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Court nod for DNA test to solve baby-swapping case
Cuttack: The court of the Sub-Divisional Judicial Magistrate (SDJM), Cuttack Sadar allowed the prayer of the police to go for a DNA test to solve the baby- swapping case that was reported from the SCB Medical College and Hospital here last month.
Madhusmita, the wife of Prahallad Mohapatra of Jajpur district, had alleged on January 28 that her newborn boy was replaced with a girl child in the gynaecology department of the hospital.
"The court has granted our prayer and accordingly, we have collected the blood samples of the baby, along with those of the complainants, and sent the same to the court, which in turn will forward the exhibits to the State Forensic Science Laboratory for the necessary tests," said Mangalabag police inspector Arun Kumar Swain.


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Update on Heroes Rebored #2!
Heroes Rebored #2 is now in production. If you folks remember Charlie Mangual and i make a nice little comic called Heroes Rebored. Well #1 did so well that we decided to continue the series. I handed in the script to Heroes Rebored #2 to charlie a few weeks ago and he has been hard at work.
Ill be reposting a few of the old character sketches of the main crew who will be staring in issue 2 in future posts. But lets talk about something new. These are two heroes who you will be meeting in Heroes Rebored #2
Both of these characters are based on Lene Taylor and Jungle Kitty the two stars of the Look at his butt podcast!
Can you guess which is which?

subset: commoncrawl


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Edinburgh Art Fair: results
Edinburgh Art Fair: 12,000 visitors, nearly 60 galleries, at least 1,100 artworks sold. Dundee artist Ron Lawson tops the sales, Joan Eardley work is highest priced.
We may be edging into ancient history by now but what follows is a belated recap of the 2014 Edinburgh Art Fair, with a focus on what works were sold by which galleries, and their verdict on this year's event.
The talk of the fair – some of it envious – was surely the Dundee artist Ron Lawson. He sold out all 31 paintings, with the same again in future commissions, in a coup that earned perhaps £100,000 for the painter and his gallery, Eduardo Alessandro Studios.
In its 10th year the art fair, a private operation that gets no public funding, drew some 12,000 people to the Edinburgh Corn Exchange and sold at least 1,100 paintings or prints, as counted by the fair's wrapping service. It kicked off with a jam-packed preview night on 13th November and ran through to Sunday 16th.
The highest price sale was believed to be Joan Eardley's Boy in Overcoat, sold to a new client at the fair by the Scottish Gallery, with a red dot over it's £38,000 asking price. The gallery, Scotland's oldest private art dealership, was in the fair for the first time, along with several other Scottish galleries.
Staff at the Scottish galleries, like several others, are considering whether to return next year. They also sold a second Eardley painting, however, as well as a work by painter Duncan Shanks, and a drawing by the Scottish Colourist JD Fergusson. Meanwhile the Royal Scottish Academy, another first-timer at the fair, sold a work by Gordon Mitchell for £15,000.
The EAF is a world removed from the upper-end art scene at the Edinburgh Art Festival or the National Galleries of Scotland. I heard some scornful remarks even from participating dealers about the standard of the art on show.
For a city the size of Edinburgh, however, it appeared to pull a sizable crowd of people buying art priced from a few hundred pounds to rarely more than a couple of thousand. The inclusion of leading Scottish galleries certainly pushed up the standard of the local entries.
For the second year running, the art fair also brought in punters with artists' demonstrations and a children's area. "There are lots of things we would like to do, but we don't have the money that other art fairs do," said director Andy McDougall, a Scottish gallerist who has also run art fairs in Cambridge, Devon, and Cheshire.
"We try to appeal to people that would normally never go to a gallery, to make art accessible," he added. "It's not stuffy, it's not pretentious, there is art that they can buy as well." It also receives no public funding.
For galleries in any art fair large or small the first challenge is recouping costs – up to about £5,000 for stands at EAF and considerably more if galleries had to ship staff and work from afar. But they widely described the fair as well run and well marketed. Several dealers spoke of the tough market of the last three or four years, particularly for mid-market paintings.
The fair's attendance had increased by about 2,000 people this year. With stands typically crowded floor to ceiling with work, some galleries say they may put more focus on fewer artists in the future – with perhaps a weather eye on Lawson's success.
I put my first impressions of the Edinburgh Art Fair up here but what follows is a more considered look at some of the galleries' experiences.
Two weeks after the fair, however, I was still thinking about one still life that sat quietly but powerfully amid a mass of works being shown by Gallery Q, in Dundee. It was Stoneware Jug and Patterned Bottle by the artist Jane Cruickshank. I see it is still on offer, according to her artist page at Gallery Q, with a formidable resume, but a 'POA' so will not give away the fair price…
Gallery sales
After five years in operation, the 2020 Art Gallery from Cork chose Edinburgh for its very first fair, said Sheelah Moloney, director and owner. "I chose Edinburgh because I had heard it was a great art city and I was keen to introduce some of my artists to a new market. I chose six artists to showcase and brought the work over and it was a great success. It is definitely the plan to come back."
The gallery focusses on Irish artists, picking up talent from Cork's Crawford Art College. Ms Moloney sold several of her biggest pieces: one by photorealist painter Jack Hickey, another by an equine artist, Tony O'Connor, both close to a metre square and priced at around £2,000.
The Fife Dunfermline Printmakers Workshop, whose stand was a personal favourite, sold 13 prints, "which we felt was fairly buoyant", said chairman Steve Ratomski. Two were by the artist Jai Llewelyn, from Falkirk.
The workshop is staging an open day on 30th November from 2-4pm. They staged live demonstrations, at the fair, scooping up large numbers of contact emails from potential clients – though are unsure about a return visit.
"We felt our exhibition was very well received,: said Ratomski. "There was genuine interest and enthusiasm. We had positive feedback from a lot of people who were not necessarily buying. In terms of our profile and feel-good factor it went very well for us. There's a tremendous footfall, having seen it last year there were higher numbers coming through."
Whether Ron Lawson is the next Jolomo, or a flash in the pan with some good promotion, the Eduardo Alessandro Studios earned a handsome payoff by turning over a full space to a single artist with a very particular look.
Until three years ago Lawson was a graphic artist for the DC Thomson & Co newspaper group in Dundee. He never attended art college. The gallery devoted an entire stand to his work, covering three walls with paintings from Skye, typically featuring low thatched cottages under rising grey skies Two days into the fair it was entirely taken over with red dots.
The gallery left sold work on the walls until the end of the fair, rather than letting clients walk off with their purchases – advertising his success, and generating a buying buzz in which 20 works were sold on opening night.
Mr McDougall said of Ron Lawson's work: "It's not everyone's cup of tea, but the way he does it is certainly original. Whether you like it or not there is something about them."
The gallery's Sanjo Paladini said: "We staged a solo exhibiition for the first time within the context of an art fair. It's not the normal format, it's usually a few pieces by variety and sell from the wall."
The gallery hatched a plan for Lawson to do a "one-island portrait". Lawson produced 31 pieces on Skye, from 12 inches square to one piece at 6 feet by 5 feet. The painter took on mountain scenes for the first time.
"Not just was it a sell-out, we took the unusual decision to leave all the work up on the wall, like a gallery show, throughout the duration, even though it was sold," Mr Paladini said. "Many people had travelled form Inverness and Aberdeen to see his work and it allowed them to see the full show. It lead to a large number of commission requests."
The entry level to buy his work was £695 for the smallest work while the biggest piece sold for just under £5,000.
"There is an X Factor in his work," said Paladini. "The style is absolutely recognisable, and not at all plagiaristic. Looking within the Scottish market place, just as in any region you see a lot of cross-fertilisation, "school of" if being generous, out and out plagiarism being less kind.
"Whether you like his work, he has found his own language, his own voice, he's not derivative or learning on the work of others. It's going to be very interesting to see if he spawns copyists."
Lawson worked in Thomson newspaper's commercial art studio, illustrating books and magazines. He illustrated the Whisky Cookbook with sketches of the distilleries on the islands. Sales were in excess of £50,000 at the fair with the same figure again expected from commissions.
The gallery used Facebook and other social media channels to get the message out, and placed " strategic adverts" in art magazines. It did did targeted e-shots to people on its client list advising them of this exhibition and offering them complementary tickets to the opening night, and some 200 people coming through on the opening.
The gallery will show Lawson at the relaunched Glasgow Art Fair in April, where stands are already filling up.
For Richard Farrant, of the Forbes Art Consultancy, the experience at the EAF this year was by contrast "pretty mixed." He had a fine collection of drawings by Sir Cecil Beaton, and was surprised not to sell more. "They certainly attracted interest and were priced very keenly, I was amazed they weren't flying out the door. We sold half a dozen pieces."
Mr Farrant works partly in art for hotels and other businesses. At the last minute he had a flurry of interest in artworks by Annie Ralli, whose works feature celebrities painted using copies of original Picture Business magazine for backgrounds. He was not the only gallery to report a run of sales on the Sunday afternoon.
Mr Farrant heard of success stories at the fair, like the 2020 Gallery, but said: "I know of several people who were struggling to break even, and maybe were just under, and I was certainly one of those. That being said it was very well attended, just the right sort of people that you would want to have through the door, certainly no complaints of the organisers for what they achieved."
He added: "Edinburgh is always a joy to do, you can never sort of judge just from one show how good or bad they are. It's one of the highlights of my year, you get good exposure, they are very good at attracting people in. Hopefully you generate the sales from it, there are often after-sales that crop up. That's the nature of doing the fairs. They are always a bit of a gamble, you can never tell.
Of the art market, he observed: "Pictures are the first thing that go in a recession and the last things that come back, especially towards the mid-market, and that still hasn't come back. It's better than it has been for the last three years, but not back to what it should be."
The Gallery at Fifty Five, in Stonehaven, sold 16 paintings, said owner Eion Stewart. His business, founded in 1997, became a gallery in 2003 and moved to Stonehaven three years ago. It is trying to broaden its Scottish customer base, and its featured artists included Beth Robertson Fiddes, who trained in Edinburgh, and Glasgow-based Alison McWhirter.
"We sold 16 paintings. It was our first EAF, so we didn't make a profit, I don't see that negatively. We had very good feedback, and I think if we bring higher value art, or a bigger proportion of high value art, we will do better.
Like other galleries he may consider focusing more on particular artists. "We will make more of artists. I think six or eight artists was more than enough for us, we hedged all our bets. It was an excellent event, and venue, the footfall was huge. We are certainly talking about coming back next year."
"The feedback we got was very good and the level of traffic to my website crashed the site. We added 80 names to our mailing list from all over Scotland."
Jo Bennett, of Jo Bennett Originals, in Cheshire, said: "It was a much better attended fair, the footfall was very much better, and the mood was more vibrant, from the point of view of the buyers. It was a better fair for me this year.
"We are just hoping that things are improving generally. It has been a lack of confidence, people not sure if they should spend, even if they have got the money. I'm hoping that's going to improve."
Edinburgh's atmosphere and attitude makes it one of the most "user friendly" fairs, she said. While many art fairs now deal in reproductions she likes the focus on original works. Bennett usually does well with the painter Jiri Borski, and sold two works by him, with one pending. She sold a large work by the artist David Porter.
Buying at an art fair is a gamble for a client if they don't know the artist or the gallery, said Martin Tallantyre, of the Tallantyre Gallery in Morpeth.
The gallery's top sales included a pair of works, Still Life, Red and White, by the Spanish painter Javier Mulio, for £2,950 each to the same buyer. Their lowest price piece, a £150 pencil sketch by Peter Knox, based near Berwick, didn't sell.
Like myself he noted the startling security presence on the first night, with two intimidating gentlemen taking their jobs very seriously. "They looked more like they were on guard for the Buckingham Palace jewels," he said.
"It was really well attended, they certainly had a lot of people through the door, but with any fair outside London these days they are a bit tougher than they used to be. It's a good opportunity to showcase new artists because you get so many visitors, it's a nice little tester to see how things go. You get some repeat buyers, and some you never see again."
McDougall works hard to bring the galleries in, Mr Tallantyre noted. "In London, fair organisers can be selective, dictate what artists you can bring."
"It's an easy one for us to do, it's just up the road, we have always covered costs, we made a profit, and we have had a fair number of customers who come down to the gallery to see it [as a result] It's advertising as well as sales at the actual show."


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By Gilles Dowek, Murdoch J. Gabbay and Dominic P. Mulligan, from CILC 2009, available from Murdoch J. Gabbay's website:
We introduce permissive nominal terms. Nominal terms extend first-order terms with binding. They lack properties of first- and higher-order terms: Terms must be reasoned on in a context of 'freshness assumptions'; it is not always possible to 'choose a fresh variable symbol' for a nominal term; and it is not always possible to 'alpha-convert a bound variable symbol'. Permissive nominal terms recover these 'always fresh' and 'always alpha-rename' properties. Freshness contexts are elided and the notion of unifier is based on substitution alone rather than on nominal terms' notion of substitution plus freshness conditions. We prove that all expressivity of nominal unification is retained.
A web based demo of the unification algorithm is available from Dominic Mulligan's website.


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text:
Hi Book Buddies,
Look what I'm reading! I've never read books about puppies before. This month for our book club we're reading THE PUPPY PLACE books by Ellen Miles. I have the first four books. I started reading GOLDIE yesterday. So far my favorite part is when Goldie plays with Rufus. It sounds like they are really having fun!
On page 40 when Goldie needs to stay in a crate while her owners are away reminds of Angelo, Kathleen's cat, who needs to stay in a crate for a few week because he broke his arm. The crate is really big. It used to belong to Kathleen's friends who have dogs.
I'm learning some new words in this book. So far I've learned soot on page 17 and socialization on page 43.
I can't wait to read what is your favorite PUPPY PLACE book and your favorite parts of the books.
Write soon. Your book buddy,
Sleepy Bear


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A long history of pain in Afghanistan
How many times have Imperial powers been vanquished in Afghanistan? Well the British Army was defeated twice during the Victorian era (as the first picture above illustrates).
For a simply and very well written account of the First and the Second Afghan Wars go here, (and note how depressingly familiar the problems sound to us today). It's a shocking tale of death and destruction with very little upside for the British. We invaded to impose order, unify the country, and install an Empire sympathetic Government and we ended up with a fragmented and deeply hostile tribal wasteland - and a massacre.
But in spite of this had another go at invading the country in 1921 and once again we were comprehensively beaten in battle and forced to withdraw.
Then in the 1980's Afghanistan was invaded by the Soviets - the same Red Army that we had feared invading Europe for 30 years - in a similar ill-fated attempt to impose a single Government across the whole country, this time a communist one. For ten years they suffered massive casualties and continuous military humiliation. Eventually they also had to pull out, with even more loss of life; events that so traumatised the Russian population that many people believe it was the catalyst for the downfall of the Soviet Empire. Afghanistan ended up even more inhospitable, ungovernable and lawless than before.
Various accounts and explanations have been given by the invaders of the reasons for their ultimate failure and all of them still apply. The inhospitable terrain, the lack of resources and above all the ruthless nature of the enemy.
I am a great believer in accepting that people make honest mistakes. What is unforgivable is not to learn from them. The idea that an invasion by the Americans or anyone else from the West could impose any kind of order on the Afghans was flawed from the start; Bush and Blair's crime was choosing not to learn from the lessons of history.
I do not believe that Britain is safer as a result of invading Afghanistan, the people who have attacked us have all done so since the invasion - and all of them have links with Pakistan.
What we need now is a good excuse to withdraw with what little remains of our pride intact. Then what we need to do is agree not to make any more military commitments anywhere in the world until we have equipped our forces to do the job properly.


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My family loved this recipe that I created. So, let the recipe be written! Behold! The healthy black bean and cheddar smothered burrito with a side of salty corn and sautéed spinach with a hint of garlic.
Black Bean and Cheddar Smothered Burritos
- 1 medium onion, diced
- 1 can black beans, drained
- 1/2 c. water
- dash of cumin, garlic powder, salt, pepper, chili powder, and a teensy bit of cayenne pepper
- 1/3 c. shredded medium cheddar cheese and another 1/3 c for topping
- 6 10-inch, fiber-rich, whole wheat tortillas
Preheat oven to 375. In a medium skillet over medium-hi heat, combine the onion, beans, water, and spices. Cook until onion is tender, then add 1/3 c shredded cheddar cheese and a little more water if you need so that it makes a bit of sauce. Put a little filling into each tortilla and roll up, then line them up in a 9x9 baking dish sprayed with non-stick spray. Spread any remaining filling over the top of the burritos and top with the rest of the 1/3 c. cheese. Bake in the oven until cheese is melted. Serve with a spoonful of greek yogurt, a squirt of fresh lime juice, and sliced pickled jalapenos, if you like. Makes 6 burritos.
I believe the secret to making these healthy burritos taste good is in the cheese. I used full fat medium cheddar cheese because low-fat cheddar tastes like wet cardboard. And it's okay to have some cheese as long as you budget for it. For each burrito, there is approximately 6 grams of fat (the fat coming from the cheese and tortillas). For dinner, I budget 10-15 grams of fat, so this burrito fits right in! Use a drizzle of good quality olive oil to saute a side of spinach in, and you'll be getting your "good fats" in too.
A note on the tortillas...
I used fiber-rich whole wheat tortillas which I thought might taste "healthy" and make my family want to excuse themselves from the table early, but I was pleasantly surprised that the "healthy tortillas" actually tasted good. It's a plus to have whole grains in your diet if you have high cholesterol, so mark up a win for these tortillas. My hubby and older daughter even wanted seconds. Seconds of healthy food? Heck to the yes! Dinner tonight was officially a successful, tasty, and healthy meal.
P.S. That sour cream is not sour cream, it's nonfat Greek yogurt and although I don't like the stuff on its own, used in small portions it has served as a nice substitute for sour cream and adding a creamy element to salad dressing. It's thick and has 20 grams of protein per cup!


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This package includes Paperback and Paperback.
This package includes Paperback and Paperback.
This package includes Paperback and Paperback.
The American literature anthology made for teaching and learning
The American literature anthology made for teaching and learning
Here at last is an anthology that is not simply a collection of texts, but a carefully crafted tool for teaching and learning. With engaging author and selection introductions and generous gloss notes that supply the meaning of unfamiliar words, The Bedford Anthology of American Literature helps students read, appreciate, and understand American literature. The unsurpassed illustration program helps students grasp the cultural, material, and social conditions in which literary works are produced. Several innovative features supply additional contexts for the literature, while others help students reflect on why American literature is relevant and worth reading today.
A representative and diverse collection of literature reflects the richness of American literature while representing what is most frequently taught in survey courses of American literature nationwide. Vetted by an editorial board of experts, texts are generally from the first printings or from authoritative modern editions of early books and manuscripts.
- authoritative, lively, and readable introductions to periods, chapters, authors, and selections
- marginal quotations by other writers that call attention to the value of an author's work
- helpful explanatory gloss notes that aid students in their reading of texts and explain when a text has been altered
- web site references that point to additional related resources online
- a chronological organization with a pedagogical slant that includes thematic chapter groupings that help student comprehension
- American Contexts group writers thematically to invite discussion of ideological issues, critical controversies, cultural developments, and distinctive genres. Topics include: the emerging idea of "America," the rhetoric of antebellum reform, and many more.
- Through a Modern Lens sections in Volume One connect American writers of the past with writers of the present emphasizing the ongoing influence and relevance of earlier authors on contemporary authors. Highlights include: N. Scott Momaday's celebration of Native American creation stories and Kevin Young's tribute to Phyllis Wheatley.
- A thematic strand on the history of reading and writing in America is woven throughout to emphasize the role of literature in shaping American culture and history
An author team committed to scholarship and teaching. Respected scholars and experienced teachers, Susan Belasco and Linck Johnson are uniquely qualified to edit an American literature anthology with a pedagogical slant. Their keen sense of what works and doesn't work in the classroom is reflected in the judiciously compiled table of contents as well in the many innovative features that make this anthology so appealing to students.
New to This Edition
An increased emphasis on complete and expanded selections. The anthology now includes the complete texts for the following longer works: Ralph Waldo Emerson's Nature, Sarah Kemble Knight's The Private Journal of a Journey from Boston to New York, Elizabeth Ashbridge's Some Account of the Fore Part of the Life of Elizabeth Ashbridge, and Frederick Douglass's Narrative of the Life of Frederick Douglass. In addition the selections from Benjamin Franklin's Autobiography and Olaudah Equiano's The Interesting Narrative of the Life of Olaudah Equiano have been expanded. New American Contexts section on "The Salem Witchcraft Trials" includes illustrations and the writings of Deodat Lawson, Cotton Mather, Thomas Brattle, and Samuel Sewell, illuminating the most notorious episode in the history of colonial New England.
More value options than ever before for assigning the novels of your choice in print or e-book format. For maximum flexibility in course planning and for the sake of pleasurable reading, key novels and novellas are published separately as part of the Bedford College Edition series. Titles such as Charlotte Temple, The Scarlet Letter, Uncle Tom's Cabin, and Benito Cereno are available in print or as Bedford E-Books to Go, which are downloadable to e-readers, and can be economically packaged with the anthology. The first print novel (an $8 value) can be packaged for free; subsequent print volumes can be packaged for $3 net. All E-Books to Go can be packaged for free. See the Literary Reprints Tab for more information.
"This anthology is exceptional. The Bedford Anthology has two major advantages: a realistic balance of texts that acknowledges the frequent practice of assigning novels and autobiographies in full, and an incredibly fruitful, focused approach guided by questions of print culture and its attendant questions of authorship, circulation, and reception of literary texts."—Matt Cohen, University of Texas at Austin "Its selections are judiciously made, its introductions sound and focused on the real-world concerns of authorship in American history, its contextual material diverse, enriching, and to-the-point. I think that instructors who want for their undergraduate students a manageable anthology with an essential and diverse selection of texts, engaging biographical introductions, and contexts that ground the literature practically in the world of reading, publishing, and authorship will find The Bedford Anthology of American Literature a very attractive choice."
—Robert D. Habich, Ball State University
Bedford Anthology of American Literature, Volume One
Second Edition| ©2014
Susan Belasco; Linck Johnson
Digital Options
Bedford Anthology of American Literature, Volume One
Second Edition| 2014
Susan Belasco; Linck Johnson
Table of Contents
Cotton Mather (1663-1728)
*From The Diary of Samuel Sewell
"The Tear of a Wife"
Bedford Anthology of American Literature, Volume One
Second Edition| 2014
Susan Belasco; Linck Johnson
Susan Belasco
Linck Johnson
Herman Melville
Wyn Kelley
Bedford Anthology of American Literature, Volume One
Second Edition| 2014
Susan Belasco; Linck Johnson
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Resources for Teaching Bedford Anthology of American LiteratureSusan Belasco; Linck Johnson | Second Edition | ©2014 | ISBN:9781457619830
This highly praised instructor's manual includes entries for every author and every thematic cluster and offers approaches to teaching; sampl...
This highly praised instructor's manual includes entries for every author and every thematic cluster and offers approaches to teaching; sample syllabi with tips on planning the course; connections to other authors and texts; classroom-tested suggestions for discussion, writing, and oral presentations; and print and multimedia resources for further research. The manual is available in print or as downloadable files from the companion Web site.
Sample Syllabus 3: Introduction to Late American Literature
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Bedford Anthology of American Literature, Volume One
Second Edition| 2014
Susan Belasco; Linck Johnson


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"We've discussed this ad nauseam." "What's ad nauseam?" "Oh, you don't know? Well, it looks like someone needs school." That's a witty excerpt of an argument between Chris Evans & McKenna Grace in Gifted, an amazingly heartwarming film. Evans plays Frank Adler, a boat repair man in Tampa, Florida. He lives with his 7-year-old niece, Mary (played by McKenna Grace), who is just about to start her first day in public school. She had been home schooled by Frank, after he became her guardian after his sister, Diane, died when Mary was 6 months old. At the time, Diane was a promising mathematician dedicated to solving the Navier-Stokes problem, one of the 7 unsolved Millenium Prize Problems. Mary has mastered advanced calculus among many other subjects under Frank's teachings. Frank has decided now to enter Mary into the public school system in order for her to make friends & have better social skills; however, Frank's landlady & friend, Roberta Taylor (played by Octavia Spencer), believes that Mary will be taken away because of her advanced knowledge. At school, Mary is bored with what she is being taught, & after she shows her remarkably advanced knowledge, her teacher, Bonnie Stevenson (played by Jenny Slate), believes that Mary is a child prodigy. The principal of the school offers Mary a scholarship to agifted school, since she is friends with the school's headmaster; however, Frank declines, once again stating that Mary needs a normal life.
A few days later, Frank's estranged mother, Evelyn (played by Lindsay Duncan), arrives in Tampa, seeking custody of Mary, believing Mary is a one-of-a-kind child prodigy that needs to be dedicated to mathematics. However, Frank wants her to be a kid, saying that Diane would've wanted that. Eventually, Frank & Evelyn face off in court, raising the question: Should a child prodigy have time to be a kid, or should the child try to become a genius in their respective field of excellence?
The cast is amazing. Marc Webb's direction is excellent. Tom Flynn's screenplay is amazing. And Bill Pankow's editing is excellent. This is one of the best films of the year so far.


text:
Recently I was celebrating the so called Europe Day by taking part in the European Writers Conference in Berlin. They drove us through the town in new black BMW 7 Series limousines; Frank-Walter Steinmeier, federal minister of foreign affairs, gave the opening remarks; and it was held in the Deutsche Bank International Forum … everything we writers secretly like while we pretend to be hard boiled leftists.
The conference was all about ideals, humanism, European values and the meaning of Europe. My favourite line of the first day was, "Compared to the Europe of concentration camps, this Europe brings hope."
It seems that the people outside Europe don't have a problem defining what Europe is. People in the Maidan in Ukraine were dying with the world "Europe" on their lips; people from Europe's periphery, like myself, are waiting in line to become EU citizens; immigrants from Africa are drowning in the Mediterranean trying to get to Europe.
But it seems that by "European values", outsiders and Europeans mean different things. Hegel wrote that the secrets of the ancient Egyptians were a secret to the ancient Egyptians themselves. It might just be that European values are a secret to the Europeans, too.
A few years ago I was in Prato, Italy, attending a conference called Is the EU dead? We, the participants, agreed that, yes, it was. Waiters in cafes, receptionists in hotels and ticket-sellers in theatres agreed, too. Actually, all the citizens of Prato I talked to firmly believed that the final countdown for EU-doom had begun.
The morning after the conference I woke early and took a walk. Prato was free of people, and therefore irresistible. It was a cold morning – even Toscana can be cruel in February – but I had my coffee outside so that I could smoke. I was thinking about how the smoking ban is a travesty of European values – if our civilisation was good at anything, it was killing people. Smoking kills, of course, but so does the state. In the smoking ban I saw the tendency of the state to monopolise the right to legal killing.
Then came an African. He was carrying a few lighters, a plastic watch and three Snickers bars, and was offering them for sale. He tried to sell me his goods speaking Italian, and was delighted when I said "no" and, in English, offered him a coffee instead. "Don't be confused by the fact that I'm an educated man," he said to me. He was a master of electrical engineering. He left Nigeria after his parents were killed. He was talking about the equilibrium constant, about Immanuel Wallerstein's theory of the world system, about the weak integrative forces of the EU … "Are you sure you don't need a lighter?". I was sure. Then he said, "Enough of this chit chat, I have business to do," and he left.
During the day, many African immigrants are walking on the streets of Prato selling frippery. At night they go to cafes and restaurants selling roses to couples in love: one rose, €2. The same day Predrag Matvejević, a wonderful Yugoslav leftist, said to me, "You know, I peeked into the cathedral where a priest from Africa was holding a service – it brings hope." Matvejević is a good man – a good man tends to see hope in everything.
For 63 years straight the left won all the elections in Prato. Then the centre-right won. They won because of fear. We all know how it goes: the left wins because of hope, the right because of fear. The citizens of Prato were afraid of the Chinese – they told us that tens of thousands came to Prato. They were afraid of Africans, too. Some of them approved a ban of all non-Italian restaurants in the city centre.
I was thinking in Prato the same thing that I was thinking in Berlin: are European values universal, or are they reserved only for Europeans? If the second answer is correct, then Europe is more like a gentleman's club. And if that's the case, why should anybody outside of that club care about it and its "values"?


text:
Richard Jefferys
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