater respect for romance writing and those who can write romance well and, yes, for those who can write decent sex scenes (hey, if you’re going to convince me that the character is having the best sex of her life, you better not describe the same thing again and again). Perhaps the most notable feature of modern romance novels is the ease of the read. Unlike an Austen or Brontë romance, the writing of a typical modern romance should be taken plainly and doesn’t feel heavy or make the reader think too much.

But this mindless reading is the reason why literary critics everywhere tend to bash romance novels, saying that they lack merit or do not contribute to the world of literature. Unfortunately, this also paints a bad image of romance readers such that makes them look unintellectual and jaded, ironically bringing the representation of the romance reader back to where it was when women were still generally accepted as the lesser sex.

Some scholars believe that romance novels create submissive readers by showing the female protagonists ignoring issues other than love and marriage. But if we colloquially distinguish our “love life” as a “separate” life, why can’t we have books that also do so? Are mystery novels ignoring everything but unsolved murders? Do fantasy books ignore everything but magic?

Those who argue in favor of romance novels say that they are socially significant because they offer insight into human (usually female) ideals. Whether written on ancient papyrus paper, hidden under a Victorian pillow, or proudly displayed on a Metro North train, it is clear that these ideals, no matter how controversial, have been popular for a long, long time.

While I can’t exactly argue with the assessment of the quality of typical modern romance writing, I will say that not everything that is written strives to contribute to the same world as Hemingway and other literary greats. Sometimes people write and read just for enjoyment. Romance novels are like the flashy sequin shirts worn to a club or the French fries ordered as a side to a salad—not meant to be taken seriously, but meant, instead, to be fun, a sort of escape. In fact, romance novels have experienced a rise in the current recession, just like Margaret Mitchell’s Gone with the Wind did during the Depression. Lawyer and book-blogger Jennifer Lampe says, “Given the general dismay and gloominess, reading something like a romance with a happy ending is really kind of a relief.” And that’s what modern romance novels are really about. Romance novels are written to be enjoyed, not to enlighten, and they are, simply, about pleasure—the pleasure of reading.

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Carina, New York University. Read my blog and check out my Twitter! FOLLOW ME!!

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Book Review: Malcolm Gladwell’s Outliers: The Story of Success – Not Really A Story At All

Thursday, June 28th, 2012

The sense of possibility so necessary for success comes not just from inside us or from our parents. It comes from our time: from the particular opportunities that our particular place in history presents us with.

-Malcolm Gladwell in Outliers: The Story of Success

Prior to the partition of India on August 14, 1947, the soon-to-be official nation of Pakistan – surviving on an abated amount of the assured 750 million rupees part of a stipulation drafted by then-Viceroy Lord Mountbatten – found itself on fiscal life-support. The expenses of an inpouring exodus of Muslim refugees along with the associated costs of nation-building replaced the exuberance of being on the verge of independence, with the aberrance of being on the verge of bankruptcy. Muhammad Ali Jinnah, credited as the Father of the Nation – to this day popularly known as Quaid-e-Azam (Great Leader) – had to first play the role of Fundraiser of the Nation. The ensuing events would become the context, circumstance, and climax of a story that every child in Pakistan has heard growing up, like “the British are coming,” “We the people,” “I have a dream,” “I did not have sexual relations with that…” – OK, maybe that last one is reserved for more “liberal” households.

Jinnah tasked his newly appointed Finance Master Ghulam Mohomad with tracking down Sir Adamjee Haji Dawood, with hopes that the legendary business mogul and philanthropist would respond to his – and for all intents and purposes, Pakistan’s – desperate “SOS.” About two weeks after August 14, Mohomad, in a meeting held at the Palace Hotel in Karachi, informed Sir Adamjee of the situation to which he famously responded by speaking briefly with M.A Habib – his banker, and founder of modern-day Habib Bank – then turned back to the Finance Master and said, simultaneously handing him a blank check, “You’re problem is solved.” With the stroke of a pen (and a bridge finance secured on his personal assets), Sir Adamjee single-handedly bankrolled the new nation.

***

By all accounts, including one derived from the “story of success” offered in Malcolm Gladwell’s 2008 best-seller of the same name, Sir Adamjee was an outlier. Gladwell’s book, in admittedly archaic fashion, begins with two dictionary definitions:  1. something that is situated away from or classed differently from a main or related body; and 2. a statistical observation that is markedly different in value from the others of the sample. Outliers – in the spirit of the ever-counterintuitive endimanché  that Gladwell captured the literary runway with – yet again presents a thesis that challenges conventional wisdom. On the book’s Q&A page, the 16-year New Yorker staff writer reveals that the “frustration” which led to the occasion of its writing was “with the way we explain the careers of really successful people. You know how you hear someone say of Bill Gates or some rock star or some other outlier – ‘they’re really smart,’ or ‘they’re really ambitious?’ Well, I know lots of people who are really smart and really ambitious, and they aren’t worth 60 billion dollars. It struck me that our understanding of success was really crude – and there was an opportunity to dig down and come up with a better set of explanations.”

And dig down Mr. Gladwell does – deep, very deep, as in World-War-II-mass-grave deep. One could crudely characterize the work as a composite of case studies featuring both familiar and unfamiliar accounts of success.  I use the term crudely because although the majority of the book is dedicated to these (typically back-to-back) narratives, which are gracefully handled with the delicate charm and idiosyncratic wit to which Gladwell owes his own success – to say that the Gladwellian ‘version’ of the “story of success” is the intellectual terminus of his anecdotal chaperone, is to mistake the destination with the vehicle. In the eclectic tradition of his previous works (The Tipping Point, Blink) Gladwell deftly draws from a diverse set of sources to support his argument: seeking to answer contrived questions such as what, if any, common factors led to the success of Bill Gates and The Beatles; the reason why Asians and math go together like the French and wine; why Christopher Langan, perhaps the smartest man in the world, is one of the least successful.

Arguably the most interesting (and coincidentally, credible) claim in the book is the general rule of thumb that an “outlier’s” level of ability – world class talent – requires 10,000 hours (roughly 10 years) of practice. What is even more interesting is the circumstances in which Gladwell’s carefully curated cast of characters come to accumulating the ‘obligatory credit’ for earning their Genius time-card – at least from his vantage point. Consistent with the overall counter-conventional-current that propels the entire work: the catalytic element here is external luck as opposed to internal drive. Chapter 3, where Gladwell asserts the 10K rule (or rather re-asserts the ideas of Anders Ericsson; who more sophistically developed the theories originally proposed by his mentor Herb Simon in the 70s), begins with the observation that musical virtuosos such as Mozart and chess grandmasters reach their pinnacle status after about 10 years.  According to Outliers, The Beatles owe their atomic rise to grueling 8-hours-a-day-7-days-a-week-gigs performed over a year-and-a-half stint at dingy clubs in Hamburg’s red-light district. “By the time they had their first burst of success in 1964,” Gladwell notes, “they had performed live an estimated twelve hundred times. Do you know how extraordinary that is? Most bands today don’t perform twelve hundred times in their entire careers.”

Paul Allen left; Bill Gates right at the Lakeside School

Similarly, Microsoft co-founder Bill Gates and his lesser-known but equally-if-not-largely-more-important counter-part Bill Joy serendipitously attained their transcendent programming ability and innate technological affinity by virtue of time and place. Gates attended the elite, exclusive Lakeside School in Seattle, where the Mother’s Club using funds accrued in an annual rummage sale, installed a time-shared computer terminal in 1968 – the relative modern equivalent of an official NASA shuttle simulator being donated to the astronomy club. Fortune continued to favor the young Gates by providing him late-night access at nearby University of Washington to a mainframe computer where he would sneak off – without his parent’s knowledge – to write code between the hours of 2 A.M and 6 A.M.

Joy, awarded the appropriate appellation of “the Edison of the Internet” and co-founder of Sun Microsystems, had an equivalent experience. By 1967, his alma mater, the University of Michigan, housed a then prototypical time-sharing (as opposed to punch-card) Computer Center – one of the first and very select universities in the world to do so at the time. The “difference” between the two, as Joy himself states in the book, was akin to “one between playing chess by mail and speed chess.” This was the situation he would find himself in the fall of 1971: one where “Michigan had enough computing power that a hundred people could be programming simultaneously…” However, unlike Gates, Joy showed no prior interest in computers, nor did he choose Michigan for its world-class Computer Center. The ultimate conclusion to be drawn here is, as David Shaywitz of the Wall Street Journal adroitly expresses in his review of Outliers, “[h]ad Mr. Gates attended a different high school, or had Mr. Joy enrolled at his college a few years earlier, today’s computer industry might look dramatically different.”

The remainder of the book is more or less (mostly more) a broken record remixed by a master DJ, and like the axiomatic bachelor Jabbawockee member stepping onto a dime-filled-dance-floor, I have no idea where to begin – or with who. Reviewing Outliers – or anything from Mr. Gladwell’s entire body of work for that matter – by virtue of its very raison d’être, is an enigmatic exercise. Let me preface what is to follow by explicitly expressing that I consider Malcolm Gladwell’s writing to absolutely be art, notwithstanding the BP-sized-holes that often drown away any chance of fully inhaling his arguments. When mentioning to Campus Clipper, specifically its founder, that I was struggling to complete this review, she was understandably concerned – until of course I revealed that I had chosen to dunk my literary neurons into a Gladwell mindpuzzle. This was met by an esoteric chuckle. “He’s often five-dimensional,” she said. “At the very least, at the same time,” I added.

Despite making several contentious submissions that are, quite frankly, either unsubstantiated or even flat out in contradiction with the facts, I am certain Mr. Gladwell still managed to exorcise his original “frustration.” In regards to the popular section (for readers and reviews alike) on Canada’s amateur hockey leagues (albeit unintentionally) providing the ‘man-child’ advantage to those born earlier in the year, David Leonhardt in his review for the NYT mentions contradictory research at odds with Gladwell extended argument claiming that the same pattern is observable in the classroom. In fact, two of Gladwell’s own stand-out examples, namely Bill Gates and Bill Joy, were born on October 28 and November 8 respectively.  Even further, the former nearly intentionally failed his entrance exam into Lakeside and the latter was matriculated into the University of Michigan at the tender of age of 16.

Another discrepancy worth mentioning is one outlined in a (rather scathing) review for Open Letters Monthly by Peter Coclanis (a distinguished History and Economics professor at UNC-Chapel Hill) regarding the immediately bizarre assertion that Asians – particularly East Asians – regardless of their relative global location, are culturally predisposed to excel in mathematics because of an economic legacy in rice farming. While I would personally certainly enjoy obliterating the train of thought (in rather colorful language) that Gladwell, once again artfully conducts, Coclanis – given  his expertise and work-in-progress  on the history of world rice production and international trade since the 17th century – provides a far more erudite analysis.

“For starters,” Coclanis explains, “paddy rice has for millennia been the leading food crop on Java, in Thailand, in Burma, and in the Philippines. Do these peoples also excel in math? What about people from rice-growing parts of West Africa, in the Senegambian region in particular, where paddy rice has also been grown for millennia?” He goes on by narrowing his focus in congruence with Gladwell’s own in the book, viz the regions of China, asserting that “anyone with even a cursory sense of Chinese history knows, northern China for millennia has been a wheat/millet/small grain-producing region rather than a rice region. Do Beijingers get waxed by Shainghainese on international math tests? Gladwell buries this dicey (ricey?) issue in a footnote and claims that “we don’t know” if northern Chinese are good at math. We may not, but I’m sure that bureaucrats at China’s Ministry of Education (No. 37, Damucang Hutong, Xidan, Beijing) or administrators at either of China’s top two schools—Beijing University and Tsinghua University (both in Beijing)—might have something to say on the matter.”

As Leonhardt (Sunday Book Review for the NYT) writes, the incongruity in such minutiae is “a particular shame, because it would be a delight to watch someone of his intellect and clarity make sense of seemingly conflicting claims.”

***

This brings me back to my original point, and anecdote. It is unfortunate that the commercial success of Mr. Gladwell has lent his publisher, handlers, and following in general with license to make claims like one found in the dust jacket of Outliers: “In The Tipping Point, Malcolm Gladwell changed the way we understand the world. In Blink he changed the way we think about thinking. Outliers will transform the way we understand success.” The praising phrases are a tidy example of parallel structure, yes, but also debatable – and debated – to a viral degree. I’d like to start by focusing on the peculiar, and thus consequential, choice of the verb “understand” in the line pertaining to Outliers – and also, how it relates to the book’s complete title. The book is less about rewriting the Story of Success and more about rewiring the Way We Think about Success, less about “understanding” success and more about “appreciating” it. To put it simply, Gladwell’s main argument is far more politically charged than anything found in his previous works: we give outliers too much credit. Recall the vehicle-destination metaphor. The tall tales of our modern day borderline mythological figures are not so tall after all. It is political because in many ways it not only debunks, but essentially subverts the notion of the American Dream – wherein lays the controversy. Not for patriotic, but rather patronizing reasons.

The “frustration” that Gladwell cites as his starting (tipping?) point is unfairly exploited to create the presumptive straw man that stands so central in his book(s). The truth is that a very small cohort of people – likely either delusional or severely mis-and-or-uninformed at that (probably both) – believe that Bill Gates’ intelligence alone was cashed in for 50B, that The Beatles’ rigorous performance schedule conjured the creativity needed to sell over a billion records, that Michael Jordan’s 6 rings are a direct result of a genetic anomaly. The truth is that most people believe the exact opposite – even if our romanticized formulas that produce such icons don’t agree on rigid values, nature and nurture are still always present in the equation.  We’ve all heard of the “he stole Windows from Apple” story, the manic-psychotic work ethic of unparalleled champions like Jordan (he meticulously studied weaknesses of opposing teams while on the frickin’ Dream Team and manipulated NBA team beat writers for the same purpose), of the drug-sex-alcohol-and-spiritually electric environments that have led to some of our most beloved creative lights– and perhaps the most assimilated notion of all into the zeitgeist of success: the proverbial “break.” The crucible found in every larger-than-life biography.

Returning to the story of Sir Adamjee (no, I didn’t forget), an essential omission was his prominent status among the Memon community: a well-known and Islamic people renowned for their business acumen and who can be found in the upper echelons of commerce in every corner of the globe. This was not always the case – not even close. Adamjee, lacking any formal education whatsoever, started by working for his father’s humble trading company (if you could even call it that) as a child before quickly being sent off to Calcutta where he would fend for himself, and eventually – while still a teenager – seeking to expand his horizons took a business trip to Burma. His commercial sortie coincided with the calamities of both World Wars. In a then unorthodox move, he committed his capital into stockpiling basic commodities such as jute, rice, and matches (coincidently, those popular among military personnel). In the aftermath of the German bombing of Madras there was a severe shortage of these same essential items. Likewise – as if to prove his newfound wealth was not just the result of luck and timing – during the Japanese invasion of Calcutta in WWII, with the future of the subcontinent being as predictable as a thousand coin-flips, the value of those same goods nose-dived deeper than the U.S.S Wahoo. So he bet on exporting the goods to places he thought would have a shortage via trickle-down (he understood the effects of globalization before we even knew what it was) – and he won, big, really big. For the man who proudly presented himself as a graduate of the Bhadar River (the cotton industry waste dump of his native village of Jetpur), the rest, as they say, is history.

If you ask any Pakistani Memon (identifiable by advertised net-worth, number of Toyota Camrys in the family, and the deterioration of their teeth, in no particular order or proportion) about Sir Adamjee the overwhelming response will be some variant of the following: he is our founder, our father, our mini- Quaid-e-Azam. The abridged history: in the 14th century, Yusuf Sindhi went on a mission to India and converted some several thousand Hindu families to Islam; due to persecution from the Hindus many were forced to migrate to other regions; their genuine devotion and collective cohesiveness is where the name comes from, as Sindhi called them “the Momis,” meaning the exemplary Muslims, eventually becoming “the Memons.” By 1960 roughly 100,000 Memons populated Pakistan with a similar number living in parts of India. Gustav Papanek (President of BIDE; Professor of Economics Emeritus at Boston U; past leader of Harvard University Development Advisory Service) describes their culture and values in Pakistan’s Development:

They were extremely cohesive, frugal, hardworking, well-defined into family groups and had an overwhelming commitment to their traditional occupation of commerce as either employees or self-employed. Only a handful had left their traditional pursuits to become doctors, lawyers, engineers and civil servants. Memons had an extremely high sense of community identity, spoke Gujrati and tended to be organised on the basis of ancestral residency. They were especially strict about community endogamy based on township of origin and had well organized and developed community associations to enforce marriage rules and to moderate group conflicts. They were socially conservative and religiously devout with a large number of hajis among their members. As a community roughly 100,000 Memons ranged across the entire socio-economic spectrum from very poor to very rich.

The culture of modern Memons, what Gladwell might cite as the primary source of their success (I would personally be very curious to see a case study of the group by him), was not intended to create the exclusive club of benefits they now enjoy. Based on the most foundational (and human) values of Islam, it was intended to foster values, not value. Today, Memons despite their continued success have forgotten this; which is what brings to me to my ultimate interpretation of Outliers: Gladwell is apologizing for his own success.

If you’ve read the book then you probably picked up on the latent sense that Gladwell felt as if Chris Langan should’ve been in his place interviewing him for a book on the story of success. That the ex-bouncer’s brutesque photo should be on the back. From the same Q&A page, “I’ve never been able to feel someone’s intellect before, the way I could with him. It was an intimidating experience, but also profoundly heartbreaking…” The invocation of such notions is what leads me to think that Gladwell believes our definition of success is, and has been for quite some time, both obsolete and downright wrong. Not only is it relative (to a child who treks several miles daily for clean water, the idea of someone on welfare; to a middle-school dropout, the idea of someone with a community college degree; to an Ivy League graduate, the idea of billionaire-before-thirty; etc.) but it is also subjective.

Outliers, our so-called nonpareils, are a product of the environment we have created, yes, but the real outliers are those who seek to turn that environment into a product of themselves. Men like Adamjee, who measured his success in the amount of free schools he built and scholarships awarded rather the then the value of his company on the Calcutta Stock Exchange. Who is to say that the most successful person in the world is Bill Gates as opposed to the Dali Lama? Who is to say that success is measured by the balance of cash in your bank account and not the balance of love in your heart? Measured in your personal promotion, rather than collective devotion? The answer should be obvious. The bottom line is that if success is what everyone aspires to, then we have a fundamental responsibility to define it in a set of terms where everyone is on an equal playing field. That field is no longer America. The American Dream Nightmare must be re-written. As Nassim Nicholas Taleb, whom Gladwell cites as an influence (“We associate the willingness to risk great failure – and the ability to climb back from catastrophe – with courage. But in this we are wrong. That is the lesson of Nassim Taleb.” – The Nation),  writes: “Modernity needs to understand that being rich and becoming rich are not mathematically, personally, socially, and ethically the same thing.”

***

                This infinitely ambitious challenge requires an equally ambitious Warrior of The Light. The only reason the swerving Outliers train of thought stays on the track of mostly-plausible and doesn’t derail along its natural trajectory into the Land of Apophenia is because the very talented Mr. Gladwell occupies the conductor’s cabin.  However, the information revolution that has provided Gladwell with the solid planks that he ties together with his own poorly woven ropes of idiosyncratic interpolation to build a bridge between our mind and his own, also render that bridge functionally useless. It is entertaining to walk across only so far as to admire its craftsmanship – because it is indeed a bridge that only he alone can be contracted. But it is also an important reminder of what it means to walk in the first place.

 

Mahad Zara, The University of Arizona and Columbia University, Read my blog and follow me on Twitter

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Poetry Review: David Mutschlecner’s Enigma and Light – Not Your Everyday Ekphrasis

Wednesday, June 13th, 2012

“Enigma and Light offers up a poetry unlike anything I’ve recently encountered: intelligent, fearless, engrossed in the rigors of its own journey.” – Elizabeth Robinson

      The exercise of ekphrasis – a literary description or critique of a visual work of art, intended to illuminate an essence which reveals itself (perhaps exclusively) in the dialogue between two mediums   – is not new. Dating back to ancient times, the term’s original definition extended to a description of anything: person, place, art, or even experience. Rooted in the Greek, ek and phrasis, translating to “out” and “speak;” to literally “speak out” to or identify an inanimate object by name. Unoffically originating in Plato’s discussion of the forms, the rhetorical device can be found throughout literary and philosophical history. Socrates and Phaedrus had ekphrastic discussions. Virgil used it in the Aeneid; Homer in the Iliad; Melville in Moby Dick; Cervantes in Don Quixote. But perhaps the most demonstrative – and notable – use of ekphrasis comes to us in Oscar Wilde’s Sui generis The Picture of Dorian Gray. While it also has robustly traceable roots in poetry, from the work of the Pre-Ralphaelite Brotherhood to William Carlos Williams to W.H Auden, the most contemporary, prominent example is found in the eponymous opening poem of John Ashbery’s Self-portrait in a Convex Mirror (which of course takes its name from Parmigianino’s famous micro-painting). To put it mildly, Ashbery exploded on to the scene following the book’s release, a worthy recipient of what has been dubbed the “Triple Crown” of poetry awards (the Pulitzer Prize, National Book Award, and National Book Critics Circle Award). Ekphrastic poetry has, ever since– more due to Self-portrait‘s notoriety than comparative critical reception – lived in the shadow of Ashbery’s landmark collection.

That is, until now.

David Mutschlecner’s newest book of poetry (author of Sign and Esse) titled Enigma and Light is an exquisitely crafted (a capacity which Ahsahta Press has recently exhibited industry-leading proficiency for) intertextual gateway to a world whose borders are typically only penetrated via hallucinogenic/augmented imaginative assistance. Past its mesmerizing grey-canvas wrapping – once an adequate attention is attained – inside one is greeted with familiar names unfamiliarly juxtaposed to familiar names, as titles. Mutschlecner adamantly takes his departure from the rhetoric’s Platonic origins, and then proceeds to gracefully transcend it.

My own personal experience with ekphrastic discourse goes back to freshman history in high-school, where I had the serendipitous pleasure of encountering one of the most brilliant people I have ever met. Not only was his knowledge encyclopedic, but his diverse and expansive array of areas of expertise would put most encyclopedias to shame (he memorized libraries while we refused to commit even the Bill of Rights). Yet, it was one fairly well known anecdote, haphazardly proclaimed, that has managed to stick with me some 8 years later. Mr. McShane was in the habit of playing music in class, which given his impeccable taste, was a welcome addition to an otherwise traditionally obtuse syllabus. On one such occasion, without warning (as he was also in the habit of doing) he played “Subterranean Homesick Blues” by Bob Dylan, followed by abruptly slamming the pause button (as he was never in the habit of doing) after the line, “you don’t need the weatherman to know which way the wind blows.” If it wasn’t a Dylan song, I don’t know that I, or anyone else in the class, would have even realized the words prior to this anomalous occasion (keep in mind this was around the advent of “artists” such as Lil’Wayne and E40). Of course we would eventually learn that the song and the lyric in particular, was the inspiration behind the Weather Underground, a radical organization started in 1969 which went on to become one of the faces of the New Left.

Dylan somehow (this is another article altogether) captured a zeitgeist buried in young people that they could not bring into aperture themselves. In his art, his message, his essence was the Rosetta Stone they had been waiting for to translate their own ideals (which were more or less parallel to Dylan’s in Blues) into a full-blown movement. To put it simply, it spoke to them, in a language they could finally understand.

David Mutschlecner accomplishes a similar goal, tantalizing his own latent curiosities to uncover ones in the reader he or she didn’t know were there. The poetry grounds its tension in the struggle of a man drowning in ideas and a faith that seem to be at odds. What occurs in Enigma and Light is rare, and does so immediately. A few pages into the opening poem, as David Peak of The Rumpus keenly observes, Mutschlecner gives us six lines that work as a quasi-micro-orientation, a layered ekphrastic invitation itself of what is to come, a revelation of the pulse that sustains each of his scintillating conversations.

“Martin’s marks are Stein’s
word stipplings,
both inter-patterning one another

as they could not
without the clear delineation—
each word girded by the grid.”

This is the precious commodity with which the poet performs his alchemy. The marks and words which inter-pattern one another, the invisible thread of thought which extends beyond eras, mediums, and death itself between artists and thinkers (and us all) alike. Mutschlecner states in the author’s statement that “seeking the inherit similarity in dissimilars is the work of the Holy Spirit;… this is, to me the highest goal of poetry” (which, unsurprisingly, could just as easily could be the words of Ashbery – less “Holy Spirit”), a pursuit satisfying not just an artistic hunger, but metabolic need to digest the work of those who title his extrapolative discussions. On the surface, Mutschlecner‘s work is a serial poem, but a more perspicacious description would be an amalgam of philosophical discourse, an extended and fragmented essay on art, a treatise on form and message and meaning; a meditation on medium.

Gertrude Stein and Agnes Martin, Martin Heidegger and Ezra Pound, Thomas Aquinas and Emily Dickinson, Robert Duncan and Dante Alighieri, Joan Mitchell and Charles Olson, Georges Rouault and Robert Motherwell: just a selection of the intriguing – to say the least – pairings which compose this unusual and beautiful work. Names like Herman Melville, Nicholas of Cusa, Robert Ryman, Karl Rahner, Saint Faustina and the Gee’s Bend Quilters, alongside so many more, are used by Mutschlecner to sketch a stimulating, abstract, time-bending map of voices he follows until excavating the fault lines where centuries of celebrated art and ideas intersect.

You might be saying to yourself, this idea seems fresh, interesting, intelligent and perhaps even worth the purchase price on its own. But it might also seem a bit pretentious, implying a necessary body of knowledge very few, if any, potential readers will possess upon checkout. Despite the fact that Mutschlecner’s lifetime of intense study and obsession with detail are (albeit quite elegantly) on open display in essentially ever y other line, this is not necessarily the case. This is, because, and not despite, the premise the work takes. By choosing the unknowable, highly subjective domain that exists in these contrived discourses between artists of his choice; using settings mundane as empty rooms and cracks of sunlight sneaking through veiled curtains as his meditative arenas; a vigorous stripping of line and length, producing a perfectly rationed minimalistic prose; Mutschlecner provides ample avenues of accessibility into his own idiosyncratic thought process and associations. The “world view” which reveals itself at the bottom of the glass of this cerebral concoction is an original one. It is a view that comes more and more into focus with every poem, with the diction, pace and measured metronome of each consistently aesthetically pleasing. The grey area that Mutschlecner’s unique combination of knowledge and inquiry inhabits is a place opened to the reader, where he is then able to infuse his own philosophy and curiosities to a discussion that never ends, and if we are to side with our guide, perhaps never was. A place where the patterns of being that are generated only appear to do so; they have been there all along, our experience is simply the recognition, the girding of each word to the grid.   Consider an excerpt from “Karl Rahner / The Dusky Seaside Sparrow”:

“There is no improvement
can spark substance. The message dead
in this bottle, and yet the message

still, is read: Dusky—“Orange”
—Last one
Died 16 June 87

tagged to the lid. . . .”

It is in such benign everyday moments, ones we all must tolerate, that our most deeply ingrained (whether through internal or external means) patterns seem to correlate; a phenomena for which Mutschlecner has (perhaps unknowingly) conditioned his eye. It is for the same reasons, we are able to make that eye our own, to see from a place where allusions are the horizon on which “thought rolls and turns and” can be followed to gaze upon our most substantial, and lasting constructs: those composed of agreed-upon meaning.

I highly recommend this new collection poetry not just because of its sublime musicality, but it is educational, provocative, and demands an active and thinking mind beginning to end – most of which without the reader even knowing it. If you’re like me, then it won’t take very many lines to inspire the inner artist in you – regardless of whatever you consider your primary walk of life – so why not use the student advantage provided (below) by your friends at #CampusClipper for some awesome art supplies at Da Vinci (they have a great selection of moleskine notebooks too in case Enigma inspires the poet or writer in you as well!).

Mahad Zara, The University of Arizona and Columbia University, Read my blog and follow me on Twitter

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Woody Allen’s Hannah and Her Sisters (Come to Terms with Unhappiness)

Wednesday, June 13th, 2012

Hannah (Mia Farrow) is caring and giving. She’s closed off emotionally.

Lee (Barbara Hershey) is beautiful and passionate. She’s sleeping with Hannah’s husband.

Holly (Dianne West) is funny and vivacious. She’s a recovering coke addict.

Hannah and Her Sisters

 

These are Hannah and her sisters, the stars of Woody Allen’s drama about the complicated relationships of a family of middle-class New Yorkers. Though one could argue for the inclusion of and their Men at the end of the title, this story is really about the three sisters and the intertwining of their romantic lives. Hannah’s husband Elliot (Michael Caine) becomes involved with Lee, while Hannah’s ex-husband Mickey (Woody Allen), who once dated Holly to disastrous results, finds himself facing an existential crisis after suffering a cancer scare.

Some parts of Allen’s film feel reminiscent of a Raymond Carver story, with its examination of New England, upper-middle class dissatisfaction. It’s distinctly lighter in tone, though, with the usual Allen assurance that even though life’s dull and complicated, we might as well enjoy it when we can. One can probably see the director’s own struggle with faith and religion in Mickey’s search for God (in one amusing sequence, Mickey goes home to tell his Jewish parents he’s decided to become a Catholic).

Micky hits bottom

 

Caine and Hershey both deliver powerful performances as adulterous lovers Elliot and Lee. Though Lee conceals a quiet passion in every glance, it is the devoted, bespectacled Elliot who surprises us with his professions of undying love, especially when one considers Hannah’s caring nature. Then again, it is this very aspect of Hannah’s personality—her self-sufficiency, both in life and in bed—that Elliot finds so difficult to endure. As for Lee, she feels stifled by her partner Frederick, a misanthropic artist who claims that Lee is his only connection to the world. Feeling burdened and perhaps even a little dismayed by the notion of being a recluse’s anchor to reality, Lee decides to take the risk of seeing her sister’s husband behind the doors of a hotel room.

Hannah and Her Sisters succeeds most brilliantly through its inclusion of moments of internal dialogue on the part of the characters. In one scene, Holly berates herself for not being more forward as she travels in a taxi with friend/competitor April (Carrie Fisher) and their mutual love interest. In another, Elliot urges himself to be cautious and prudent about revealing his feelings for Lee. A moment later he has pressed his lips upon her mouth in a desperate profession of love. These scenes display the pull between desire and social expectation in the lives of Allen’s New Yorkers.

These characters are not the victims of disaster. Don’t look for car crashes or unexpected declarations of paternity. Even the cancer storyline couldn’t be more different from your usual soap opera fare. But problems lurk below the surface, simmering slowly, sometimes hot and sometimes cold. Despite the safety of material comfort, marital and existential happiness remain elusive–always sought, but unappreciated when found.

As with many of Allen’s films, the characters are followed with almost claustrophobic focus and regularity. This neurotic intensity of the camera denies us any grand shots of New York, or even sometimes just a little room to breathe and gather our thoughts. Though some may find it uncomfortable, it reminds me that this moody actor/director called Woody Allen loves people. It’s not a romantic love, nor is it unchanging. Rather, it’s a love that watches with fascination, equal parts amused and enchanted by the absurdity of the world.

Enjoy our great student discounts today with this coupon for Ballaro Caffe Prosciutteria!

Andres Oliver, Emory University
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