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Discovering Ourselves: The Millions Interviews Well-Read Black Girl Glory Edim
The Millions Interview
Martha Anne Toll December 31, 2018 | 3 books mentioned 1 4 min read
Reading Well-Read Black Girl, an anthology of essays by Black women writers, is like finding your favorite books compiled in one place and then getting to see the radiance and sorrow and joy that went into their creation. Glory Edim's book includes work by Jesmyn Ward, Marita Golden, Tayari Jones, Kaitlyn Greenidge, Dhonielle Clayton, Gabourey Sidibe, and Jacqueline Woodson, to name a few. Each contributor offers a personal account of her literary journey, how it felt growing up without Black characters on the page, and/or the joy of finding themselves mirrored in literature. They describe how their own reading and writing weaves into their larger community stories.
Before she published Well-Read Black Girl, Edim had developed an enthusiastic following of readers who eagerly lap up her book club recommendations and participate in her annual festival celebrating literature by Black women. I had the good fortune to catch up with her at Washington, D.C.'s Busboys and Poets. Glory had just come from visiting the elementary school where her brother teaches. The students there wanted to become writers, and sought her advice on finding literary agents (!).
Glory was appearing in conversation with acclaimed DC-based writer Marita Golden. Among a lifetime of marvelous literary contributions, Marita founded the Hurston Wright Foundation, which supports emerging and midcareer Black writers and preserves and disseminates the rich legacy of African American writing. Marita's essay in Well-Read Black Girl, "Zora and Me," is a poignant journey through her own literary maturation:
Like Zora I lost my mother at a young age and warred with a father I loved, it seemed, more than life. Like Zora I stepped over the ashes and debris of loss and struck out on my own, carrying grief and anger on my shoulders.
Zora's mother told her to jump at the sun. My mother told me that one day I would write a book.
Marita pointed out that book clubs are part of the Emancipation story. Following the Civil War, African-American women played a huge role in keeping books in print; books were an important social and economic force.
The Millions: Can you tell us how you got started reading and writing?
Glory Edim: My parents are Nigerian. They came here in search of a better life. I think about how life could have been completely different if they had taken a different path. I grew up in Washington, D.C., and being here is like a homecoming.
After my parents divorced, my father moved back to Nigeria, and we traveled back and forth every summer. Those travels are so much part of who I am.
My mother was a huge influence. She took us to the Smithsonian museums. She would ask us to find a painting that we would like to put on our living room wall and have us talk about it. She took us to all kinds of D.C. cultural events. D.C. was our playground. She read to me every night. Reading aloud is to witness ourselves.
I went to Howard University and was incredibly inspired to be around so much Black excellence in a space that was like love. A big part of my book is trying to recreate the feeling I had at Howard.
After Howard, I worked at the Lincoln Theatre in D.C., where I saw many wonderful plays, and began to think about dialogue in novels. That work made me think about what pulls a reader into a book. What generates an emotional response? I found that it's important to think across art forms, and study great works of art for their structures.
TM: Tell us about the origin of Well-Read Black Girl, the persona.
GE: My partner gave me a tee shirt for my 31st birthday that said "Well-Read Black Girl." By then I was living in New York. When I wore it, all kinds of people stopped me to talk about books they loved and ask for book recommendations. The level of interest inspired me to start a book club. More than anything, I wanted to make connections and foster relationships. I saw that people in New York were craving community.
I have a special interest in debut novels. I invited Naomi Jackson to our first book club to talk about her debut novel, The Star Side of Bird Hill. She brought along her friend Natalie Diaz, an incredible poet who just won a MacArthur Genius award. Things went from there.
I was lucky to have a job at Kickstarter, which is filled with techies who read and are engaged in other creative pursuits. I was able to use Kickstarter to launch the Well-Read Black Girl Festival in 2017, which is a cultural event, meant to promote community.
Timing is everything. My work coincided with the start of the Black Lives Matter movement, and online organizing was catching on quickly. Social media is an important part of what I do. Still, there is nothing like holding a real paper book in your hand; there's nothing like reading a book from the library. One reason for this collection is to take the conversation offline and onto the pages of a book.
TM: Readers are always interested in process. Can you talk a little about that?
GE: I read widely and deeply. I've always been curious about the stories of writers. Who inspired them to write? When did they first declare themselves a writer? Beginnings have a significance. In the anthology, we discover how it began for each writer.
When I read for the book club, I read both as a facilitator and as an editor. These are two different roles. I am a lover of art; I study how people put things together.
TM: How did you decide to organize your collection?
GE: I organized it according to my personal taste. I considered my own literary memories and pulled from there. The essays are meant to feel like a conversation. As I prepared to invite contributors, I returned to the pivotal work of Toni Morrison, Cade Bambara, Zora Neale Hurston, and Audre Lorde. The essays I selected are heartfelt, precise, and genuine. Whether you are 16 or 65, I want the reader to be hit with a sense of nostalgia. My hope is that the collection encourages readers to share their own stories.
TM: How did you reach out to other writer/contributors and what was their response?
GE: I had a relationship with a majority of authors—as mentors, book club authors, or fans on social media. Each contributor was generous with their time.
TM: What's next for you?
GE: You mean beyond growing our community?
I am working on a memoir with my mother. She was severely depressed while I was in college. The whole family came together to help her. Since this was a deeply private experience for her, she is the only one who can tell that story. But it is so much about my family's legacy that I hope to get it on the page.
I'm always reading. Have you read Dr. Imani Perry's Looking for Lorraine? It's about author and playwright and activist Lorraine Hansberry. It's a must read!
Martha Anne Toll 's essays and reviews appear regularly on NPR Books and in The Millions; as well as in the Rumpus, Bloom, Narrative Magazine, [PANK] Magazine, Cargo Literary, Tin House blog, The Nervous Breakdown, Heck Magazine, and the Washington Independent Review of Books. Her fiction has appeared in Catapult, Vol. 1 Brooklyn, Slush Pile Magazine, Yale's Letters Journal, and Poetica E Magazine among others. Martha is also the Executive Director of the Butler Family Fund, a path-breaking social justice philanthropy focused on criminal justice reform and housing and homelessness. Martha tweets at @marthaannetoll.
Charlotte Mandell Lives Immersed in Words and Sound: The Millions Interview
Jean Huets September 21, 2017 | 3 books mentioned 1 9 min read
I love that feeling of the unknown before I translate a book. It's what a reader feels when starting to read a book for the first time. You have no idea what's in store for you, but you're eager to find out. And invariably you find yourself changed by the time you reach the end.
Jean Huets | 3 books mentioned 1 9 min read
Starting Over Is What's Hard: The Millions Interviews Mary Laura Philpott
Bradley Sides May 15, 2019 | 3 books mentioned 7 min read
It's frighteningly easy to settle into being someone you don't want to be, because that settling can happen so gradually.
Bradley Sides | 3 books mentioned 7 min read
Eat, Drink, and Read Mary: The Millions Interviews Mary Roach
Darryl Campbell April 18, 2013 | 3 books mentioned 6 min read
It was inevitable, really. Mary Roach's previous books have ostensibly been about sex, cadavers, the afterlife, and space travel, but each one has spent a fair amount of time on digestion, excretion, and highly topical fart jokes.
In her latest book, Gulp: Adventures on the Alimentary Canal, Mary Roach finally explores all that happens after you take that bite — not as an entertaining sideshow, but as the focus of 17 entertaining and occasionally bizarre chapters. Megacolons, stimulated saliva, death by constipation, and of course the scientists who study this stuff with aplomb (and an occasional apology): it is, as it were, all in there.
I interviewed her while she was in Seattle for her book tour.
The Millions: Your past work has focused on bringing topics that are creepy or lurid or awe-inspiring back down to earth. This one's primarily about overcoming disgust. Did you find it challenging to make digestion and excretion palatable for your audience?
Mary Roach: Well, I think digestion is another lurid, taboo subject — particularly from the navel down. But even what goes on in the mouth is an unthinkable, revolting thing that no one wants to think about. There was a sense that this was right up my stinky little alley.
TM: Packing for Mars came out the same year that NASA retired the Shuttles and the Opportunity rover broke records for the longest Mars mission. Stiff came out around the same time that shows about forensic science became the hot new thing…
MR: And Six Feet Under.
TM: Right. Was there something that made you decide: yes, 2013 is the time to publish a book about the digestive tract?
MR: You know, I think the whole obsession with food had hit an unprecedented level, in terms of people photographing every meal and posting it on Instagram. Food has moved so far away from just a way to stay alive and take in sustenance to a point where it's now almost high culture. So it makes sense to look past the borders of the lips and take a peek at what goes on after the food leaves the plate.
On the tour, my publicist set up events with people like Chris Kimball and Ted Allen, which makes for a really interesting conversation. We tend to elevate food to a sensual, cultural place, but for someone like Chris Kimball, he's looking at food as chemistry. And eating is biology.
TM: Two of the most memorable people in your book were William Beaumont, the physician who made a career out of his patient's stomach fistula, and Andries van der Bilt, the chewing scientist at Utrecht who will probably be the last researcher of his kind at the university. In other words, in the book you go from the early days of science virtuosos to very specialized people doing narrow and admittedly gross stuff. Is that how the field of gastro-intestinal science looks right now?
MR: It's really hard to get funding for pure science just for the sake of figuring out how things work. It's a lot easier to get funded if you have a practical application for things. Also, a lot of it's been figured out.
I'm not a scientist, so I'm going out on a limb here, but I do get the sense that the more you know, the more you realize you don't know very much, and there isn't an end point. So there's always more to be done — there's just not as much funding for it anymore. It's more science in the service of the food industry.
But even in that world, there are characters like Erika Silletti, who are so awed and amazed by what they're discovering. She has this infectious enthusiasm for…spit!
TM: You're in the middle of your book tour now. What do you like to present at your events?
MR: I don't do a lot of readings when I do talks. Some of them are billed as readings, but I wouldn't call them that, really. I find that if you read to non-fiction to people for more than a paragraph, people will glaze over. So I'll read footnotes.
Once of my favorite footnotes in Gulp is where I'm talking about per anum, which is through the anus, and per annum, which is yearly. And I did a Google search for instances where people meant per annum but wrote per anum, and that's one of my favorites. How many childbirths occur per anum, that sort of thing.
TM: Do you find that people are more squeamish to ask you questions about the digestive tract than they were on your earlier book tours, when the topic was the afterlife or space?
MR: Oh no, no. Once you open the door for them, people want to know all kinds of things. Sometimes people want to know, "I have a mucoid plaque, can you tell me what to do," and I have to say, "I don't have an M.D., I can't dispense medical advice — nor do I really want to."
But people have great questions. The other day I was doing an author lunch at Google; people had a lot of questions about rectal smuggling.
TM: Early on in the book, you find out that your palate isn't developed enough for you to be on a professional olive oil tasting panel. Any other potential avenues of research that never worked out?
MR: I wanted to go to Food Valley when someone was actually involved in an experiment, but I couldn't seem to time it right. There were a couple subjects, but most were not particularly interesting. There's someone there with a tube hooked in mouth, and it squirts in something that they're tasting, and they make a note of it. It's not particularly scintillating, and it didn't make it into the book.
There's a woman who studies pica (people who ingest non-food) and she studies in Zanzibar with women who eat a variety of clays. I wanted to do that, partly because I really wanted to go to Zanzibar — that really lies at the bottom of a lot of what I do, I really want to go there, what could I find there? — but it felt a little…off unto itself. When you go all the way to Zanzibar, you want to spend a lot of time on that subject, not just a few paragraphs.
TM: When you first started writing, I think one of your pieces was about the IRS. Then you moved on to the afterlife, cadavers, space travel. What sort of writers made you think, I want to write about things that are kind of out there, or that people might not think about all that often?
MR: The writer who I glommed on to and loved his style was Bill Bryson, when he wrote The Lost Continent. This was before A Walk in the Woods, before he started going huge. I remember reading his books, and I admired his ability to combine information and humor and character. It was inspirational. Every now and then I put a little homage to passages that really got in my head from writers like him, inside jokes to myself.
When I was writing Gulp, I had just read Patti Smith's Just Kids, and when she did something outrageous or pathetic, Mapplethorpe would say to her, "Patti, no." And when I was with Sue Langston, who's a sensory analyst — the nose woman — and I asked her, "if you had to choose between a Budweiser and an IPA right now, what would you choose?" and she said, "I would take the Bud," and I said, "Sue, no." That was my little homage to Mapplethorpe and that book.
TM: In 2011 you edited the Best American Science and Nature Writing, so I'm hoping you might pontificate about science writing in general for a second. When you write your books, or when you evaluate science writing, what are you looking for — what should a good science piece accomplish?
MR: I don't know if the genre of "science writing" should really exist. We don't classify "religion writing" or "political writing" as an entirely different register of writing. There's such a wide range — material that simply explains, others that are strongly narrative. In The Immortal Life of Henrietta Lacks, you learn a lot about cell culturing, but it's still primarily a story.
For that collection in particular, I tried to do a mix. The Atul Gawande essay, I thought, was beautiful. For someone in that community to stand up — or I should say, sit down and write — about how far the discussion about end-of-life care needs to go in order to really help people. And then the Oliver Sacks piece about prosopagnosia, he's just a wonderful thinker/writer, he's more reporting rather than recommending.
For me, there are a lot of valid ways to write about science, and when I was judging that book it was really just what pulled me in and kept my interest and taught me something. There are so many ways to do that.
Darryl Campbell | 3 books mentioned 6 min read
A Story Made Purely of Feeling: The Millions Interviews Cynthia Ozick
Eric Farwell June 29, 2016 | 3 books mentioned 2 11 min read
For most of her career, Cynthia Ozick has written challenging and brilliant fictions that examine the metaphysical aspects of Jewish culture, examining fabled belief systems, gender dynamics, and the walls culture might build with even-handedness and cautious interest. Novels and short stories like The Puttermesser Papers and "The Shawl" engage with cultural values and history in unique and dark ways, while several nonfiction books, including the forthcoming Critics, Monsters, Fanatics, and Other Literary Essays, examine the value of criticism and the state of the literary novel today. Erudite, intellectually rigorous, and brimming with generous insight, Ozick's work as a critic and thinker demands a kind of attention from the reader, requires the reader to think along for the promise of revelation.
We corresponded about the new book via email. What follows is a conversation with someone just as interested in and excited about literature as they were when they first put pen to paper.
The Millions: In a Paris Review chat you did in 1985, you talked about having your routine consist of rising in the late afternoon and working through the night. Has anything changed since then in terms of how you approach the work?
Cynthia Ozick: Much blood has gone under the bridge since then. In the last half-dozen years, I've turned into a Snatcher: I read in desperate snatches in the interstices of the Quotidian, and dream of finding three uninterrupted quiet hours to think, moon, mentally maunder, and, above all, write. I am pursued by an anti-Muse; her name is Life. Her homely multisyllabic surname is often left unenunciated, but to certain initiates it may be whispered: Exigency.
TM: What's your reading life like? Are you reading for, say, an hour or so, and then drafting/editing for a while? Is there urgency to write every day?
CO: Unlike in earlier years, I nowadays consume public information voluminously. I read both The New York Times and Wall Street Journal (one is the poison, the other the antidote, and make of that what you will!), and also many magazines, both the traditional kind and the digital. In terms of living wholly in one's own allotted time, the world is not too much with us. Decades ago, though, it would have been inconceivable for me to acknowledge this. Whatever counted as "politics" was of no interest; nothing mattered but capital-L Literature and its inevitable sibling, History.
Still, writing, whether fiction or essays, is something apart from "information," and rises out of the well of intuition: every human mind has its individuated "tone." So when you ask about "the editing process," and speak of "drafting/editing" — I find these reparative procedures foreign to me. I will not move on to the next sentence until the previous one is fully satisfactory. Perhaps there are two species of writers: those who complete an entire manuscript provisionally, with permission to go back to "polish the verbal surface," as one such writer once described it, and those who endlessly and obstinately fiddle in place. (As for writing every day, see above.)
TM: You're a writer who develops both formative essays and novels and short stories in nearly equal measure. Since part of drafting fiction involves investigating certain aspects of life, I wonder what you see as being the overlap between scrutiny in your essays and scrutiny in your plot lines, or if they're completely separate.
CO: The difference is crucial: it's between knowing and unknowing (rather than not knowing). If you are going to write an essay on, say, twilight in Sweden, or on Henry James, you know that much: you have your subject already in hand. But if you set out to write a story, whether long or short, you begin with less than a glimpse: a shred of idea that once moved you, or the wisp of memory of a mother and daughter you encountered for seconds as you passed them in a train, or simply an inchoate feeling. Plotting, though, can be intellectual or serendipitous, a deliberate plan or a revelation or an insight, and this can apply also to the "plot" of an essay; but overall an essay is an assessment, or rearrangement, of given materials, while a story must discover what it is made of in the very course of its own making.
TM: I'm interested in how this differentiates from writing an essay or a piece of creative nonfiction.
CO: In writing fiction, one creates a character, but very often it's the character who influences the trajectory of events and ultimately creates the story. This wouldn't necessarily apply to certain types of genre fiction, such as the detective novel, where the writer is in full control and follows the design of a prepared plot. But when the imagination is untethered and free, the writer may lose control of the character, and the character may stubbornly decide against the writer's initial wish; or else the character reveals a motive that the writer never anticipated. This can hardly happen with what's called "creative nonfiction," despite the permissive adjective. The subject matter of non-fiction is fixed, chosen, unalterable. A nonfiction piece on the Civil War, say, can't change the nature of the battles; both action and outcome remain today what they were then. The writer may play around a bit with the personalities of Grant or Lee, but the spine of the narrative is immovable. As for the "personal" essay, the writer, like a character in fiction, can assert whatever she desires; as in fiction, she is immune to the fact-checker.
TM: What do you think it might take in order for a writer to produce a "great American novel" in today's literary landscape, or even one that has relevance and power beyond what it achieves in the insular writing community?
CO: How vast is the invisible infrastructure of this proposal! It puts in question an entire culture, and how a civilization expresses itself. Some say that the Great American Novel has already come into being, in The Great Gatsby, or in Moby-Dick, and a good case can be made for each of these. Dreiser's Sister Carrie might be another candidate, or The Scarlet Letter, or The Adventures of Augie March. Your query, though, speaks of the current literary landscape, confirming that "what it might take" still isn't clear. One answer might be that the day is young — but can we see any inkling of a presumptive heir to Bellow or Updike or Nabokov, or to so many others of the previous generation (the list would be long and impressive) who have left a formative mark on American experience? One sign, or omen, would be the presence of a writer of formidable language power, willing to use all the sources and resources of American prose; instead, we swim in a welter of the slipshod easy vernacular. Also absent, so far, is some overriding feeling or idea, or, at the least, something larger than pipsqueak cynicism. Finally, given that the country is roiling and boiling toward some unknown new dispensation grounded in narrow competing triumphalist claims, where is the bold and necessary ironist who will write our Death of Ivan Ilyich?
Or else, and why not? Maybe what we are waiting for will be the Great American Comic Novel! And a final caveat: the lineaments of a sublime work of the imagination can't, after all, be prescribed, and one is guilty (mea culpa!) of tendentious theorizing if one dares to do it.
TM: Is technology perhaps counterintuitive to to serious literary debate, analysis, and scholarship, or do you feel that it marks a sort of natural progression and provides a platform to showcase what writing has come to in the age of the iPhone?
CO: Last year I finally surrendered my pen. I could not conceive of writing seriously on a keyboard facing an illuminated rectangle, and used the computer mainly as a means of transcribing a completed work (as was the typewriter in the past). The keyboard and the monitor struck me as enemies of the freedom of language, since it seemed that the words could come only through the pressure of one's fingers on the narrow neck of a pen. Or to say it otherwise, the ink flowed directly out of the hand; and what was ink if not language? Yet now, as you see, I've learned (to my amazement) that one can actually think on a computer!
TM: In a culture of writers that either embrace the concept of direct narrative or a fractured storytelling structure, would the middle ground between the two extremes be something new to emerge, and if so, where does it lie?
CO: Either-or has never been storytelling's only available way; from early on, there has always been that "middle ground." Mostly it has been a companionship between fiction and an interpolated essay, side by side in the same novel. We see this in George Eliot and in E.M. Forster, where we hear the author's reflecting voice; it might be called the "intelligence" of the novel: intelligence in both senses, the writer spying on her characters, and the writer's mind exposed. The "fractured" novel (Ulysses is the great modernist instance, but think also of Zadie Smith's NW and Joshua Cohen's Book of Numbers) has so far not permitted amalgamation with any other form. Accretion, fragment by fragment, replaces logical chronology Yet despite its jagged unexpectedness, what fragmentation has in common with direct narrative is a paradoxical coherence: we know and feel what we are meant to know and feel. And if there is no middle ground between fragment and form, so be it: why should fiction, the ultimate territory of genuine freedom, eschew extremes? In life we are rightly persuaded to pursue the middle way. But in literature (three cheers for extremes!), what we want is what Kafka relentlessly demanded: A book must be the axe for the frozen sea within us.
TM: David Foster Wallace was an ardent fan of your work, citing The Puttermesser Papers as one of his favorite books. As a critic, writer, and cultural anthropologist, I wanted to know if you've considered the relevance of his work, and whether or not he shifted the direction of post-modern fiction yet again.
CO: It was an astonishment to be told not long ago that David Foster Wallace was even aware of my work, let alone had read any small part of it. It was even more startling to see a photo of the flyeaf of his copy of The Puttermesser Papers, on which appears a long list of words transcribed from the book, ostensibly because they were new to him. How could this be? If I hadn't with my own eyes seen that list, I would have thought the rumor of his affinity was no more than a hoax. After all, Infinite Jest is a free-wheeling and exuberantly abundant novel with a fervently reverent and always growing readership, and not only is my own experience as a writer lightyears from his, but in subject matter and in literary temperament Wallace and I have nothing in common. His mind is encyclopedic and digressive; my scope is far more limited and my reach into the world definitively tamer. His novels are termed postmodern, and so they are, but in their appetite for overflowing tangential inclusiveness they also resemble the all-devouring 18th-century novel (Richardson, Fielding, Sterne). And finally: Wallace's most original gesture is the art of the note — footnote and endnote, but especially footnote. Whether this alone (the seductive power of the asterisk) will "shift the direction of postmodern fiction" is doubtful. Once it has been done, and done so lavishly, it may seem superfluous to do it again.
TM: It seems that [The Puttermesser Papers] has a certain staying power, particularly among men. What do you think it is about the work that stands out, be it the brutality of the plot or the force of the prose?
CO: I'm afraid that I am unable to address this generous assessment of "staying power." Time will, as they say, tell; and in some cases — though certainly not in mine — Time has already told. (See David Foster Wallace above.) Most writers and their books quickly fall into posthumous eclipse, and I don't doubt that I will be among them.
TM: You said that fiction is the ultimate territory for genuine freedom, but is fiction not without rules? The novel can take many shapes, as can short stories, but there's still something familiar within each mutation. Would you argue that genuine freedom works best with some sort of familiarity to constrain or guide its line of thinking?
CO: I agree that familiarity of form is most conducive to the reader's comfort, and that feeling at home with its "rules" increases readerly enjoyment. Joyce's Ulysses, which (after, say, Dickens and George Eliot and Trollope) seemed to have no rules at all, was hard going for its earliest readers, though certainly not nowadays, when stream of consciousness has become commonplace. Eliot's The Waste Land was once dauntingly impenetrable; today its technique is ho-hum. The very concept of "rules" means familiarity, knowing what to expect; but even revolutions eventually evolve into the humdrum. As for constraining or guiding a line of thinking, isn't that for sermons and tracts?
TM: A large part of your fiction writing has involved chronicling the Jewish-American experience…
CO: Here I hope you will allow me to demur. This is certainly true of other Jewish writers, at least those who are inclined to contemplate their heritage; call it, though without denigrating its art, sociological fiction. I am altogether without interest in the Jewish-American "experience," if this term is intended, as you phrase it, to scrutinize and investigate the meaning of that identity, both how it plays out in conventional society and [the writers'] own personal heartbreak over legacy and fractured tradition. Again, all that is sociology, particularly the concern with identity and the deeper roots of the self. I am drawn elsewhere: to the Jewish metaphysic and its long and steadfast history. It is these grains of perception, I believe, that sustain my thinking and kindle imagination. (A recent story in this mode is "A Hebrew Sibyl," which appeared in Granta.)
As for the sociological: Irving Howe, a stellar critic who was part of the group of literary luminaries who came to be known as The New York Intellectuals (all of them now nearly forgotten), once commented that after the generation of the immigrants, the American Jewish novel would die of lack of subject matter. And then — beware definitive declarations! — came the influx of those remarkable young writers who as children fled both the Soviet Union and Iran. For such embattled lives, having endured restriction and calumny in their earliest years, personal heartbreaks over legacy and fractured tradition may be vitally pertinent themes; or may not. But for American Jews, who for the first time in two millennia have the inconceivable good fortune of living freely and without overt fear, and who have rarely known an ounce of oppression or indignity, and who for the most part are now four or five generations distant from the immigrant period…for these, the identity question is simply another floating particle in the egalitarian multicultural movement. (Recall Irving Kristol's quip: "They used to want to kill us, now they want to marry us." And they have: 70 percent of American Jews are intermarried.) Those deeper roots of the self are more superficial than felt. When roots are genuinely deep, they are not scrutinized or investigated; they are as intrinsic and unremarked on as breathing. Self-knowledge in the Socratic sense is indifferent to roots, and Jewish self-knowledge can only mean knowledge, and what is knowledge in the absence of historical and textual and linguistic awareness? Which is why most novels by American Jewish writers are a branch of social studies. Nor would I quarrel with this: stories are free to be whatever they are.
TM: Writers who are conscious of coming from rich national and historical backgrounds tend to have their work characterized as being "haunted" by those important works of national or cultural identity that came before….Do you think it's appropriate to draw those comparisons on the basis of legacy and cultural background, or do you think there should be a distinction between what a writer of a certain background is looking to achieve, and how a critic or academic might group them based on previous works of a certain genre?"
CO: Well, we know what Saul Bellow thought of how critics and academics grouped him! He retorted with his famous quip — Hart, Schaffner & Marx, mocking how he and Roth and Malamud were, in effect, regarded as a kind of Jewish-owned haberdashery. But your question is serious and important, and we've had two elegant answers from two significant Jewish writers. Isaac Bashevis Singer: "Every writer needs to have an address." Harold Bloom: "The anxiety of influence." Both these succinct insights acknowledge that origins not only count, but continue to carry their force. (The term "haunted" confused and misled me because of its baleful resonances.) Criticism would be blind and deaf if it failed to recognize affinities and legacies, as it always has: in America, Transcendentalism, the Harlem Renaissance, naturalism, and so many other literary movements and groupings, whether conscious and voluntary or critically observed. But this doesn't make writers into pawns! Or turn Hawthorne and Melville, with their similar Anglo heritage, into Siamese twins! Or Bellow, Roth, and Malamud into Jewish clothiers. It's a sublime paradox, sublime because the seeming contradiction fortifies rather than diminishes: every writer is a piece of the continent, a part of the main; and yet, contra Donne, every writer is at the same time an island entire of itself. The continent is humanity; but every continent contains someone's own home address.
TM: At this point in your career…do you feel any differently about your work, either the work you're developing or the work you've done? Do you feel that your role as a writer has taken on any sort of prominence?
CO: My diary with its innate depression contains the felt truth of any answer I might give. I have been driven to write — to be a writer — from a very early age, but have never been able to think of it as a "career," a schemer's word that suggests aggrandizing hot pursuit. And for a very long time I was unpublished, a failure in my own literary generation: a circumstance that has left its mark. I am always surprised to discover a reader, and when I do, it is usually in the context of "I never heard of her before." As for what I feel about past work, I wish I had done more. And I begin to wonder whether reviewers who have found my novels unsympathetic may be right. I still hope to write a story made purely of feeling.
TM: Are you working on anything now that you're hoping to release?
CO: Yes. On a story made purely of feeling.
TM: Can you elaborate on what you mean by this?
CO: This brings us instantly back to Tolstoy, though I am thinking here not of a novel, but rather of a story: The Death of Ivan Ilych, wherein ultimate aloneness in the face of imminent dying leads to a kind of catharsis, and revelation overcomes dread. Or the haying scene in Anna Karenina, which envelops the reader in bodily joy and the intense companionship of laborious achievement. On second thought, an entire novel can't be made purely of feeling, since such sublime moments are exactly that: moments. Pure feeling mostly occurs at the extremes of life: terror and joy.
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Home/Music/Charlie Mu$cle – Active
Charlie Mu$cle – Active
T. Craig September 12, 2019 Music, News, Unsigned Hype Leave a comment 24 Views
Charlie Mu$cle reps streets of Kansas City
with new album 'Goonz and Tycoonz'
KANSAS CITY, MO – Charlie Mu$cle's life has been marked by a lot of tragedy, and that pain permeates his music in ways that tell powerful stories of the streets. When he was a teenager, his best friend, Cornell Lewis, the person who introduced him to music by encouraging him to make raps while listening to beats in his basement, was murdered at the age of 17. Out of his anger, Charlie started becoming bolder and bolder in his criminal endeavors and eventually landed in prison where he stayed for 16 years. Just before he was set to be released, his 17-year-old son Tre was tragically killed in a car accident. As most would expect, this was devastating for Charlie, and the only way he could cope was to pour himself into his music.
Out of that emotional release came his new album, "Goonz and Tycoonz," which features the hit single "Keepin' It Lit," a tribute to his son. The album is a project that Charlie said "comes from the heart" and touches on stories and experiences from his life that not only nod to his time on the streets but also speak to the wisdom that he has gleaned over the years.
"I'm not really trying to cater to everybody," he said. "I understand my demographic and my audience, and it's the streets. It's the underground. The Goonz and Tycoonz are my associates, and with this album, I'm trying to represent those Goonz and Tycoonz in Kansas City."
With "Keepin' It Lit," Charlie offers a personal look at his life as he speaks about the loss of his son, and uses that experience to connect with others who have experienced loss and tragedy whether because of a hard life on the streets, or through accidents such as the one his son experienced. Alongside such a deep and introspective song comes other more hard-hitting singles such as "Active" – an upbeat vibe that reminds listeners that he still has the goods to make it in the music industry – and "Tattletale Epidemic" – which is a scathing critique of those in the world who snitch on others.
"It's addressing this way of telling on your friends," Charlie said. "There's a different between snitching and telling. If you're a law-abiding citizen who isn't involved in crime and you report on a crime, that's what you're supposed to do. That's not snitching. But if you're a person who is involved in crime and you get caught and you're first instinct is to tell about everybody else – which is happening a lot these days – then that's just wrong. That's what this song is about."
Charlie said he knows that fans of hardcore street Hip Hop will love this new album, and he's excited for the ways his unique sound and style will be showcased to the world. He said his time in prison gave him the opportunity to explore a wide variety of different sounds and styles – from West Coast to East Coast to Down South and everything in between – all of which has formed his own style.
"I listen to the substance and the content, and though I don't necessarily have a particular sound, it will always be genuine and you can feel it," he said. "It's real music. I just want my music to represent the streets and the struggle. Somewhere along the line, the essence of Hip Hop just got lost. It used to be about saying something but a lot of artists today aren't saying anything. I just want to bring that realness back to Rap music."
To listen to Charlie Mu$cle's music or to follow him on social media, please visit:
https://www.facebook.com/charles.traylor.77
https://www.instagram.com/charlie_muscle/
https://open.spotify.com/artist/6RgWL92NG7BN4oA9KyaoCI?si=QS8Z5HbhR361tdw3VNRPWA
https://music.apple.com/us/album/active-single/1477561489
https://open.spotify.com/album/7ETY10JjAWynmEjxObCNRj?si=oN3o2-_8QSKLcw-_D7Zy5A
https://youtu.be/9q4zpdC16Ac
https://www.pandora.com/artist/charlie-muscle/active-single-explicit/ALZvp6jbJrc2l4J?part=ug&corr=95072955
"Keepin' It Lit"
https://soundcloud.com/user-473801459/04-keepin-it-lit
"Tattletale Epidemic"
https://soundcloud.com/user-473801459/08-tattletale-epidemic/s-hlKTn
Tags 2019 ARTIST Audio Djsmokemixtapes Featured Music Artist hip hop indie Indie Spotlight Instagram Music new music rap Single Soundcloud Stream Stream on SoundCloud Upcoming Artist urban
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tv Inside Story Al Jazeera April 6, 2016 11:30pm-12:01am EDT
isn't necessarily better. ash-har quraishi, al jazeera, salina kansas. >> i'm roxana saberi, ray suarez is up next for "inside story." >> the national institutes of health is an enormous organization. a medical research agency dedicated to preserving health, extending life. and given $1 billion a year doing it. the nih director is one of the pioneers sequencing the human jeno, a tireless advocate for biomedical r&d. and he's my guest. precision medicine, prev entive
care. necessary's future, it's the "inside story". welcome to "inside story," i'm ray suarez. if you are like a lot of people, you probably didn't think about the american institutes of health, not today, or not at all. yet you supported its work. it's $30 billion budget makes it the largest institution in the world. it exists at the cutting edge of new techniques and knowledge. but often in the congressional appropriations process, the never ending battles over medical ethics, decades long philosophical debates, and funding that may be taken up by the private marketplace.
the national institutes of health are led by dr. collins, and he has been there since 2009, and it's my pleasure to welcome you to "inside story". great to have you here. >> great to be here on your birthday, ray. >> what's the thing this you're thinking about now that is taking up a ton of your time, that you worry about at night morning? >> there's not just e thing, but one thing right now, the precision medicine initiative that we're trying to launch, and we're in the phase right now of a very rapid scale effort that we aim to offer to 1 million americans to take part in. this is the largest study of this sort that has ever been contemplated. we aim to invite 1 million americans to be our partners in this effort that will collect every kind of data you can
think of factors that play out in health and disease, and use that information to do a better job of disease prevention. >> so when you say precision medicine, is it personalized medicine that's able to be more precise because we're able to know you more specifically, down to your molecular level. >> that's exactly right. much medicine for all of human had history has been based on an one size fits all approach. and we try to personalize things when we can, like eye glasses or blood transfusions but most of the time when you go to the doctor, it's prescribed by the average response of the average person, and most of us are not all that average, and we're better at determining what those are, and how that will improve outcomes. so it's partly about your inheritance, and your jeno, and that's something that we're able to measure, but it's about
your environmental exposures, and your lifestyle. about what's happening in your life at that point, as far as social determinants of heaping. putting all of those things together, we, with a very large number of individuals, when we measure those things, ought to be able to figure out what's the way for not just the average person, but for each of us to maintain health? >> those variables that you describe are as individual as a thumbprint, but are the results of those lifestyle differences also as different as human beings are? if we take two people who have tumors, let's say, in an organ in the body. and we analyze those tumors, would they be genetically different, though they're tumors of the same organ? >> they would be totally different. and you put your finger on precision medicine, which is cancer, and cancer is after all a disease of the jeno. it happens because of misspells
in the dna. some of them inherited or some of them later in life, picks up a glitch that allows the cell to grow when it should have stopped growing, and a glitch comes along, and pretty soon, it's growing way too past or spreading to other places. but if you took two peopling with lung cancer, the same age, with the same risk factors, that had a tumor in the lung that was about the same size, and even under a microscope, kind of the same thing, and then you look at the dna, and say the same mutations, into those two people? and the answer would be no, and it would be quite different. each of them would have five or six driver mutations, responsible for those cells growing and they shouldn't, but they would not be the same list. there might be an overlap. and we're learning but to study large numbers of people, that's the point. if you want to be precise, you can't just study hundreds of people, but you have to study
thousands or a million. why do you care? i would care. if i was one of those people and i wanted to be cured, i would want to know exactly what is driving my cancer to do what it's doing, and if there are a million drug therapies and a lot of them come along, pick the right one for my tumor, instead of a random spin of the dice to have a better outcome. >> but in jen raising of modern medicine, we have tried to find silver bullets that treat everyone who is suffering from a specific malady, or help to prevent a specific malady, and the economics of medicine rest on aspirin addressing inflammation, art meeseium, being a presentive for mallario. but you're talking about something that works in the opposite direction, a medical approach that's tailored to the
single human individual. >> i don't want to overlap that individual concept because there will be commonalities. if we had 1 million people with lung cancer, there would be 100,000 of them with the same target that you would want to go after, but you wouldn't want to give it to all 1 million because 90% wouldn't benefit. they're not the only person on the planet at that point, you're just trying to narrow down your focus so people can have the best benefit. >> what amounts of predispositions to illness that exist in the certain varieties of the human family would there be medicines eventually that willed work better on african-americans than european americans? preventive medicines that work better on asian americans because of the way that the human family tree has splint apart overtime? >> certainly, that's turning
out already to be the case, if you look at the dna, because variations in the geneum are not precisely the same, we're all one family from common ancestors, but even the fda has indicated that in more than 100 drugs on the label, it would be a good idea to know what your dna sequence is for the particular gene that's responsible for metabolizing this drug. because you might be one of the people for whom the usual dose is too high. and that does get influenced a bit by your ethnic background, but to get it right, you want to have mention the dna variation itself.
we have shown in various studies that it can be a better outcome for the right level in your body. but if you go to the doctor, your dna sequence is not available at the moment. and the doctor writes the prescription anyway. but think where we're going, as it plummets in cost, it's down to about $100,000. and why should that now not starting to part of your medical record? protectked by privacy and have confidentialities, so another doctor wants to write the prescription, click of the mouse, oh, ray, you're the one who should not have this drug because of a hyper sensitivity reaction, and we'll give you this drug instead. that seems like a good model. and we could get there if we push pretty hard. >> that's where i want to pick it up when we come back. we have had questions about whether everything possible is
necessarily allowable or even a good idea. and we'll talk about some of the ethical frontiers. medicine in the future with >> you and i, we're going to change this country, and we will change the world. >> mr. president, there's a one in three chance of a second grade depression. >> first hand accounts from the people who are there. >> your opinion was shocking. >> ...that i am president of the united states and i can't make anything happen. >> he stood up and said, "that's it, i'm finished."
>> you were watching "inside story". i'm ray suarez. we're talking about medicine's future with dr. francis collins, the director of the national institutes of health. you may recall
that earlier in the century, collins raced to find the sequence for the human an jeno. and it was completed more than a decade ago. it was supposed to hold great promise for untold suffering. has it lived up to its promise? and what do we have to be careful about as we move forward. at the time, it was a celebratory move, an exciting home. and now here we are more than 12 years later. have those codes, the cs, the as, the ts, the gs, opened up everything that you would have thought by 2016? >> it's possible these days, when you make pricks to be held accountable because you make a power point presentation and it gets saved somewhere, and i went back and looked at the talks that i gave in 2023 about what we might expect.
and i'm happy to say that i was pretty close to right, but there were some surprise that we hadn't anticipated because we do not know what was hiding in the jeno. one of the things, that her owed tear things like diabetes, there might be a few genes, and the latest count, up to 8, each one of them shining a light on the cause of the disease, which is pretty breathtaking because we wouldn't have known it without the tools. but one thing, to make a prediction about your future or mine, by looking at the geno in a healthy person, it's a complicated analysis, and we're still learning to do it. and on the other hand, what we have learned about certain conditions, and we were talking about cancer a little bit ago, and its bracket
breath take and i wouldn't have thought it. anybody who has a cancer ought to have this dna analysis done, to determine the most effective treatment. and i didn't expect to get to this point by 2016. >> at the same time, there have been nervous conversations and interesting dystopian conversations about sin authentic biology, using this knowledge to create genes, and edit existing genes, and have those possibilities run ahead of our ability to control, to consequences? >> well, i think that's a very appropriate question, and i will take some provide in the fact that the geno project started a new way of thinking ethical consequences in biology. mainly that you don't wait for the expected crisis, and did you actually have a thoughtful process of anticipation, and
try to be sure that you have put appropriate things in place to avoid outcomes that most people would disagree with, and i think that that has played out well. for instance, there was a big anxiety about dna scrim nation. if i had my dna analyzed, will it take away my coverage? will my employer say, we are not going to hire that guy because he might get sick, and that's prohibited by law as a result of the process of preparing for it. we took care of one of the biggest anxieties, but there are other things. >> but databases and what's in them is prohibited by law, but people do find out things about you, and about your past that you may not want them to, and now it makes possible, knowing more things about you. this recent discovery with the c4 and the predisposition to schizophrenia. it's not a one-to-one
correlation, but if you have a predisposition and the boss doesn't know that, he has a downsized risk. >> he has a tough case against him. because the generation discrimination act, he should have known that, and if he used it against you, you have a strong case to bring damage to him that's illegal of what he would contemplate doing. and a federal law since 2008. >> what about gene editing? if we get to a wine where we can really synthesize the concentrations and the mix of proteins involved in this, and take certain experience out of human experience, and in to human experience through manipulation, i don't think that i'm talking science fiction anymore, do we have good guidelines? do we have barriers put in place to go where you're going and no further?
>> i think that we do in this country, if there's an anxiety, and if there's a national go ahead that has such clout that such guidelines would be adhered to across the world. you're talking about this amazing thing, an editing system that has very recently come into play, and which everybody is enormously excited about. it allows you to take any cell and go in and surgically change the dna sequence in a precise spot. fixing it by changing an a to a t or a c to a g. the power of that for research is breathtaking. things that would have taken us a couple of years can be done in a week, and everybody is fired up about that. every laboratory, including my own is using it to find out how life works. it >> the question is, do we want to start informedfying our own
species? that would be a major step, of which many of us, including me, are very concerned that we do not do, unless we have much more information than now, and this is getting outside of the scientific arena, into the theological arena, and philosophical arena, are we ready to take charge of our species? and yet there are experiments in other countries where human embryos, they're not to be implanted, this is not to make a baby, but to try to understand early steps in human development. i think right now in the u.s., there's a strong prohibition against such experiments by the congress, at least with federal fund being, but internationally, the debate is going on, the national academy of sciences held a discussion about this. jointly with the chinese academy of sciences and the uk is beginning the process.
having said that, i think that the benefits of gene editing, when it comes to treating terrible diseases, are going to be much greater than this anxiety. it. >> stay with us, it's "inside story". >> these people have decided that today they will be arrested. >> i know that i'm being surveilled. >> people are not getting the care that they need. >> this is a crime against humanity. >> hands up... >> don't shoot. >> hands up... >> don't shoot. >> what do we want? >> justice. >> when do we want it? >> now. >> explosions going on... we're not quite sure - >> is that an i.e.d.?
>> welcome back to "inside story," i'm ray suarez. medicine's future this time on the program. i'm with francis collins, the director of the national institutes of health. your boss, president barack obama unfailed what he called a moon shot for cancer, what is that and how do you fund it, and how does it work. >> well, he unveiled it, and
assigned the job of control to the vice president, joe biden, who has gotten passionate and involved in the effort, especially after the death of his son last year of a brain tumor. i guess people heard this and said that's exciting and wondered what is it? i'm happy to say that just this past monday, the new england journal of medicine, the director of the cancer institute, brother an essay about this, so people can read what we're talking about. but it's still in the process of having a scientific plan laid out. why is this an especially important time to tackle cancer? one. areas which people are most excited about, is immune therapy. we understand the immune system is out there all the time looking for trouble, looking for invading pathogens, but looking for your own cells that have gone bad. and a cancer has properties
that immune systems ought to be able to go after, but they don't always. there are dramatic examples, just in the last few years, of how to wake the immune system up, and even very late stage melanoma or leukemia, or lymphoma, they have been essentially cured by these checkpoint inhibiters, using something called car t says, and it still doesn't work for many other tumors, for lung cancer, pancreatic cancer, and prostate and breast cancer. only a few cases have they have been successfully treated by immune therapy. but they have the same thing going on. their cancer cells are abnormal too. so figuring out how can we understand the specific science of cancer immunology and activate the same approach to
treat disease that's we currently don't have good answers for. suppose we could do that for pancreatic cancer, and brain tumors, for which we don't have good treatments. that's part of the moon shot. but there's prevention, there's early detection, and there's the art of looking at single cells instead of a lump of a tumor, and trying to create a buzz in the community for people to try innovative ideas. >> does that require you in a process for department heads all over the federal above the and fight for your share of the pie? they're doing it in the interior, in commerce, and in defense. do you have to do that as well? >> part of my job as the director of the national institutes of health is to respond when congress wants to hear about how this money is being spent, and other opportunities out there, tomorrow i'll be a witness before the subcommittee that
determineels the future budget for next year. i'm sure that the cancer moon shot will come up. because they're very interested? in as well. the president has laid out an idea. the president proposes and the congress disposes and we shall see what the house and the senate want to do with this great idea. i think it's a great time to put the foot hard on the accelerator and try to speed it up. to make it happen, but we can make it happen faster. don't get me wrong. cancer is hundreds of diseases. it's not as and we have a bright day where sum, we cure awful them, but some are faster than others, but we go faster now than i would have thought possible, and why not really pull out the stops? >> you'll be talking to a mix of laymen with a pretty good feel for it. actually, there are many doctors who are now members of congress, and people who took the last science class 40 years ago.
how do you taylor your pitch to let's say a mixed group of legislators about something that you want to sell as well as teach. >> i love doing this. medical research is not a partisan problem, and it doesn't get caught up in a political environment. everybody is concerned about the health for themselves, for their families and their constituents. sure, they're worried about where is it going to come from, but we all agree, we need to cure cancer, and we need to need to do something about diabetes and find out about the causes of oughtism. and those are not debatable issues. and then the question is going to get there. and i have this great opportunity, where science is going, and what we know, what we don't know, and what we could do with the sources. i have met with hundreds of members of congress, one-on-one since i've been the nih
director, and i can't think of a single one that went bad. >> we have about a minute and a half bad. and what do you want to guest done in the next nine months that you have on the job? >> i want to get this precision cohort launch had. ed. we won't have 1 million americans, i want to see the cancer moon shot. and i want to see the brain initiative, the bold effort to see the 186 billion neurons between your ears, and i want to see that going forward faster, though it has been rocketing forward. and i want to see the bio medical industry launched with the power of ideas. and be sure that we can offer them some confidence that the support all of this is going to be an upward trajectory. >> that's all for this edition of "inside story".
i want to thank any guest, nih director, dr. francis collins, and great to have you with us. >> great to be here. >> like the old song says, the days are dwindling down on a precious few. we're going to bring our last programs before we sign-off. tomorrow, our conversation with the u.s. ambassador for international religious freedom. i'm ray suarez, thank you for watching, good night. >> ali velshi, getting to the heart of the matter. >> what if there were no cameras here, would be the best solution? >> this goes to the heart of the argument. >> people out here are struggling and just trying to get by with whatever they can. >> new york city has a higher level of inequality of wealth than honduras and india. >> people need to demand reform.
>> it's coming together little by little. >> we're making it the best that we can. >> we're not deterred. we're building a historic project here. >> how big do you see this getting? >> we're trying to get a feel for what the people of iran are thinking right now. >> the galleries and the art and the parties, everything. it's getting better. >> greece is this close to running out of cash. i went there to show you first-hand. >> if you paid taxes, you expect to having something back. >> the city is a powder keg at the moment. >> we're back square minus one. >> now it's time for something different. >> this is the entrance to the global seed vault. nations around the world contribute stashes of every kind of seed imaginable if something really bad were to happen, humankind can start all over again. >> all year long we are continuing with our conversation on america's middle-class. >> i'm on a mission that i have to keep. keep this business going. >> the middle-class is a reflection of a city's economic health. it fuels the local economy like it's been doing here at philadelphia's italian market
for the last 100 years. >> these are middle-class people who decided it's much better to come back here and they're working to fight to make changes. >> proud to tell your stories. protests erupt at greek detention centers just two days in to an e.u. deal. illegal refugees sent back to turkey. ♪ ♪ hello and welcome to al jazeera live from our headquarters in doha. coming up in the next half hour look set to getting just not good enough. a new government. brazil is closer to impeaching its president as a congressional
<div class="tv-ttl"><a href="http://linktv.org/">Inside Story</a><div>Al Jazeera April 6, 2016 11:30pm-12:01am EDT</div></div>
Francis S. Collins, director of the National Institutes of Health, discusses the government's role in private medicine.
Ray Suarez 5, Dr. Francis Collins 2, Mallario 1, Nih 1, Leukemia 1, Be Implanted 1, New England 1, Al Jazeera 1, Salina Kansas 1, Iran 1, Or Lymphoma 1, Philadelphia 1, Turkey 1, Brazil 1, Doha 1, Greece 1, India 1, Ali Velshi 1, New York City 1, Honduras 1
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I love when Ethan does things that I remember doing as a kid. He is in his bed with a flashlight reading his books. Hey can only read a few books by himself right now but he is so proud that he can lay in bed and read instead of just looking at pictures.


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La gare d'Aquincum est une gare ferroviaire située dans le  de Budapest en Hongrie. Elle est desservie par la ligne H5 du HÉV de Budapest.

Situation ferroviaire

Histoire
La toute première gare d'Aquincum se situait au sud du croisement avec la ligne Budapest-Esztergom, juste en face des ruines de la cité romaine. Avec l'élargissement de l'avenue Szentendrei (route principale 11), la gare a été déplacée quelques centaines de mètres plus au nord, à sa position actuelle.

Service des voyageurs

Accueil

Desserte

Intermodalité
Le HÉV croise la ligne de train n°2 reliant Budapest à Esztergom. La gare d'Aquincum felső assure la liaison entre ces deux lignes. En outre, plusieurs lignes de bus s'arrêtent à proximité : Train (ligne 2) ; réseau de bus BKV (lignes 34, 106 et 134) ; réseau nocturne de bus BKV (lignes 923 et 934).

À proximité
Les ruines de la cité romaine Aquincum. La cité a été fondée dans la province de Pannonie, sur les frontières nord-est de l'empire romain au . On trouve les ruines de l'amphithéâtre militaire, des thermes, du forum, du théâtre ainsi que des habitations. Un musée rassemble les objets qui ont été retrouvés. Dans le terre-plein qui sépare les voies de l'avenue Szentendrei, on trouve également les vestiges d'un aqueduc.

Notes et références

Voir aussi

Articles connexes
 Aquincum
 Aquincum (quartier)
 Óbuda
 Ligne H5 du HÉV de Budapest

Liens externes
 Site officiel de l'exploitant
 Site officiel de l'Office des Transports de Budapest

Gare de HÉV
Gare mise en service en 1888

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Q: What are the transparent boards with glowing lines? In many places in the Star Wars films we see war rooms with transparent boards/walls/displays that have lots of glowing lines on them, for example this one behind Princess Leia:

What are these called? What are they used for (in-universe)? Do the lines ever change or move? Is there any writing on them (perhaps too small to see in wide shots)?

A: They appear to be maps/charts used by the Rebels, and kept up to date by the communications officers. We see them a few times, always next to them.
When the Imperial Probe droid is detected, the comm officer has a chart next to him. It's hard to tell, but Han and Leia look sort of towards it during the scene, but they may just be in thought.

We see them again during the evacuation. Toryn Farr, specifically identified as a communications officer (and communications chief in the EU) is seated right in front of one.

Elsewhere in the base, we see someone manually updating the map.

A: Homage to real world navies. They're called Plotting boards for radar, sonar or navigation or bombardment allocation within general direction of the ship and others a status board. The fact is, before computer or television screens, navies had dozens of clear grease pencil boards on ships for navigation of the vessel, location of objects/ships/threats in vicinity, mission planning, weather, etc.

These have been superseeded by the 60's and 70's by analog, plotting boards

Which in turn were largely replaced by digital boards.

A: It's a "Tactical Screen". You use it for plotting ship positions in space.
I used to own one. It wasn't very effective.

And from the SW: Empire Strikes Back Junior novelisation

The white-armored Imperial snowtroopers had to blast through the ice
  and a collapsed doorway to gain entrance to the command center. Two
  snowtroopers stepped past the broken remains of the tactical screens
  and comm consoles, and were followed by the dark, menacing form of
  Darth Vader.

A: I've always assumed they were some sort of Radar/War map.
Here is a picture of the radar room in the aircraft carrier USS Hornet:

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COACH CAMPBELL
FOOTBALL EDUCATION
CUB CLUB
MY LIONS ACCOUNT
Lions Shop
Tim Twentyman
Mike O'Hara
The Daily Drive
NOTEBOOK: St. Brown's first NFL touchdown is one to remember
Amon-Ra St. Brown said it seemed like the ball was in the air forever as it headed his way with no time on the clock and the Detroit Lions needing a touchdown to secure their first victory of the season.
Just three weeks earlier, St. Brown had been moved to the left outside receiver spot specifically for this play the Lions have practiced since training camp for a late-game situation. Minnesota, who was leading 27-23 at the time, played off coverage two to three yards deep in the end zone with the Lions on the 11-yard line.
As soon as St. Brown saw the coverage, he knew he had a chance to make a play. Quarterback Jared Goff saw the same thing and rifled a pass low a yard into the end zone where only St. Brown could get it. The rookie receiver out of USC hauled it in and picked a pretty good time to record his first career touchdown, a score that earned the Lions their first victory of the season in comeback fashion, 29-27 over the Vikings.
"I mean, my first NFL touchdown, first NFL win, I'm going to remember this day for a long time," St. Brown said after the game. "The way it happened, the way it unfolded was – I mean it was just – it couldn't be any better."
St. Brown finished the game catching 10 of the 12 passes thrown his way for 86 yards and the game-winning touchdown. He is the first Lions rookie wide receiver to score a walk-off touchdown since the NFL merger in 1970.
"He's a stud. He's a stud," Goff said of St. Brown after the game. "(I have) a lot of confidence (in him). He's a stud and will be a stud for as long as he wants to be in this league. He's been on our mind and I'm sure (head coach) Dan (Campbell) would say too of like trying to get him the ball for the last probably six weeks now.
"I think today it showed up. It's just trying to get him involved and give him the ball in space and what he can do with the ball, I'm sure he jumped over somebody on the sidelines earlier on in the game. He's a freak and can do some things."
St. Brown now has 49 receptions this season, the most a Lions rookie wide receiver has posted through the first 12 games of his career.
HARRIS BACK AT IT
Outside linebacker Charles Harris went the last six games without recording a sack after recording one in four straight games Weeks 2 through 5. Harris told reporters this week he was looking forward to playing a less mobile quarterback in Minnesota's Kirk Cousins with the opportunity to pin his ears back a little bit and not worry about him escaping the pocket.
It turns out Harris had good reason to be excited.
He finished with two solo tackles, four quarterback hits, two sacks, one tackle for loss and one forced fumble that led to a Lions touchdown. He upped his team-leading and career-high sack total to six this season.
KEY PLAY
Everyone in Detroit will be talking about St. Brown's touchdown to win the game, but running back Godwin Igwebuike made a really important conversion on 3rd and 10 on the final scoring drive to not only gain 13 yards after a short pass from Goff, but also get out of bounds.
"Great play. Great play," Campbell said after the game. "That was unbelievable. Look, all of our guys did a great job, so did (Amon-Ra) St. Brown. You're right, Godwin's was – that was the first one. That was a big one. That took a lot of effort because first, it was almost like, 'You know what? Just split them and get up field, get the first, get down, and we'll run up, we'll clock it.'
"He thought he could make it and that's kind of what you tell your guys. 'If you're in the middle of the field, split them, get down, we'll clock it. Otherwise, if you really think you can do it, then you better do it.' And, he did. He kicked it out, got more yards and got out of bounds and the first down. So, that was huge. It was huge."
JACOBS CONTINUES TO IMPRESS
The Lions might have something pretty special in undrafted rookie cornerback Jerry Jacobs.
He logged seven solo tackles, one quarterback hit and two tackles for loss Sunday in a really nice performance from him, especially his open-field tackling.
Jacobs joins Chris Cash (2002) as the only rookies in franchise history to produce seven pass defenses, three tackles for loss and one forced fumble in a season. Jacobs is the only undrafted rookie to do so.
Campbell on the failed 4th and 1 call late in the fourth quarter: "Well, first of all, I felt like I needed to be aggressive a little bit today just knowing the nature of their offense. I mean, I felt like we could get that. It didn't work out and yeah, at least we're guaranteed to get the ball back knowing we were already up. But yeah, that was kind of the thought behind it."
Detroit's third-down woes on offense continue. Detroit entered Sunday ranked 31st in the league on third down, converting just 32.6 percent of the time. Detroit was just 2-for-11 against the Vikings, with both conversions coming on the last drive of the game.
Both Detroit and Minnesota each rushed exactly 27 times for 100 yards. They both ran exactly 71 plays as well. Weird.
Riley Patterson is the first Lions rookie kicker to convert three field goals in a game since Jason Hanson in 1992.
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