Associates of Borno senator, Ali Ndume, have debunked social media posts that the lawmaker has withdrawn from the race for the presidency of the ninth Senate in support of Senate Leader, Ahmed Lawan.
Sahara Reporters saw a Facebook post suggesting senators Ndume and Danjuma Goje, who is also interested, have withdrawn from the race following a purported meeting with President Muhammadu Buhari.
Reacting to the social media rumour, some concerned Borno group and associates of the former Senate Leader held a press conference late Friday night to debunk the story.
Spokesman of the group, Samaila Ville, told journalists in Maiduguri that the news being spread on the social media "is mischievous and fake".
"We were surprised to see the post on social media that our son, Senator Ndume, had withdrawn from the senate presidency race after he and the former Governor of Gombe state, Danjuma Goje, had met with the President," Ville said.
"Though we did not believe the news, we still had to check with Senator Ndume who had just left for Abuja, to ascertain the veracity of such wicked rumour. And his response was in the negative, that he had never, not even for once, contemplated backing out of the race.
"We know that the rumour was fake; and we want to categorically tell it to the world that the race for the presidency of the 9th senate is not all about Senator Ndume, but a collective decision. It all started locally from here; we are the ones that asked him to run after we had massively voted for him for the third time as senator representing Borno South.
"Even if he is to withdraw, which is not likely, it has to be with the full consent of the stakeholders in Borno State first. And as at the last time we met with Senator Ndume, which was some hours ago, the issue of backing out was never discussed. Besides, how can a man that just left Maiduguri late Friday afternoon be said to have met with the President on the same day?


text:
Is Corinne From 'The Bachelor' Going To 'Paradise'?
I think it's safe to say this season of Bachelor in Paradise is going to be the craziest yet... because Corinne is officially joining the new cast.
That's right — the breakout star of Nick Viall's season of The Bachelor (and honestly, the only contestant who made that season even remotely interesting) Corinne is taking her wild antics to the tropical spin-off.
Entertainment Tonight confirms #TeamCorn will extend to the upcoming season of Bachelor in Paradise, expected to premiere this September.
There's also news on two other Bachelor Nation faves packing up to join the new BIP cast. Amanda Stanton is heading back to the show for a second time after getting engaged to Josh Murray last season, but their relationship fell apart soon after.
Robby Hayes, the runner-up from JoJo Fletcher's season of The Bachelorette, is also confirmed to join the new cast. Robby has launched a fitness clothing line and been living with a fellow contestant from JoJo's season, Chase McNary, so it would make sense for Paradise to cast Chase as well.
But Chase is reportedly in a relationship with fitness model Paige Hathaway, so might not appear on the new season.
Though nobody else is confirmed just yet, there are a few other Bachelor contestants from Nick Viall's season who appear to be making the move to Bachelor in Paradise this season as well.
Raven Gates told us all that she's heading to Paradise on the After the Final Rose special, and Alexis Waters has joked she wants to be on Bachelor in Paradise more than she wanted to be on The Bachelor.
But the most exciting prospect is Corinne's main enemy on Nick's season, Taylor Nolan, is also stirring up rumors that she may be cast on Bachelor in Paradise. That's right — Corinne and Taylor together again.
ABC hasn't announced a premiere date for the fourth season of Bachelor in Paradise, but if it follows past trends it will likely start airing at the beginning of September.
Citations: EXCLUSIVE: Corinne Olympios Heading to 'Bachelor in Paradise' -- Plus, Two More Cast Members! (Entertainment Tonight)

redpajama_set_name: RedPajamaCommonCrawl


text:
How Hillary Met Her Doom
by Hillary Clinton
Simon & Schuster, 2017, 512 pages, $45
Shattered: Inside Hillary Clinton's Doomed Campaign
Jonathan Allen & Amie Parnes
Crown, 2017, 480 pages, $44.99
Hillary Clinton's new book, What Happened, is yet another attempt on her part to explain why, against expectations, she lost the presidential election this time last year to business mogul and reality television personality Donald J. Trump. The central assertion is that her second bid for the White House was waylaid by a perfect storm, an implausible assortment of external forces. Candidate Hillary Clinton, in other words, is a victim of circumstances not of her making. Jonathan Allen and Amie Parnes's Shattered: Inside Hillary Clinton's Doomed Campaign tells a very different story. The former First Lady and Secretary of State, according to our authors, was very much the master of her own demise.
The very first thing to say about Allen and Parnes is that they are not Republican partisans, let alone Donald Trump aficionados. The depiction of candidate Trump in Shattered rarely goes beyond a two-dimensional caricature. One of the few times the man who would become the forty-fifth President of the United States is given any credence occurs in the chapter on the presidential debates. The brilliant (and sharp-tongued) political adviser and consultant Philippe Reines was given the role of impersonating Donald Trump in Clinton's preparation for the presidential debates. Democratic apparatchiks Karen Dunn and Ron Klain, who worked with Reines, came to the conclusion that "Trump, contrary to popular opinion, had actually put forth a lot of policy ideas". Hillary's opponent, when the Democrats took a closer look, turned out to be something more than a Saturday Night Live travesty.
Shattered, assisted by more than 100 sources in Team Hillary, provides an astonishing view of the presidential campaign from the perspective of top players in the Clinton camp. The plan all along, of course, had been that the Clintons would one day make a triumphal return to the White House. However, by 2015 an angry and unsettled American electorate was reluctant to buy into the Clintons' sense of entitlement and personal destiny. According to Allen and Parnes, neither Hillary nor any of her campaign's 800 paid staff were able to advance much on that: "The campaign was an unholy mess, fraught with tangled lines of authority, petty jealousies, distorted priorities, and no sense of greater purpose. No one was in charge, and no one had figured how to make the campaign bigger than Hillary." The bottom line, then, is that Hillary Clinton, in the midst of a left-and-right-wing populist insurrection, never had "a vision to articulate".
This review appears in the November edition of Quadrant.
Subscribers enjoyed instant access weeks ago
Allen and Parnes credit Hillary Clinton with genuine personal strengths, and yet few of them translate into the kind of political attributes once enjoyed by her husband. She might be warm and humorous in an intimate setting but on a bigger stage she seldom radiated affability. Often loyal to long-time friends and admirers, her management style as a campaigner was secretive and divisive. Without any special qualities as a politician, Hillary desperately needed to come up with a reason why ordinary people should have jumped aboard her bandwagon, but it always came back to one version or another of Identity Politics, starting with the insistence that "gender was an important facet of her narrative"—in much the same way Barack Obama's African pedigree had been a crucial aspect of his winning narrative.
Hillary Clinton's self-serving claim—a vote for me is a vote for all women—turned out to be a blunt instrument, and a number of her top aides "longed for her to find her own David Axelrod". The tactical genius of Axelrod, a key consultant to Barack Obama back in the 2008 presidential campaign, was to present Obama as a symbol of reconciliation: the son of an African father and white mother who could heal a divided nation. President Obama, as we now know, went on to divide America more than ever with his bailout of the big banks, implementation of Obamacare, IRS targeting of conservatives, overtures to Black Lives Matter, insistence on the Iran nuclear deal, refusal to call out radical Islamic terrorism and so on, but that is another matter. The point is that he ran for the Oval Office as the would-be unifier.
According to Allen and Parnes, even Hillary Clinton's campaign manager, Robby Mook, knew that playing the gender card would not in itself swing the election her way: "lots of people are going to say it would be neat for a woman to be president but that does not mean that's actually why they will vote for her". Although a plurality of women voted for Clinton a majority of white women did not. To this very day Hillary Clinton blames misogyny as one reason why more American voters did not support her, when any reasonable observer is going to agree with Robby Mook that a female president would be "neat" but the candidate's gender is not sufficient reason to vote for her. Besides, the accusation of misogyny—a conspiracy theory at best—cannot be supported by the fact that a plurality of American voters did back Hillary Clinton's candidature on Election Day. Her mistake, as Shattered explains, was to put much less time and effort than the Trump campaign into winning crucial electoral votes—of men and women—in the economically struggling Midwestern states. Clinton's recent assertion that women who did not vote for her in 2016 had "disrespected themselves" says a lot about the soft totalitarianism of identity politics.
In the opinion of Allen and Parnes, Clinton's first campaign speech, delivered in the state of New York, contained no clear reason why the voters of America needed her at the helm. She acknowledged the importance of PC rectitude and the Democratic Party's aspirant rainbow of discontents—African-Americans, Hispanics, the LGBT community and women of all races and sexual orientations—before talking vaguely about the need for economic opportunity, but there was "no overarching narrative explaining her candidacy". That speech, according to one of the authors' anonymous sources, "reflected a lot of what would come afterward". As members of Team Clinton concluded: "Hillary had been running for president and still didn't really have a rationale." All she possessed, in truth, was "a narrative of dynastic privilege" at a time when the American electorate had gone rogue.
Neither Russian hacking nor James Comey can be blamed for the embarrassing reverses Hillary Clinton experienced at the hands of Bernie Sanders, her unlikely opponent in the primaries. Clinton, in What Happened, faults President Obama for advising her not to play hardball with the junior senator from Vermont. Shattered tells a different tale. Clinton and her capacious entourage had no idea how to counter the phenomenon of Sanders's Left-populist insurrection. The American electorate, in the Midwestern states and elsewhere, was "angry with the political class" and aware that "recovery from the recession had been quicker for Wall Street and big corporations than for ordinary citizens". Pertinently, Hillary Clinton, the quintessential political insider, made millions from her confidential speeches to Wall Street companies after relinquishing her position as Secretary of State at the beginning of 2013. Bernie's best moment in his sparring with Hillary was his quip that, given the value of those Wall Street speeches, she surely owed it to the world to disclose the embargoed transcripts.
The Hillary Clinton machine fared even worse combatting Trump's populist movement. Clinton's disparagement of Trump's "basket of deplorables" backers, proclaimed at the September 9 LGBT gala for the Hillary Victory Fund in New York, made no political sense. It was one thing to portray Donald Trump as "temperamentally unfit for the presidency" but to label as "irredeemable" those contemplating a protest vote against her because they were fed up with the political class—of which she and her husband were prominent members—only confirmed what disgruntled voters in Michigan, Pennsylvania and Wisconsin were already thinking. One campaign staffer, quoted in Shattered, gave this reaction to Clinton's attack: "She didn't have the feel, the empathy." For Clinton (and the PC brigade in general) it is always Onward together—just as long as you agree with them.
Hillary, in What Happened, actually addresses the question of whether Trump voters deserve her empathy. In the end, after equivocating for a moment, the answer is negative: "I look at the people at Trump's rallies, cheering for his hateful rants, and I wonder: Where's their empathy and understanding?" Hillary Clinton still insists Donald Trump "has given a lot of encouragement and rhetorical support to the Ku Klux Klan". Really? During Clinton's 2016 campaign the bogus charge of White Privilege seems to have metamorphosed into White Supremacism. We cannot be surprised, therefore, that the losing presidential candidate, along with the mainstream media, Hollywood celebrities and now highly paid NFL players, has joined "the Resistance". It is one way to rationalise political defeat.
Allen and Parnes, we should note, are careful to limit their criticism of Hillary Clinton. In the chapter that deals with the 2015 emergence of the e-mail story, "The Summer of the Server", Hillary appears to be an incongruous mix of naivety, paranoia and self-obsession, when an even tougher judgment might be applicable. Thus, Shattered speaks of Clinton's "blindness to the massive conflicts of interest created by the intersection of her presidential campaign, her government service, her philanthropic work, her pursuit of personal enrichment, and her husband's various and sundry public and private activities". In other words, she is presented as something less than the Crooked Hillary character derided by Donald Trump. The authors simply make the case that Clinton was the wrong candidate, an establishment figure with little political nous, to be navigating the headwinds of a populist tempest—but it is enough to explain why her campaign was doomed.
Shattered gives us a first-hand account of how Hillary Clinton responded to James Comey's triple intervention in the presidential race—she did not like any of them. This begs the question, however, of why Secretary of State Clinton set up a private server in the first place, and why her staff destroyed the evidence that would have either cleared her or implicated her in criminal actions in the midst of "massive conflicts of interest". And what did Bill Clinton really say to Attorney-General Loretta Lynch in the notorious "tarmac meeting"? And why did Huma Abedin, the wife of sexual deviant Anthony Weiner, enjoy so much power in Team Hillary? At some point during the campaign the American voter had every right to wonder if the candidate "temperamentally unfit for the presidency" was not so much Donald John Trump as Hillary Rodham Clinton.
Clinton's first response to defeat on Election Night, November 8, 2016, was undoubtedly the right one. Though she had put everything—including a staggering billion dollars—into attaining the Oval Office, Hillary fell short. Hereafter, it would be up to others to carry the baton of American-style leftism or progressivism. Clinton was going to graciously withdraw from the public spotlight and not malign Donald Trump in her concession speech: "It's not my job any more to do this. Other people will criticise him. That's their job. I have done it. I just lost it, and that is that." The Clinton Era, dating back to 1992, had concluded. After a few hours of sleep, nonetheless, Hillary was having second thoughts.
Shattered hits pay dirt in the last chapter, titled "The Aftermath". Here we learn that within twenty-four hours of the concession speech Robby Mook, John Podesta and the entire Hillary communications team were assembled in their Brooklyn headquarters "to engineer the case that the election wasn't entirely on the up-and-up". What follows can only be described as disturbing for anyone interested in the conventions of constitutional democracy, which includes the vanquished candidate accepting the legitimacy of the election: "For a couple of hours, with Shake Shack containers littering the room, they went over the script they would pitch to the press and the public. Already, Russian hacking was the centrepiece of the argument." These miscreants make Richard Nixon—who had every reason to allege foul play in the 1960 presidential election but chose the high road—look like a saint. The irony of all ironies, perhaps, is that on election night President Obama, who believed that whipping the incorrigible Donald Trump should have been "too easy", pleaded with Clinton to vouch for the inviolability of the electoral process: "Hillary was torn."
It is not impossible to feel sorry for anybody who dreams of being the president of the United States and, in the early stages of vote counting on election night, fancies the dream is about to become reality. We can, as Bill would say, feel Hillary's pain when the dream resolves into a nightmare—Florida turns against you, North Carolina, and then, to your dismay, Michigan, Pennsylvania and Wisconsin. The Democratic Party's outwardly impregnable Blue Wall had fallen faster than the German Democratic Republic's Berlin Wall. Hillary Clinton was shattered. Hollywood celebrities were shattered. CNBC's Rachel Maddow was shattered. America's entire Left Power Elite, to paraphrase C. Wright Mills, was shattered—but that is no reason to allow leftist apologists to rewrite the history of the 2016 presidential election.
Daryl McCann is a regular contributor. He has a blog at http://darylmccann.blogspot.com.au, and he tweets at @dosakamccann.
en passant – 18th November 2017
America dodged a bullet in taking on another member of the Klinton Krime Kartel (KKK for short)
denandsel@optusnet.com.au – 20th November 2017
There is one vital aspect overlooked in TRUMPS win, the voting 'patterns'/areas. The bulk of people who voted for Trump were from the wealth producing areas of the US, i.e. rural areas and the outer suburbs of bigger regional cities. About 83% of individual counties voted for Trump. Clinton won only in the bigger cities, i.e. the wealth consuming areas and areas dominated by bureaucratic 'elites' and welfare recipients. These were concentrated on the west coast [known in the US as the 'left' coast] i.e mainly California, and the North-Eastern States such as New York and Massachusetts.
We have similar patterns here, the rural [wealth producing] areas vote National, LNP or One Nation, the wealth consuming/re-distributing sectors are confined to the Inner Cities and the welfare dependent sections of society are mostly suburban and in poorer rural areas.
The Burden of Responsibility
Julia Patrick
Arthur Tange, Last of the Mandarins, by Peter Edwards
John Burgess
Mediocrity Through the Gates


text:
Генрі Говард Холмс (справжнє ім'я Герман Вебстер Маджетт) (16 травня 1861— 7 травня 1896) — перший офіційно зареєстрований американський серійний убивця, шахрай. Попри зізнання в 27-и вбивствах, засуджений і страчений був за одне — свого спільника Бенджаміна Пітезеля. Через «жовту пресу» став відомий як творець «замку вбивств», де він нібито вбивав постояльців у вигадливих пастках, що не було підтверджено.

Життєпис
Герман Маджетт народився 16 травня 1861 року в невеликому селі в Нью-Гемпширі. Його батька звали Леві Гортон Маджетт (), а мати Теодейт Пейдж Прайс (). Герман був третьою дитиною своїх батьків; у нього була старша сестра Еллен, старший брат Артур, молодший брат Генрі та молодша сестра Мері. Сім'я Маджеттів була нащадками перших англійських поселенців на території Нью-Гемпшира. Батько Германа був із фермерської родини, сам працював фермером, торговцем і маляром; родина належала до протестантського руху методистів. Пізніші спроби описати перетворення Германа на серійного вбивцю містили згадки, як він нібито мучив тварин і страждав від насильства з боку жорстокого батька, але розповіді сучасників і очевидців про його дитинство не містять таких свідчень.

28 січня 1887 року одружився з Міртою З. Белкнап () зі штату Міннесота, але на той момент він уже був одружений з Кларою Лаврінг, що зробило його двоєженцем.

Герман вступив до Університету Вермонта в Берлінгтоні у віці 18 років, але був незадоволений освітою і покинув навчання через рік. У 1882 році він вступив на факультет медицини та хірургії Мічиганського університету, звідки випустився в 1884. Під час навчання працював в анатомічній лабораторії під керівництвом професора Вільяма Джеймса Гердмана, тодішнього головного інструктора з анатомії. Тоді поширилися чутки, що вони вдвох брали участь у пограбуванні могил задля отримання трупів для дослідів. Потім Герман навчався в Нью-Гемпширі у Наума Вайта, відомого популяризатора препарування людини з науковою метою. Через багато років, коли Германа запідозрили у вбивстві, він заявив, що кілька разів використовував трупи для обману компаній зі страхування життя: він демонстрував їм трупи, на які попередньо були оформлені фальшиві договори страхування.

Співмешканці описували, що Герман жорстоко поводився з Кларою, і в 1884 році, перед його випуском з університету, Клара повернулася до Нью-Гемпшира, згадуючи, що мало про нього знала. Після того, як Герман переїхав до Муерс-Форкс, Нью-Йорк, поширилися чутки, що Германа бачили з маленьким хлопчиком, який пізніше зник. Герман стверджував, що хлопчик повернувся до свого дому в Массачусетсі. Розслідування не проводилося, і Герман швидко покинув місто.

Пізніше він поїхав до Філадельфії, штат Пенсільванія, і влаштувався доглядачем у державну лікарню Норрістаун, але через кілька днів звільнився. Пізніше він влаштувався в аптеці у Філадельфії, але поки там працював, хлопчик помер після того, як прийняв ліки. Герман заперечив будь-яку причетність до смерті дитини і негайно покинув місто. Безпосередньо перед переїздом до Чикаго він змінив своє ім'я на Генрі Говард Холмс, щоб уникнути викриття за шахрайство.

Наприкінці 1886 року, бувши ще одруженим з Кларою, Холмс одружився з Міртою Белнап у Міннеаполісі, Міннесота. Він подав на розлучення з Кларою через кілька тижнів після одруження з Міртою, стверджуючи про невірність з її боку. Претензії не вдалося довести, і позов лишився не задоволеним. Документи вказують, що вона, ймовірно, навіть не була проінформована про позов. У будь-якому випадку розлучення так і не було оформлене; Холмса звільнили від судового переслідування 4 червня 1891 року.

Холмс придбав порожню ділянку в Чикаго в 1887 році, де почав будівництво двоповерхової будівлі з торговими приміщеннями, включаючи аптеку, та квартирами. Кредитор Холмса на ім'я Джон де Брюейл помер від внутрішнього крововиливу 17 квітня 1891 року в аптеці. Коли Холмс відмовився платити архітекторам і металургійній компанії Aetna Iron and Steel, вони подали до суду в 1888 році. В 1892 році Холмс добудував третій поверх, сказавши інвесторам і постачальникам, що збирається використовувати його як готель під час майбутньої Всесвітньої Колумбійської виставки. До 1892 року готель був частково збудований.

У 1891 Холмс убив там свою коханку Джулію Смайт (вірогідно з необережності при проведенні аборту) і її дочку Перл, а також ще одну гадану коханку, Емелін Сігранде. Вірогдіним співучасником, який допомагав знищувати трупи, став тесля Бенджамін Пітезель, який уже мав кримінальне минуле. Потім, у 1893, Холмс убив ще двох жінок, майном одієї з яких він заволодів, переконавши перед цим підписати фальшивий акт. Наступного року він убив Пітезеля, щоб видати його труп за власний і отримати страховку, а також двох його дочок.

У Холмса від Мірти була дочка Люсі Теодат Холмс, яка народилася 4 липня 1889 року в Енглвуді, Чикаго, Іллінойс. Холмс жив із Міртою та Люсі у Вілметті, штат Іллінойс, але проводив більшість часу в Чикаго, займаючись бізнесом. Холмс одружився з Джорджіаною Йоке 17 січня 1894 року в Денвері, штат Колорадо, бувши усе ще одруженим із Кларою та Міртою.

Поліцейський детектив Філадельфії Френк Геєр, якому було доручено розслідувати підозри щодо причетності Холмса до зникнення трьох дітей Пітезеля, знайшов у підвалі його будинку в Торонто два трупи. Потім Геєр поїхав до Індіанаполіса, де Холмс орендував котедж. У димарі будинку знайшли зуби хлопчика та шматки кісток.

Холмса заарештовали в Бостоні 17 листопада 1894 року після того, як його вистежило з Філадельфії приватне Національне детективне агентство Пінкертона. Приводом стало конокрадоство, скоєне в Техасі. У липні 1895 року, після виявлення тіл двох жертв, чиказька поліція та репортери почали досліджувати будівлю Холмса в Енглвуді. Холмс зізнався у 27-и вбивствах, але до смертної кари його засудили за одне — Бенджаміна Пітезеля, котрого Холмс достеменно вбив особисто. Деякі зізнання виявилися неправдивими та даними за грошову винагороду від місцевої газети. Стратили Холмса 7 травня 1896 року через повішення.

«Замок убивств» Холмса

Вигадані звіти повідомляють, що Холмс побудував готель у Чикаго, аби заманювати туди туристів, які приїхали на Всесвітню виставку. Там Холмс нібито вбивав їх, препарував, а скелети продавав медичним освітнім закладам. Однак, немає доказів, що Холмс коли-небудь намагався заманити незнайомців до свого готелю, щоб убити. Готель, хоча був облаштований, ніколи не приймав постояльців, а використовувався для приховування меблів, які Холмс купив у кредит і не збирався платити за них.

У статтях жовтої преси цю будівлю назвали «замком убивств» Холмса, стверджуючи, що в будівлі були таємні камери тортур, люки, газові камери та підвальний крематорій; жодне з цих тверджень не було доведене. Інші статті стверджують, що готель складався з понад сотні кімнат і був побудований як лабіринт, з прихованими дверима, кімнатами без вікон і тупиковими сходами.

Готель згорів через підпал незабаром після арешту Холмса, споруду перебудували та використовували як поштовий відділок до 1938 року. Окрім свого «замку вбивств» Холмс також мав одноповерхову фабрику для згинання скла. Невідомо чи використовувалася вона коли-небудь за призначенням, але припускалося, що Холмс спалював там докази проти себе.

7 березня 1914 року газета «Chicago Tribune» повідомила, що доглядач «замку вбивств» Патрік Квінлан покінчив життя самогубством, прийнявши стрихнін. Його тіло знайшли в спальні разом із запискою «Я не можу спати». Родичі Квінлана стверджували, що його «переслідували» кілька місяців і він страждав від галюцинацій.

Жертви

Джулія та Перл Смайт. Однією з перших жертв Холмса була його коханка Джулія Смайт. Вона була дружиною Неда Коннера, який переїхав до будинку Холмса і планував продавати ювелірні вироби. Після того, як Коннер дізнався про роман Смайт із Холмсом, він звільнився з роботи та покинув Смайт та її доньку Перл. Смайт отримала опіку над Перл і залишилася в готелі, продовжуючи свої стосунки з Холмсом. Джулія та Перл зникли напередодні Різдва 1891 року, а пізніше Холмс заявив, що вона померла під час аборту, який він їй проводив. Холмс стверджував, що отруїв Перл, ймовірно з метою приховати обставини смерті її матері. Під час розкопок підвалу Холмса було знайдено частково збережений скелет дитини, можливо Перл. Батько Перл, Нед, потім став ключовим свідком у суді над Холмсом у Чикаго.

Емелін Сігранде. У травні 1892 року в будинку Холмса, почала працювати Емелін Сігранде, котра зникла в грудні 1891. Чутки після її зникнення стверджували, що вона завагітніла від Холмса, можливо, стала жертвою ще одного невдалого аборту, який Холмс намагався приховати.

Мінні та Енні Вільямс. На початку 1893 року колишня актриса Мінні Вільямс переїхала до Чикаго, де Холмс запропонував їй роботу. Холмс стверджував, що познайомився з нею в бюро з працевлаштування, хоча ходили чутки, що він зустрів її в Бостоні багато років тому. Він запропонував Мінні бути стенографісткою. Холмс переконав Мінні передати документ на її власність у Форт-Ворті, штат Техас, людині на ім'я Олександр Бонд — під таким іменем записав себе сам Холмса, а Пітезель підписав акт псевдонім «Бентон Т. Лайман». У травні 1893 року Холмс і Вільямс, представившись чоловіком і дружиною, зняли квартиру в чиказькому Лінкольн-парку. Сестра Мінні, Енні, приїхала в гості, і в липні вона написала своїй тітці, що планує супроводжувати «брата Гаррі» в Європу. Ні Мінні, ні Енні не бачили живими після 5 липня 1893 року.

Бенджамін Пітезель. Через звинувачення страхових компаній у підпалі Холмс покинув Чикаго в липні 1894 року. Він переселився в Форт-Ворт, де перебувало майно однієї з його жертв, і планував звести ще один будинок, не заплативши постачальникам і підрядникам. Того ж місяця Холмса заарештували та ненадовго ув'язнили за звинуваченням у продажу товарів, відданих під заставу, в Сент-Луїсі, штат Міссурі. Його випустили під заставу, але, перебуваючи у в'язниці, він познайомився зі злочинцем Меріоном Геджепетом, грабіжником потягів. Вони розробили схему з інсенізацією смерті Холмса, щоб отримати $10 тис. від страхової компанії, залучивши молодого адвоката зі Сент-Луїса на ім'я Джепт Хоу. Але план провалився і страхова компанія відмовилася платити. Холмс вирішив повторити те саме, але вже доручивши Пітезелю знайти труп; себе Холмс планував представити як загиблого внаслідок вибуху винахідника Б. Ф. Перрі. Натомість Холмс убив Пітезеля, приспавши хлороформом і підпаливши. Судово-медична експертиза показала, що хлороформ був введений уже після смерті, ймовірно, для імітації самогубства.

Аліса та Неллі Пітезель. Холмс узяв опіку над трьома з п'яти дітей Пітезеля, а його дружині брехав про місцезнаходження чоловіка, нібито він переховується в Лондоні. Двох дівчат, Алісу та Неллі, він задушив газом, а їхні оголені тіла поховав у підвалі свого орендованого будинку на Сент-Вінсент-стріт, 16 у Торонто.

Хибні звинувачення
У зізнанні після арешту Холмс стверджував, що вбив свого колишнього однокурсника з медичної школи Роберта Лікока в 1886 році заради грошей на отримання страховки. Однак Лікок помер у Вотфорді, Онтаріо, Канада, 5 жовтня 1889 року.

Холмсу приписується вбивство старого аптекаря Голтона та його дружини в Енглвуді 1886 року, де Холмс недовго працював. Насправді Холтон був студентом, лише на кілька років старшим за Холмса, і лишався з дружиною в Енглвуді протягом усього життя. Так само Холмс не вбивав у своєму готелі міс Кейт Даркі, яка виявилася живою.

Суд
У жовтні 1895 року Холмса притягнули до суду за вбивство Бенджаміна Пітезеля, визнали винним і засудили до смертної кари. На той час стало очевидно, що Холмс також убив трьох зниклих дітей Пітезеля. Після засудження Холмс зізнався у 27 вбивствах у Чикаго, Індіанаполісі та Торонто (хоча деякі люди, у вбивствах яких він «зізнався», були ще живі), а також у шести замахах на вбивство. Газета «Hearst» заплатили Холмсу 7500 доларів в обмін на його додаткові зізнання, які здебільшого виявилися вигадкою.

Страта

7 травня 1896 року Холмс був засуджений до смертної кари через повішення у в'язниці «Мояменсінг», також відомої як в'язниця округу Філадельфії. До самої своєї смерті Холмс залишався спокійним і доброзичливим, практично не показуючи ознак страху, тривоги і депресії. На страті шия Холмса зламалася не відразу. Він помирав протягом 15 хвилин. Він заповів поховати його в бетоні, щоб ніхто не зміг відкопати і розрізати тіло, як він розрізав своїх жертв. Його прохання було задоволено.

У 1910 році Меріон Геджепет, який отримував винагороди від Холмса за надання інформації, яка його цікавила, був застрелений поліцейським під час затримання в одному з салунів Чикаго.

Дослідження злочинів Холмса
Історія Генрі Говарда Холмса досліджувалася в книгах «Лікар-мучитель» (The Torture Doctor, 1975) Девіда Френке, «Багряний маєток» (The Scarlet Mansion, 1985) Алана Екерта, в розділі «Монстр із Шістдесят третьої вулиці» (The Monster of Sixty-Third Street) з книги «Самоцвіт прерій: Неформальна історія вивороту Чикаго» (Gem of the Prairie: An Informal History of the Chicago Underworld) Герберта Есбері (1940, перевидано в 1986).

Інтерес до злочинів Холмса поновився в 2003 році з виходом книги Еріка Ларсона «Диявол білого міста: Вбивство, магія та божевілля на виставці, що змінила Америку» (The Devil in the White City: Murder, Magic, and Madness at the Fair That Changed America).

У масовій культурі

У кіно
 В американському серіалі «Надприродне» в 6 серії 2 сезону герої протистоять примарі Холмса, що відновив здійснення кривавих злочинів у багатоквартирному будинку, побудованому на місці його поховання. Його роль виконав актор Стівен Аберле.
 В 5 сезоні серіалу «Американська історія жахів» є персонаж Джеймс Патрік Марч, прототипом якого став Холмс. Марч побудував у Каліфорнії готель «Кортез», де було багато потайних коридорів і кімнат, у яких він здійснював жахливі вбивства.
 В 2 серії 4 сезону серіалу «Шерлок» ім'я Генрі Холмса згадується Калвертоном Смітом, коли той говорить про свого улюбленого серійного вбивцю. Калвертон при будівництві лікарні також міняв підрядників і в підсумку тільки він знав про всі приховані ходи, заявивши, що може переміщатися по лікарні і ніхто не буде знати про це.

У літературі
 Генрі Говард Холмс став прототипом одного з головних героїв роману Роберта Блоха «Американська готика», Р. Гордона Грегга.
 Генрі Говард Холмс був прототипом серійного вбивці з роману спільного авторства Лінкольна Чайлда і Дугласа Престона «Кабінет дивина» — третій із серії романів про спеціального агента Алоїзі Пендергасте. За сюжетом серійний вбивця створив кунсткамеру на базі аптеки в старому маєтку в Нью-Йорку, в підвалі якого в нього було безліч різних пристосувань для вбивств, а сам будинок був багатим на таємні ходи та приміщення. Шляхом вивчення анатомії і препарування своїх жертв, він відкрив еліксир вічної молодості і жив близько 150—200 років.

У відеоіграх

 Історія Генрі Холмса взята за основу сюжету гри The Devil in me. Сам убивця з'являється в пролозі сюжету.

Посилання
 Голмс, Генрі Говард (Holmes, Henry Howard)
 Henry Howard Holmes

Примітки

Література

 Bloch R. American gothic. 1974

Уродженці Нью-Гемпширу
Серійні вбивці США
Серійні вбивці XIX століття
Повішені в США
Страчені за вбивство
Померли у Філадельфії

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ArticlesChicago Reviews
Posted February 17, 2020 February 17, 2020 Karen Topham
This article is by Karen Topham, ChicagoOnstage, member American Theatre Critics Association, in response to Raven Theatre's production of A Doll's House. It isn't technically a review, though there is a review incorporated within it. It's more of an extended explanation of why I reacted the way I did to this production despite the clear merits that it possesses. Thank you for your indulgence. Photo by Michae Brosilow.
I have always had an odd relationship with Henrik Ibsen's A Doll's House. Although I fully understand its historical role as a proto-feminist drama, and I do appreciate the ways in which Ibsen forever changed the way that plays are written and performed, I find myself troubled about its central character, Nora Helmer. I know I am supposed to be impressed (or even, in the case of Ibsen's contemporary audiences, shocked) by Nora's sudden transformation at the end of the play into someone who can stand on her own after so many years of being a plaything for both her father and her husband, but in all honesty I am not, and there is a simple reason for that: I don't actually believe that she is transformed at all.
Hear me out.
This is a woman who has always enjoyed the roles into which men have thrust her. She loves playing the little "songbird" for Torvald. She has a wonderful time flirting with him and with Dr. Rank and playing games with her children. She delights at the surreptitious pleasure of sneaking forbidden macaroons. She thrills at the exciting possibilities that her husband's new job presents for her with its newfund stability and influx of cash. She flits about her home and through her life like a butterfly, knowing little to nothing about the ways in which the world works and caring even less.
Speaking to her long-lost friend Christine, she focuses their conversation on self-centered braggadocio, acting every bit the "child" that her friend believes her to be. And it's true: though she can justifiably feel proud of finding a way to save her husband's life—though the method she used goes against the very core of his beliefs—even this is revealed to be a kind of game she has been playing. A consummate (if private) actress, Nora revels in the little roles she performs: "songbird"/"squirrel," mother (with a nanny doing all of the heavy lifting), homemaker, secret savior, friend. Each role requires something different from her, and though she actually learns nothing from any of them, she has a wonderful time playing them.
Getting needed funds from a man she loathes, Krogstad, she is so caught up in the drama of what she is doing that she doesn't even try to understand its significance, which is something Christine comprehends immediately. Nora's fairy-tale mind even convinces her of the inevitability of an absurd "wonderful thing": that Torvald would actually step in and claim to be the guilty one, sacrificing his reputation in order to save hers. It's as if she has never even met the man, who values his morally pristine world higher than anything else. In reality, it is Torvald's condemnation of her act that is inevitable, and it is only in the wake of his anger and disgust that Nora conceives of her dramatic exit, which she performs, as she does everything, pretty much on a whim with no clue where it will lead and with attention to the theatrics of it: she even changes her costume.
Nora is, throughout much of the play, a character of light comedy. She does what is expected of her as a wife, playing the roles that her chauvinistic husband demands of her. Contrasted with the world-weary and far more grounded Christine, she is so utterly frivolous that her friend actually decides to allow her to see how ridiculous her notions are instead of letting Krogstad save her from their consequences. Christine understands that Nora can only grow up if she stops living in fantasy worlds where she can transport herself by dancing the tarantella or whatever Torvald gets into his head. Far from actually altering her sense of reality, though, Nora's experience simply leads her to another role she can play, one she must perform on her own. (The extremity of her emotional changes regarding her children are another example of a mind that fails to think things through realistically. A true feminist heroine would surely have understood that Torvald's admonitions and fears about her bringing them up are the product of his own warped sense of morality, but Nora accepts them at face value…because walking out on all of them is far more dramatic a final statement.)
It isn't really that I don't believe Nora's actions here are impressively modern. Clearly, going out on her own in a world in which that simply isn't done is a bold and progressive move. But in Nora's case, no matter what it portends, it is mostly prompted by her need to play one more role. She even leaves with a monologue that lets her conceive of yet another dream she can cling to, one in which "the most wonderful thing of all" (equality with her husband) is possible. It is certainly the right vision to have if you happen to be a feminist heroine, but it represents such an abrupt change of perception and personality that Torvald could be forgiven if his reaction were sheer disbelief. He suddenly finds himself in a completely different play with a completely different Nora performing opposite him.
It is this baggage that I bring with me to every new production of Ibsen's play. What I look for every time is a way in which the director, the designers, and the actress playing Nora can convince me that a real person could and would act this way with sincerity rather than as a scene to play out. I found that in Writers Theatre's recent production. The new one at Raven Theatre, directed by Lauren Shouse, does an excellent job of showing Nora's increasing panic, especially in the powerful—and dramatic—tarantella scene. Here, unlike many other Noras I have seen, Amira Danan invests so much of her soul into this dance and plays it with such pain—based on the recognition that this moment is basically prolonging Torvald's discovery of her deception—that the moment feels absolutely right in all of its conflicting emotional narratives. And the fact that Gage Wallace's objectifying Torvald sees only the technique of the dance and none of its distress brings it home perfectly.
Still, despite the undeniable power of this scene and the strength of the performances overall, also including Mike Dailey's glum Dr. Rank, Nelson Rodriguez's Krogstad, Shadana Patterson's Christine, and the two family servants played by Carmen Liao and Kelli Walker, I found myself remaining at a distance from this A Doll's House. Maybe it was Eileen Rozicki's set, an imposing monochromatic gray construction that expands the entire width of Raven's extremely wide stage and feels more industrial than homey. (My husband said that the dozens of small drawers on the main wall reminded him of a hardware store, and I can't disagree.) Even the fireplace did little to warm things up, continuing the dull color scheme everywhere except for the small fire itself. (It doesn't help either that the only significant spot of color anywhere is a three foot tall clearly artificial Christmas tree sparsely decorated in a red flower ribbon. Both the tree's blatant visual discordancy with the late 1800s Norwegian setting and Nora's inexplicable delight in how it looks took me right out of the play.)
One of the problems with a set this expansive is the need for Shouse to take advantage of all of it. In this case, that need results in a restive and agitated Nora rapidly and repeatedly traversing the significant distances from table to couch to fireplace, a manic movement pattern that, while appropriate later in the play, seems forced during early scenes. Perhaps the intent is to help us to see her as a songbird or squirrel; I just saw it as frenetic and unnecessary, and it further removed Nora in my mind from a sense of realism.
None of this takes anything away from Danan's towering performance, which shows her character's emotional breakdown about as clearly as I've ever seen it. Wallace too is strong as Torvald. Playing the character with a default bemused expression, Wallace easily lets us see what the husband thinks of his silly and frivolous wife, which makes both his eleventh hour explosion and his final bewildered moment more powerful. Still, even in the play's coda, which finds a newly free Nora standing with no clue where to go in a snowfall made of cut-up paper (an effect that didn't help), all I could see was her posturing and acting; I could not see the real character change that Ibsen wanted us to see. I can blame myself for this, but ultimately I can't make an unequivocal recommendation of this production.
A Doll's House is now playing at Raven Theatre, 6157 N. Clark St, Chicago, IL, until Mar 22. The show runs approximately two hours; there is one intermission. Check the website for specific dates, times, and tickets. Find more information about current plays in our front page recs and attheatreinchicago.com.
classic literatureHenrik IbsenRaven Theatrerecommendedyellow light
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My boys are getting older, now, and so we've been reading some longer books together. This is the first one (they've chosen Bambi for the next one, so watch out for that - apparently, we're on a 'read books that were made into Disney films' kick, though the books have never seen either).
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Now, I don't mean to imply that the book is entirely worthless. It's a fun story, and there is a charming imagination to the whole idea of the Prisoner's Aid. And, the affection of the mice for the poet, their courage IS a good lesson. If only, it wasn't so regimented. It's difficult to seperate the one message from the other, and only one of the messages is one I'd wish my children to take in. I wonder what it is in books today that I'll be embarrased of when I read them to my grandchildren?
The boys have seen both of these, or at least I think they have. I remember some movie with Princess Zsa Zsa (and no, it wasn't the Pee Wee's Christmas Special), but I thought she was the voice for a spoiled cat. It was at Julia's house.
Bambi was one of my favorite movies as a child. I've never read the book though. I should read it to the boys with you.
That'd be fun! We should all read it together!
BTW, I wouldn't worry too much: large stretches of my review have nothign to do with my review either.


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Thoughts from The Productivity Booster | Because it's time for a business boost! Simply work smarter.
I touched on nurturing relationships in my previous post Successful Business Relationships Take Work, but there's more I want to share.
When I think about nurturing relationships, think about what I have learned in nurturing my personal relationships. Years ago my husband and I read The Four Agreements, by Don Miguel Ruiz. These "four agreements" are something I reference often in my personal and professional relationships. What I like most about The Four Agreements is their simplicity and frankness. No beating around the bush here, and trust me, they will stick with you. I've been thinking about them for the last six years!
Agreement #1 – Be impeccable with your word.
When building a relationship on trust, you have to be impeccable with your word by speaking with integrity and only speaking what you truly mean.
Agreement #2 – Don't take anything personally.
Oh, this is a tough one, but folks, it's not all about me or you. In fact, Ruiz points out in his book that nothing other folks do is about us…it's about them. And the same goes for our actions. They are about us, not about the other person in the relationship.
Agreement #3 – Don't make assumptions.
The fastest way to get into trouble in a relationship is to "assume" anything. Nine times out of ten, we're wrong. Ask questions, find out what's really going on. Communication is key!
Agreement #4 – Always do your best.
By always doing our best, we don't allow room for self-judgment, self-abuse and regret. Our best may vary day-to-day, but if we are always doing our best, we can be proud of what we've offered to our relationships.
What "agreements" work best for nurturing your relationships?
We all have the opportunity to build relationships. Whether you are a business owner, corporate executive, or something else, we all build some sort of relationship the folks that we meet. But, it goes beyond just exchanging a business card and a handshake. You actually have to work at a relationship to make it successful. Granted, the work doesn't have to always be hard, but relationships are a two way street – meaning, both sides have to work at the relationship in order to make it a success.
I've been told that a relationship is give and take. I've even been told that you must "give-to-get." But, my experience has taught me, you must give a heck-of-a-lot more then you ever take. When you walk around wanting, or good grief worse, expecting, of everyone around you, others catch on and relationships can be damaged, even broken.
A relationship is not something to take lightly. Relationships are something to be cherished, and who knows, that relationship can turn into a friendship, a mentorship, or even a client. But, you must start with building and nurturing the relationship first.
I think over time we can tend to be more cautious and become less of a risk taker. As a child, I think my middle name was "risk." I remember fondly when I was 8-years-old, we were living on the Air Force Academy in Colorado Springs. We headed north for our first (of many) family ski trip. I spent the morning in "ski school" and after lunch we headed up on the slopes with a group of folks. I remember asking my parents to let me do a downhill race and I ended up winning a bronze medal for my time. Needless to say, I was hooked on skiing after that. I spent my middle school and high school years pushing the limits by making my way down black diamonds. When I was in high school I sprained my knee and it was never quite the same after that. That injury (and my folks knee injuries) caused me to be a lot more cautious, especially on the slopes. It's been nearly 12 years since I strapped on some skis, and some days I miss it. But what I miss the most is the "no-fear" mentality I had when I was 8-years-old.
Risk taking does not always come naturally. As a child we were more likely to take risks, but as adults we've been conditioned to be more cautious. Maybe we've been taken advantage of, ripped off, or even emotionally attacked. Last year I took a risk with a graphic designer. After our first meeting I paid him a deposit…then I never heard from him again. That trust was broken, and it took me months to get comfortable again enough to find a new designer.
Some may argue that asking for help is a sign of weakness. I beg to differ. Yet, I have also found it hard to ask for help sometimes. I can remember all through high school and college I was never the first to raise my hand and ask a question. Oh, I had plenty of questions, but I was too self-conscious to raise my hand first. I was worried I would ask something stupid, and then the class would think I'm an idiot. Yes, this is a true story. In all honesty, it wasn't until this last year that my confidence grew to a point that I wasn't worried so much about what others might think, but more eager to find out the answers to my questions. Once I started asking questions I realized that so many folks out there WANT to help you. They themselves are bursting at the seams with information, and many of them are happy to share. Asking questions can be done in so many formats these days: Social Media, Face-to-face, Email, and you can always ask Google!
What areas of your business are you most likely to ask for help?
I'm not talking about muscles folks. Although, P90X has helped me with that…I digress. I'm talking about finding what it is that you do best. As a solopreneur I wear more hats than I can count. And the truth is, I'm not good at all those hats…and that's okay! Not sure where your strengths are? Start making a list. What are you good at? Too modest? Ask someone you trust, who you know will give you honest feedback. It's taken me some time to find my strengths. Not only finding what my strengths are, but believing in them.
Have you found your strengths? Was it easy or was it hard?
It's easy to get caught up in the excitement of new ideas, business ventures, or even topics to blog about. Maybe it's that you're getting caught up in building relationships (coming up in #5). No matter what it is, always, always, always, trust your gut. You know, that sensation you get when something just doesn't feel right? Or maybe it sounds too good to be true? Those are the times you need to trust your gut.
I recently encountered a potential business relationship that just didn't feel right. Turning away business is not something I want to do, but my gut told me that this was not going to be a good fit…for either of us. Looking back, I realize that although it's challenging (and a little painful) to turn away a potential client, I had a feeling, and I trust that.
When have you listened/or not trusted your gut?
Let me just say that 2010 has brought about so many amazing challenges and changes for my business. I suspect that I'm not alone. When I first started my business in November 2008, I had every intention of being a residential organizer. I had my reasons for thinking that was the best path, but within the first 6 months of business I realized that my passion was not for residential organizing. I'm a huge fan of residential organizing, and love all the tips and tools out there, but I didn't feel passionate about providing this service to others. In fact, I didn't really know at that time where my passion lied. So, rather then create a list of what I did like, I decided to create a list of the things I knew (for sure) that I didn't want to do. At the top? Garages!
As I began to create a list of the things I knew I didn't want to do, I started to find my passion – businesses! Through a great deal of battling against myself (niche market), months of business coaching, and falling down a few (or more) times, I realized that I love working with business folks. Helping businesses work smarter (not harder) is a passion of mine, and it's something I've been doing in nearly every position I've held over the last 18 years. Just over two years into the business I'm rebranding with a new name and all the marketing materials to go along with that.
If you are a business owner, you can probably relate. Wearing every hat can be overwhelming, tiresome, and even frustrating. With so many amazing challenges and changes over this last year, I knew I had to share what I've learned. Over the next 10 days I'm going to share with you the Top 10 Most Powerful Things I've Learned About Business in 2010. Here's a sneak peak at the Top 10 list. Stay tuned over the next 10 days to hear more about each topic on the list.
Thoughts from The Productivity Booster · Because it's time for a business boost! Simply work smarter.


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Obama to young Africans "make Mandela's life work your own."
President Obama's Speech at Mandela Memorial
To Graça Machel and the Mandela family; to President Zuma and members of the government; to heads of state and government, past and present; distinguished guests – it is a singular honor to be with you today, to celebrate a life unlike any other. To the people of South Africa – people of every race and walk of life – the world thanks you for sharing Nelson Mandela with us. His struggle was your struggle. His triumph was your triumph. Your dignity and hope found expression in his life, and your freedom, your democracy is his cherished legacy.
It is hard to eulogise any man – to capture in words not just the facts and the dates that make a life, but the essential truth of a person – their private joys and sorrows; the quiet moments and unique qualities that illuminate someone's soul. How much harder to do so for a giant of history, who moved a nation toward justice, and in the process moved billions around the world.
Born during World War I, far from the corridors of power, a boy raised herding cattle and tutored by elders of his Thembu tribe – Madiba would emerge as the last great liberator of the 20th century. Like Gandhi, he would lead a resistance movement – a movement that at its start held little prospect of success. Like King, he would give potent voice to the claims of the oppressed, and the moral necessity of racial justice. He would endure a brutal imprisonment that began in the time of Kennedy and Khrushchev, and reached the final days of the Cold War. Emerging from prison, without force of arms, he would – like Lincoln – hold his country together when it threatened to break apart. Like America's founding fathers, he would erect a constitutional order to preserve freedom for future generations – a commitment to democracy and rule of law ratified not only by his election, but by his willingness to step down from power.
Given the sweep of his life, and the adoration that he so rightly earned, it is tempting then to remember Nelson Mandela as an icon, smiling and serene, detached from the tawdry affairs of lesser men. But Madiba himself strongly resisted such a lifeless portrait. Instead, he insisted on sharing with us his doubts and fears; his miscalculations along with his victories. "I'm not a saint," he said, "unless you think of a saint as a sinner who keeps on trying."
It was precisely because he could admit to imperfection – because he could be so full of good humor, even mischief, despite the heavy burdens he carried – that we loved him so. He was not a bust made of marble; he was a man of flesh and blood – a son and husband, a father and a friend. That is why we learned so much from him; that is why we can learn from him still. For nothing he achieved was inevitable. In the arc of his life, we see a man who earned his place in history through struggle and shrewdness; persistence and faith. He tells us what's possible not just in the pages of dusty history books, but in our own lives as well.
Mandela showed us the power of action; of taking risks on behalf of our ideals. Perhaps Madiba was right that he inherited, "a proud rebelliousness, a stubborn sense of fairness" from his father. Certainly he shared with millions of black and colored South Africans the anger born of, "a thousand slights, a thousand indignities, a thousand unremembered moments … a desire to fight the system that imprisoned my people."
But like other early giants of the ANC – the Sisulus and Tambos – Madiba disciplined his anger; and channelled his desire to fight into organisation, and platforms, and strategies for action, so men and women could stand-up for their dignity. Moreover, he accepted the consequences of his actions, knowing that standing up to powerful interests and injustice carries a price. "I have fought against white domination and I have fought against black domination," he said at his 1964 trial. "I've cherished the ideal of a democratic and free society in which all persons live together in harmony and with equal opportunities. It is an ideal which I hope to live for and to achieve. But if needs be, it is an ideal for which I am prepared to die."
Mandela taught us the power of action, but also ideas; the importance of reason and arguments; the need to study not only those you agree with, but those who you don't. He understood that ideas cannot be contained by prison walls, or extinguished by a sniper's bullet. He turned his trial into an indictment of apartheid because of his eloquence and passion, but also his training as an advocate. He used decades in prison to sharpen his arguments, but also to spread his thirst for knowledge to others in the movement. And he learned the language and customs of his oppressor so that one day he might better convey to them how their own freedom depended upon his.
Mandela demonstrated that action and ideas are not enough; no matter how right, they must be chiseled into laws and institutions. He was practical, testing his beliefs against the hard surface of circumstance and history. On core principles he was unyielding, which is why he could rebuff offers of conditional release, reminding the Apartheid regime that, "prisoners cannot enter into contracts." But as he showed in painstaking negotiations to transfer power and draft new laws, he was not afraid to compromise for the sake of a larger goal. And because he was not only a leader of a movement, but a skillful politician, the Constitution that emerged was worthy of this multiracial democracy; true to his vision of laws that protect minority as well as majority rights, and the precious freedoms of every South African.
President Obama offers condolences to Mandela's widow Graca Machel (AFP)
Finally, Mandela understood the ties that bind the human spirit. There is a word in South Africa – Ubuntu – that describes his greatest gift: his recognition that we are all bound together in ways that can be invisible to the eye; that there is a oneness to humanity; that we achieve ourselves by sharing ourselves with others, and caring for those around us. We can never know how much of this was innate in him, or how much of was shaped and burnished in a dark, solitary cell.
But we remember the gestures, large and small – introducing his jailors as honored guests at his inauguration; taking the pitch in a Springbok uniform; turning his family's heartbreak into a call to confront HIV and Aids – that revealed the depth of his empathy and understanding. He not only embodied Ubuntu; he taught millions to find that truth within themselves. It took a man like Madiba to free not just the prisoner, but the jailor as well; to show that you must trust others so that they may trust you; to teach that reconciliation is not a matter of ignoring a cruel past, but a means of confronting it with inclusion, generosity and truth. He changed laws, but also hearts.
For the people of South Africa, for those he inspired around the globe – Madiba's passing is rightly a time of mourning, and a time to celebrate his heroic life. But I believe it should also prompt in each of us a time for self-reflection. With honesty, regardless of our station or circumstance, we must ask: how well have I applied his lessons in my own life?
It is a question I ask myself – as a man and as a president. We know that like South Africa, the United States had to overcome centuries of racial subjugation. As was true here, it took the sacrifice of countless people – known and unknown – to see the dawn of a new day. Michelle and I are the beneficiaries of that struggle. But in America and South Africa, and countries around the globe, we cannot allow our progress to cloud the fact that our work is not done. The struggles that follow the victory of formal equality and universal franchise may not be as filled with drama and moral clarity as those that came before, but they are no less important. For around the world today, we still see children suffering from hunger, and disease; run-down schools, and few prospects for the future. Around the world today, men and women are still imprisoned for their political beliefs; and are still persecuted for what they look like, or how they worship, or who they love.
We, too, must act on behalf of justice. We, too, must act on behalf of peace. There are too many of us who happily embrace Madiba's legacy of racial reconciliation, but passionately resist even modest reforms that would challenge chronic poverty and growing inequality. There are too many leaders who claim solidarity with Madiba's struggle for freedom, but do not tolerate dissent from their own people. And there are too many of us who stand on the sidelines, comfortable in complacency or cynicism when our voices must be heard.
The questions we face today – how to promote equality and justice; to uphold freedom and human rights; to end conflict and sectarian war – do not have easy answers. But there were no easy answers in front of that child in Qunu. Nelson Mandela reminds us that it always seems impossible until it is done. South Africa shows us that is true. South Africa shows us we can change. We can choose to live in a world defined not by our differences, but by our common hopes. We can choose a world defined not by conflict, but by peace and justice and opportunity.
We will never see the likes of Nelson Mandela again. But let me say to the young people of Africa, and young people around the world – you can make his life's work your own. Over thirty years ago, while still a student, I learned of Mandela and the struggles in this land. It stirred something in me. It woke me up to my responsibilities – to others, and to myself – and set me on an improbable journey that finds me here today. And while I will always fall short of Madiba's example, he makes me want to be better. He speaks to what is best inside us. After this great liberator is laid to rest; when we have returned to our cities and villages, and rejoined our daily routines, let us search then for his strength – for his largeness of spirit – somewhere inside ourselves. And when the night grows dark, when injustice weighs heavy on our hearts, or our best laid plans seem beyond our reach – think of Madiba, and the words that brought him comfort within the four walls of a cell:
I am the master of my fate:
What a great soul it was. We will miss him deeply. May God bless the memory of Nelson Mandela. May God bless the people of South Africa.
"The struggle was Madiba's life."
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Unlike their collegiate colleagues, community theaters have to keep an eye on potential box office revenue when they put together a season. What a delightful surprise it is then to see that both Macon Little Theatre and Theatre Macon are presenting soul-stirring titles this month. Horton Foote's "The Trip to Bountiful," a lovely look at old age, opens Friday at Macon Little Theatre, while the equally poignant "The Shadow Box" opens Oct. 20 at Theatre Macon.
Opera fans who missed the Metropolitan Opera's season-opener, Bellini's "Norma," last weekend will be elated to hear the popular "The Magic Flute" will be at the Douglass Theatre Saturday, thanks to the Met's "Live in HD" series. Mary Keating will present the pre-show opera chat at 12:30 p.m.
The Douglass also will host several interesting films this month including "Escapes," presented by the Macon Film Guild.
In light of the news from the Macon Symphony Orchestra, more on that below, it may be worth observing that the Douglass was just hours away from the wrecking ball when a groundswell of support from ordinary folks changed the course of history. Ah, the power of piggy banks.
The Macon Symphony Orchestra, once known as the flagship of local organizations and until a few months ago proclaiming a rosy future, will hold a farewell concert Saturday night before turning out the lights. In one of the great mysteries of local history, in a city internationally known for its love of music, the leadership concluded there would be little point in crying out for help from the orchestra's legions of supporters.
Knowing the importance of the orchestra to the city's quality of life (and its appeal to business and industry) I wrote to the mayor and urged him to intercede. The post office must have failed to deliver the letter, for it went unanswered.
On Saturday the beautifully refurbished Grand Opera House will resound with the sounds of Jasmine Habersham and the Macon Symphony Orchestra, and then the spirit of music will steal away, blushing, I suspect. Was this death avoidable? We may never know.


I was born in South Carolina, but lived a majority of my life in Gardner, KS. I graduated from Gardner Edgerton High School in 1989 and attended Emporia State University, graduating in December of 1992 with a Bachelor's Degree in Elementary Education. I met my husband, Keith Miller at ESU and have now been married for 23 years. We have two beautiful children; Courtney and Jacob. We have lived in Tonganoxie for 17 years and we love the community.
This will be my 14th year of teaching. I have taught a variety of grade levels from kindergarten to third grade, and one year of 8th grade. I'm thrilled to be teaching third grade, and feel very blessed to be teaching at my hometown elementary school. I have many exciting plans for the upcoming school year!
Class schedule can be found on my weebly blog under classroom information.