"The Border, however, easily trumps the Strip as surrealist landscape. Spanish offers the useful distinction between La Línea, the physical and jurisprudential border with its 300 million individual crossing each year, and La Frontera, the distinctive, 2000-mile long zone of daily cultural and economic interchange it defines, with an estimated 10 million inhabitants. All borders, of course, are historically specific institutions, and La Línea, even in its present Berlin Wall-like configuration, has never been intended to stop labor from migrating al otro lado. On the contrary, it functions like a dam, creating a reservoir of labor-power on the Mexican side of the border that can be tapped on demand via the secret aqueduct managed by polleros, iguanas, and coyotes (as smugglers of workers and goods are locally known) for the farms of south Texas, the hotels of Las Vegas, and the sweat shops of Los Angeles. At the same time, the Border patrol maintains a dramatic show of force along the border to reassure voters that the threat of alien invasion (a phantom largely created by border militarization itself) is being contained. ‘The paradox of U.S.-Mexico integration is that a barricaded border and a borderless economy are being constructed simultaneously.’”
Siamese Twins, Magical Urbanism (Latinos Reinvent the U.S. City), Mike Davis
My viewpoint, in telling the history of the United States, is different: that we must not accept the memory of states as our own. Nations are not communities and never have been. The history of any country, presented as the history of a family, conceals fierce conflicts of interest (sometimes exploding, most often repressed) between conquerors and conquered, masters and slaves, capitalists and workers, dominators and dominated in race and sex. And in such a world of conflict, a world of victims and executioners, it is the job of the thinking people, as Albert Camus suggested, not to be on the side of the executioners.
I think Mr Paul’s influence on the ideological cast of American conservatism has been underestimated and underreported, but to take even his influence, if not his candidacy, more seriously would require the talking haircuts and the newspaper typing corps to wrestle with a charged set of geopolitical and economic topics they would rather continue helping Americans not understand.
I cannot understand anti-abortion arguments that centre on the sanctity of life. As a species, we’ve fairly comprehensively demonstrated that we don’t believe in the sanctity of life. The shrugging acceptance of war, famine, epidemic, pain and life-long, grinding poverty shows us that, whatever we tell ourselves, we’ve made only the most feeble of efforts to really treat human life as sacred.
I don’t understand, then, why, in the midst of all this, pregnant women - women trying to make rational decisions about their futures and, usually, that of their families, too - should be subject to more pressure about preserving life than, say, Vladimir Putin, the World Bank, or the Catholic Church.
How To Be a Woman, Caitlin Moran (via petitefeministe)
George Carlin said it better, but, I’ll take this too.
"Libertad! Igualdad! Fraternidad!"
You sullen pig of a man
you force me into the mud
with your stinking ash-cart!
—if we were rich
we’d stick our chests out
and hold our heads high!
It is dreams that have destroyed us.
There is no more pride
in horses or in rein holding.
We sit hunched together brooding
all things turn bitter in the end
whether you choose the right or
the left way
dreams are not a bad thing.
Williams Carlos Williams
What then did you expect when you unbound the gag that muted those black mouths? That they would chant your praises? Did you think that when those heads that our fathers had forcibly bowed down to the ground were raised again, you would find adoration in their eyes?
…In 1963, when much of (The Help) movie takes place, Charlayne Hunter, the future journalist, was integrating the University of Georgia. Gwendolyn Brooks had won the Pulitzer Prize for poetry way back in 1950; Lorraine Hansberry had received wide acclaim for her 1959 play (and 1961 movie) “A Raisin in the Sun;” and Zora Neale Hurston had published seven books — mostly about black Southern life. Surely, an aspiring writer like Aibileen would have known of these examples (she could have read about any of these achievements in The Atlanta Daily World, The Chicago Defender or Jet magazine) and understood that being a black woman writer was not impossible. But the filmmakers keep Aibileen ignorant of these facts — and they bank on their audience’s ignorance as well…
Valerie Boyd in her SPOT ON film review: “The Help,” a feel-good movie — for white people”
Read the entire article here: http://www.artscriticatl.com/2011/08/film-review-the-help-a-feel-good-movie-for-white-people/