text:
We Are Still All Censors—and that Includes Perry Nodelman
NOTE: In 1992, I wrote an essay called "We Are All Censors," in which I offered my opinions about censorship in the world of children's books and culture. It was published by the journal then called Canadian Children's Literature:
Almost three decades later, I received an email from a representative of the Brazilian children's literature journal and publisher Emilia, asking if they might republish this old essay in a Portuguese translation. Not having looked at the essay for many years, I reread it–and then told the people at Emilia that, having changed my mind about various things as the years passed, I really didn't like the idea if the essay appearing now in a different context. They then suggested the possibility of a small book, with the original essay accompanied by a new one talking about how my views had changed and why. That seemed fair to me, and I proceded to write the new essay. Emilia published the book containing both essays in Portuguese in August 2020.
Somos mesmo todos censores?
You can download a PDF of the original essay first published in 1992 here:
We Are All Censors
What follows below is an English version of the newer essay.
We Are Still All Censors—
and that Includes Perry Nodelman
I wrote the essay about censorship that accompanies this one well over a quarter of a century ago, and I have not looked at it for almost as long; so when I was asked about the possibility of publishing a Portuguese translation of it, I knew I had to reread it. It's probably a sign of my outrageously inflated ego that my first response on doing so was to congratulate myself on how clever I once was—and, of course, still am, for I found myself happily agreeing with the wisdom of what I said so long ago. Yes, I told myself, I still believe that "there is nothing that anybody should not be allowed to say or to write—nothing, no matter how offensive, how narrow-minded, how boneheaded, or how dangerous I might personally find it. Not anything sexist or racist. Not neo-Nazis misrepresentations of history. Not pornography. Nothing." And yes, I still believe that children need access to a whole range of books and information and ideas that many adults try desperately to keep them ignorant of, and I am still convinced that "more evil is done by people ignorant of what thoughtful moral beings might consider to be evil than by those with knowledge of that: that it is ignorance and not knowledge that destroys paradise."
But then I had a second thought. In the years since writing that essay, I have become aware of the work of a number of scholars and writers of children's literature who come from what are considered to be minority backgrounds in Canada, the United States, Australia, and elsewhere, and I have felt great sympathy for their concerns about books that repeat racial or cultural stereotypes about, for instance, Indigenous North Americans or about Americans and Canadians whose ancestry is African. I have been pleased to see an upsurge of interest in considerations of how often minority characters appear in children's books–albeit dismayed by the statistics put together by the Cooperative Children's Book Center in Madison Wisconsin showing that in 2017, when Black, Latinx and Native Americans formed 37% of the American population and over 50% of the students enrolled from kindergarten to grade twelve in American public schools ("Table 203.60"), only 7% of the children's books published in the USA in that year were by writers from those groups ("Publishing Statistics")
On the other hand, it's heartening to see that the percentage of children's books published in the US containing multicultural characters, after hovering around 10% for two decades, tripled between 2012 and 2017. Meanwhile, there have been extensive online discussions about publishers of books for young people using images of light-skinned people on the covers of books about darker-skinned characters and about movie producers casting lighter-skinned characters in film versions of books about darker-skinned ones (Schutte); about the continuing low number of people from minority backgrounds working as editors and publishers in mainstream US children's publishing; and about the benefits and negative implications of efforts by people in the publishing business to provide non-minority authors with helpful advice about their depictions of minority characters by assigning "sensitivity readers"—people with personal knowledge of minority lifestyles–to comment on their work in progress (Alter).
In 2016, a firestorm of controversy broke out about the depiction of slaves in both Emily Jenkins's text and Sophie Blackall's illustrations for their picture book A Fine Dessert.
One blog commentator said,
Based on the illustrations, there are too many implications that should make us as adults squirm about what we might be telling children about slavery:
That slave families were intact and allowed to stay together.
Based on the smiling faces of the young girl . . . that being enslaved is fun and or pleasurable.
That to disobey as a slave was a fun (or to use the reviewer's word "relaxed") moment of whimsy rather than a dangerous act that could provoke severe and painful physical punishment.
Jenkins acknowledged the problematic nature of what she depicted and apologized for it. Blackall did not, saying that the book "does not fully depict the horrors of slavery, but I don't think such a depiction would be appropriate for this particular age group" ("Depicting Slavery in A Fine Dessert"). Why then depict it at all, one might ask, to which Blackall responds, "I wonder whether the only way to avoid offense would have been to leave slavery out altogether, but sharing this book in school visits has been an extraordinary experience and the positive responses from teachers and librarians and parents have been overwhelming." That strikes me as being a peculiar avoidance of personal responsibility: I did it, Blackall implies, but a lot of people like it and its misrepresentation of slavery, so I clearly did nothing wrong.
Shortly after the Fine Dessert controversy, another one developed about another picture book, Ramin Ganeshram's A Birthday Cake for George Washington illustrated by Vanessa Brantley-Newton, for similarly downplaying the ugliness of slavery. The time its publisher, Scholastic, took the extraordinary step of withdrawing the book from circulation, because "without more historical background on the evils of slavery than this book for younger children can provide, the book may give a false impression of the reality of the lives of slaves."
More recently, in response to online controversy over the ways in which aspects of the fantasy world of her YA novel Blood Heir seemed to depict and condone the history of slavery in America, its author, the Chinese American immigrant Amélie Wen Zhao, asked her publishers to delay publication, saying, "The narrative and history of slavery in the United States is not something I can, would, or intended to write, but I recognize that I am not writing in merely my own cultural context. I am so sorry for the pain this has caused." And as I write in March, 2019, Kosoko Jackson has asked his publisher to withdraw his YA historical novel, A Place for Wolves, after readers of advance copies complained about the novel's problematic representation of the Kosovo War, genocide, and Muslim characters.
The people who objected to the slaves in A Fine Desert and withdrew A Birthday Cake for George Washington, Blood Heir, and A Place for Wolves from circulation were all accused, quite correctly, of censorship—they did, more or less, ban books. But as I have followed these developments and controversies, I have tended to find myself very much in agreement with those who objected to the white faces placed on the covers of novels in order to disguise the presence of black characters and therefore presumably, limit their readership—for all too common wisdom suggests that, while minority readers, in the absence of other choices, will willingly read about white characters, white readers are uninterested in characters with darker skins. While dark skin always affects a character's lifestyle and opportunities, too many white people assume that white skin has no effect on such things at all.
I have also agreed with objections to the lies about and misrepresentations of Black and Muslim life in the past and the present inside books for young people. I was surprised that Scholastic took the extraordinary step of withdrawing a book they had already released and that the publishers of Zhao and Jackson's novels chose not to proceed with their publication until some rewriting occurred —but, I have to admit, I am not unhappy that they had done so. There's nothing inherently wrong with a children's picture book depicting the world as a utopian place eternally filled with sunshine and smiles—but then, why include depictions of smiling slaves in the utopia? For that matter, why depict a place that did actually have slaves in it as utopian? Should child readers be encouraged to feel good about slavery? And why proceed with publishing insensitive and inaccurate stereotypes if you have been made aware of them and have the option of getting rid of them? The many online objections to these authors' submission to their critics as a denial of their freedom of speech seemed to forget that working through the drafts of a story is a continual process of second thoughts and self-censoring. Then, if authors are lucky enough to find a publisher who considers the work suitably publishable within the constraints of current assumptions about why and what books can and cannot be published, they will be offered advice or even required to make changes by their editors, who are themselves constrained by their knowledge of what makes books sellable. All the way through the process of getting a book into print, authors have to choose how to act in response to all these forces—and the choices are often self-censoring ones. The only difference between the standard practice that constrains authors' choices at every stage of writing and publishing and Zhao and Jackson's request for delays in publication is that their awareness of what might be problematic came too late and too publicly—which seems to me like a good argument for the use of sensitivity readers.
My growing awareness of unconsciously racist content in children's books and my willingness to acknowledge my upset about it has been nurtured by my knowledge of the work of scholars like Ebony Thomas, whose The Dark Fantastic perceptively explores the implications of portrayals of darker-skinned characters like Rue in Suzanne Collins's The Hunger Game and Angelina Johnson in J.K. Rowling's Harry Potter and audience reactions to them.
I've been pleased to see the development of a body of scholarship now worthy of its identification as a field on its own: Diversity Studies, as represented by the work of the Korean-American scholar Sarah Park Dahlen, co-editor with Jamie Naidoo of the children's and young adult multicultural literature textbook Diversity in Youth Literature: Opening Doors Through Reading and one of the founders of the new journal Research on Diversity in Youth Literature.
I've been particularly persuaded by the determination of people like Debbie Reese, tribally enrolled at Nambe Pueblo in New Mexico and author of the influential blog American Indians in Children's Literature, to identify where and how books old and new repeat old clichés and stereotypes about characters who share her Indigenous background.
For instance, as Reese points out in response to descriptions of Indigenous Americans in children's fiction, "Not all Native people have dark hair, dark skin, dark eyes, and prominent cheekbones, but that is the default physical description a lot of authors use" ("Not Recommended: THE METROPOLITANS by Carol Goodman"). As evidence, Reese refers not just to a number of Indigenous characters with sharp cheekbones, but also to a scene in the Harry Potter novels in which Harry looks at a picture of Dumbledore's mother, who "had jet-black hair pulled into a high bun. . . . Harry thought of photos of Native Americans he'd seen as he studied her dark eyes, high cheekbones, and straight nose." Reese also all too often finds examples of children's authors casually using a long list of racist stereotypes—phrases like "war whoop," "off the reservation," "like a bunch of wild Indians," "low man on the totem pole," "bury the hatchet" "circle the wagons," "happy hunting grounds," "Indian giver," or "on the warpath"–to describe the behavior of non-Indigenous characters, with no apparent awareness of or concern about their history and their racist implications.
Reese's conscious awareness of the implications of phrases like these emerges, of course, from her own membership in the group they so dismissively stereotype. Where I find her work most compelling is in her concern for Indigenous child readers who might come across these casual unconscious insults. As she argues in her essay "Indigenizing Children's Literature," "Native children's self esteem is far too often assaulted in their classrooms—unintentionally— when teachers or librarians uncritically share books with images of Indians as primitive savages or with other historical or cultural misinformation. Educational strategies that support Indigenous nation building preclude the uncritical use of children's books with images that are likely to directly or indirectly harm a child's efforts to establish an identity as a Native person." (621).
In my old essay on censorship, I dismiss the potential effect of racism of Walter Trier's 10 Little Negroes, the book my white student remembered loving in her childhood but now keeps on the top shelf of a dark closet, safely away from her own children. While I acknowledged the obnoxious racism of the story of Choc'late Sam and his wife Ebony, who are "as proud as any coons" of their ever-increasing family of "N***** boys,"—note my decision just now not to spell out the entire N-word as I once did–I pointed out that my student's horror about the book as an adult clearly established that her reading of it as a child had not made her racist. What it had not occurred to me to think about as I said that was the kind of child who shared the skin color of Choc'late Sam—the kind of young reader whose self-esteem Debbie Reese so rightly worries about–reading this book. Is it possible, I find myself wondering now , that the ease with which I once proclaimed that there is "nothing that anybody should not be allowed to say or to write," including "anything sexist or racist," might not come from my relative lack of personal experience, as an old white man, of coming upon stereotypes like these about people like me in children's books? My own self-esteem not having been assaulted in this undeniably distressing way, is it fair for me to recommend such an unbending defiance of all censorship always to others less fortunate?
There has been much discussion in recent years about what has come to be known as white privilege: the freedom to be unaware of how one's skin colour has allowed one to slide through life without having to deal with all the ways in which people of colour are subject to limitations that emerge from a widespread but often unconscious form of prejudice—what Peggy Mcintosh in her 1988 essay, "White Privilege and Male Privilege" identifies as "an invisible weightless knapsack of special provisions, assurances, tools, maps, guides, codebooks, passports, visas, clothes, compass, emergency gear, and blank checks" (2) that, unlike others, white people have access to. As Mcintosh's title suggests, furthermore, as an old white man in a society that remains astonishingly patriarchal, I also possess an equivalent male privilege—and as a relatively well-off white man, obviously, I also enjoy at least some of the power of class privilege. It has been exceedingly easy for me not to be aware of how fortunate I am, and how easy it has been for me to make such blanket statements about not accepting the censorship of children's book in any form.
In recent years, I have learned to become at least a little aware of these things. In response to one of Debbie Reese's post on her blog, I wrote the following:
I recently became painfully aware of my own unconscious expression of white privilege as I looked through old articles I was considering uploading to Academia.edu, and came upon one on Scott O'Dell's Sing Down the Moon which was published in Horn Book in 1984. It's full of praise for a novel about the "Long Walk" of 1863, in which American soldiers forced the entire Navajo nation to relocate after destroying their villages and crops. Among other things, I say in this essay that I admire O'Dell's choice of not providing his young Navaho narrator with a name for much of the book–a choice which I saw in 1984 as universalizing her and making her a sympathetic and believable character, and which I now see as a commentary on the deprivation of her personhood that in fact confirms and reinforces that deprivation. I also celebrate O'Dell's depiction of the Navajo stoicism and refusal to express anger at what is happening to them–another confirmation of a hoary stereotype.
Worst of all, it become apparent to me as I read through this old essay that I simply took it as an absolute truth that no one who was Navajo or even remotely like a Navajo would ever be part of the audience of the book: "Sing Down the Moon is about people unlike ourselves," I conclude, clearly and unconsciously assuming that all the readers of this book would all be white like me. I am wrestling now with whether or not I should upload this essay as evidence of how ignorant I was and how much I've learned about these matters in the last three decades–much of it from you, Debby. Uploading it would have to potential to be very embarrassing; not doing so would misrepresent who I once was. I'm tending to choose to upload it.
At any rate, I find these issues of unconscious racism–my own and that of other white people, especially other white men–deeply troubling. I don't want to have to remain silent about the racism that I find so troublesome, but I'm also aware of the troubling aspects of my choosing to speak about what so troubles me. My own solution to this dilemma is to forefront in anything I write about these topics my awareness of the potentially poisonous aspects of my speaking about them—to acknowledge my white male privilege and to attempt to become aware of how it might be distorting how I see things and read texts before and during and after my readings of those texts. I want to acknowledge and accept the possibility that I might yet once more be seriously embarrassing myself, in the faith that even if I do, my doing so will help to further a cause I profoundly believe in by confirming the blindness of my privilege. And I would hope that any discussion of these matters by other white men like me would be equally aware of and forthright about the minefield they enter in writing about race, equally open to exploring the possibility of their blindnesses, and equally unwilling to assume a kind of authority that unconsciously replicates the very kinds of unconscious repression they want to argue against.
I did, finally, choose to upload that piece about Sing Down the Moon; it can now be found on Zenodo.
("Dear Philip Nel," American Indians in Children's Literature)
But: having become painfully aware of my white male middle class privilege, I now find myself faced with what appears to be a massive contradiction in my thinking:
On the one, hand, I am against censorship; and I believe children ought to have access to as much knowledge of the world as possible.
On the other hand: I am not only aware of the unconscious assumption of privilege that might be influencing any and all of my convictions, but I also share the concern of writers like Thomas, Park Dahlen and Reese about how consciously and unconsciously racist depictions of characters and usages of language in children's books might have powerful negative effects on young readers and might well be criticized and avoided.
Or in other words: while I am firmly against censorship, I also sometimes seem to be in support of it.
What, then, should I do about that? Is there some way of resolving the contradiction? As I consider that possibility, I remind myself that, as well being firmly against censorship back in 1992, and even though I was decidedly unaware of my while male middle class privilege, I considered myself to be firmly against racism, sexism, and all the other forms of intolerance I was aware of. But, I ask myself now in the light of my new awareness of the privilege I once took for granted, was I? Really? Are there things my lack of awareness of that privilege was causing me to take for granted? Was I unconsciously approving racist content without recognizing its racism? Perhaps my defence of the positions I asserted so confidently back then needs a closer look.
As I take that closer look, one thing becomes almost immediately apparent. In order to make my argument against the censorship of children's books, I pointed out that children's literature was an act of censorship even in the act of existing—that it had first emerged from a desire by adults to keep children safe from too much knowledge of the world, and that it has survived across the centuries exactly by promising that sort of safety. That is why so many people feel justified in being angrily censorious when books labeled as being for children do or say things these people think children ought not to hear. Nevertheless, I was taking my awareness of the limited access to knowledge characteristic of children's literature for granted when I declared myself willing to allow children access to all of it. I could safely argue for that access because I knew that most children, in 1992 or now, are not likely to have all that much contact with children's books celebrating, say, Nazism or cannibalism or depriving women of their right to vote. I could speak proudly of my willingness to allow my own children to read any and all of the wide assortment of picture books that, as a teacher of children's literature who collected bad examples as well as good ones, I had on my shelves, in the safe knowledge that, those books all having being published and identified as children's books, none of them was going to try to persuade their readers that Jews like my children's father needed to be exterminated, or that properly prepared, human beings make a delicious main course for a fancy dinner (or perhaps a fine dessert), or that all women belong at home doing the dishes and washing diapers.
Most people in children's publishing, children's librarianship, or early-grade teaching tend to be women, and the few men tend to have what was traditionally assumed to be a feminine interest in nurturing—a focus on matters of the heart rather than those of the head and/or the fists that tends most often to be accompanied by a supposedly soft-hearted left-leaning view of how the world ought to work. As a result, books in praise of fascism or women staying barefoot in the kitchen rarely get published for the children's market or find their way into library collections. Furthermore, sadly, there are people interested in children for sexual purposes, so there might well be a market for books to be shared with children declaring the wholesomeness of the predatory behaviour of pedophiles and encouraging young readers to think positively about them and eagerly await them. But happily, most mainstream publishers of children's literature are unlikely to publish such books. A little more subtly, because almost all the producers, distributors and purchasers of children's books are adults, there are few books available from mainstream or even less mainstream children's publishers that encourage young children to defy their parents or their teachers or otherwise disrespect adults. While children's stories often allow children to imagine freedom from the restrictions adults place on them, they almost always end up with a child character's realization that a restrictive home is better than the dangers of freedom from adult supervision, and with a celebration of parental authority and the wisdom of conventional parental values. I realize, now that I've forced myself to think about it, that I took all that for granted when I spoke out so bravely about universal access to all books for all children always. I really only meant the kind of safely childlike books I imagined they would usually have access to.
The privilege I was unaware of also led me to provide examples of censorship that I found laughable in order to make people see how ridiculous censorship was.
"undermines
As a result, though, I slid over the possibility of there being books that even back then I might have found to be problematic. If I had been made aware of examples of unconscious racial prejudice like those provided by Debbie Reese, would I have concluded that people like Reese who question the wisdom of sharing such books with young readers are no different than the loggers who did not want children to read about how evil logging was? Or would I have been perceptive enough to see the difference between banning books that celebrate values different from your own and those that celebrate specifically racist and otherwise inhumane values? I remain convinced that lumber-industry proponents have no right to prevent the publication of children's books against the kind of clear-cut logging that might eventually deprive the human race of all its oxygen; but I'm less convinced that publishers ought to keep on publishing work with damaging racial stereotypes.
But even if publishers did stop publishing such books, there is no guarantee that children would not have access to them. As I argued back in 1992, "we live in a world filled, not just with books we don't approve of, but also with TV advertising, drug pushers, phone solicitors, politicians, evangelists, and the children of parents with values different from our own. Keeping children from access to ideas and values we don't like is next to impossible." If I were writing that passage now, I'd certainly have to add the Internet to the list. Nowadays, Nazism and anti-feminine diatribes are available in each and every home with online access with the simple tap on a screen, not to mention hard-core violence and harder-core pornography. There is even a page on Yahoo Answers that addresses the issue, "Cannibalism? pro? cons?" A surprising number of people in the discussion claim to have no problem with eating other people:
It is logical for a starving population to kill and eat each other before people actually die, so that the dying do not uselessly take up food, which would result in the death of the whole community (i.e. some die now, or all die later). Furthermore, such cannibalism can also serve to eliminate diseases by eating the infected, and it can serve a eugenic purpose by eating the most geneticly-poor individuals. Each such starving community should have the freedom to choose whether or not they will use such initiative cannibalism, such that the ones that use it will live, and the ones that do not will die.
I find myself wondering how the person who wrote that ode to the joys of cannibalism would feel about a children's picture book, perhaps one specifically aimed at child readers in starving communities, in praise of eating people.
If readily available celebrations of cannibalism and white supremacy were not enough, children internationally are now even more subjected to a barrage of advertising that encourage them to lust after specific lines of toys, whether first-hand or through other children whose parents have already given in to the pressure of their children and bought them those toys. When my own children were young the desirable toys were Barbies and Cabbage Patch dolls.
My six-year-old granddaughter recently emerged from an obsession with Paw Patrol cartoons, toys, stickers, colouring books, and dress-up costumes,
and she currently spends hours watching YouTube videos in which eccentric adults enthuse over LOL dolls, showing how, when each of these creepily huge-eyed dolls is immersed in water, it will either cry or spit or pee into the water. The same water. "Yuck!" I yell at her, but she insists on watching anyway ("LOL Surprise Baby Dolls").
Her LOL doll collection consists of just two right now, but she has her heart set on as many, many more as one of her friends already has and mercilessly and endlessly brags about.
Back in 1992, I offered a way of handling children's encounters with things like LOLs: "It would be more logical to protect them, not by trying to suppress the potentially dangerous materials, but by helping them to learn the important skill of being less trusting." In other words: teach them critical thinking. I talked about how when our young children watched TV with my wife and me, "they had to hear both their parents wax sarcastic about the silliness of some of the TV shows we made a point of watching with them—and learn either to defend their taste or share the sarcasm. They soon learned both." I represented the state of mind we were encouraging in them as a sort of innocence protected by knowledge of evil—an armed innocence:
True innocence is not ignorant. To remain innocent, that is, to try not to do evil, requires knowledge of what evil is. Knowledge then protects innocence: it is only those armed with knowledge of evil, and with the habit of considering the ethical and practical implications of the behaviour of themselves and others, who have the means to be good. And, I am convinced, that especially includes children
I still believe that, and I'm now watching YouTube with my granddaughter and not just saying "Yuck" but also making many sarcastic comments about the weird lady pushing LOL dolls. But I have to note what I took for granted back then:
In those pre-Internet days, I assumed that it wasn't all that difficult for adults to shield children from access to things like pornography and that parents could be aware of all the insidious information about things like LOL dolls that might be available to their young ones. With younger and younger children having their own cellphones, that is less and less true. The likelihood of any children anywhere being unaware of undesirable aspects of reality is increasingly unlikely.
While I recommended (and still do recommend) adult involvement and discussion with children about these fraught matters, and while I acknowledged that not all children were lucky enough to have parents willing or able to offer the involvement, I tended to assume the kind of mainstream middleclass lifestyle my own children experienced as a norm, and to elide the existence of children in the midst of war, poverty, parental abuse, immigration detention centers, and so on—children who didn't need TV or the internet to learn about violence, corruption, and horror. I did not point out the irrelevance of my recommendations for parents about sharing books with children for children without books, or, for that matter, without parents. I did not point out, as I might now, that sharing the majority of children's books with such children—book designed for normatively well-off middle-class audiences and most typically depicting well-off middle-class lifestyles as the way things usually are—might create more pain for less fortunate children than they offer pleasure. They might even, as writers like Debbie Reese suggest, offer readers who do not share the middle-class privilege they depict a painful awareness of their own exclusion from the intended audience as being other than and inferior to it.
In 1992 I thought I knew what evil was and how to recognize it. While I am still convinced about the wickedness of pornography, cannibalism, Barbies, and LOL dolls, I now have to acknowledge other evils I once was not as aware of as I ought to have been. I suspect my various forms of privilege still blind me to much more I should be more wary of, and more able to make the children in my life more wary of—more armed to resist. I'm also now willing to confront the possibility raised by Reese and others that some forms of evil are too painful and potentially damaging for young audiences—or for that matter, old ones—to read about. Sometimes, I now want to say, attempts to arm innocence can actually destroy it.
So, then: where does all that leave me? Mostly, it leaves me confused and conflicted. I still believe, even more fervently than I did in 1992, that it is impossible to protect children from knowledge of the dangers of the world we share with them, that trying to limit their access to information about those dangers is the worst way to protect them from it—that what keeps us all, children and adults, safest is knowing more, not less, about what threatens us. On the other hand, however: with a new consciousness of how often evil might be present and of my own inability to always be aware of it, I conclude that I need to be humbler about my ability to protect children from evil by offering them an awareness of it. I cannot protect them from what I am not yet aware of what they might need protecting from.
Or perhaps, I tell myself, maybe I can. Might adult efforts to teach children the kind of critical thinking that can protect their innocence include the possibility of the children developing a consciousness of theirprivilege—what they might be taking for granted? Can young children learn to see past the safety of the values and assumptions about themselves and others that the adults in their lives have, consciously or not, encouraged them to take for granted? And would many parents and teachers be happy about it if they did learn it?
Or again, and alternately: I have come to realize that awareness of evil might not necessarily always be a good thing. Awareness of what can hurt you can be hurtful. It can damage children's self-esteem or perhaps, makes them feel a powerlessness in the face of forces beyond their own or their caregiver's control that might work to limit their chance of success and happiness in childhood and beyond. Sometimes, then, the potential harm to young readers might justify their lack of access to certain forms of knowledge—outside of children's literature in terms of things like child pornography, inside of it in terms of the kinds of damaging stereotypes and assumptions I have learned to acknowledge were always there without my always knowing it. While I cannot deny that I prefer the idea of leaving the stereotypes in, in order to be able to point them out and explore their implications, I also cannot deny that I am not Black enough or Indigenous enough or Asian enough–or female enough or obese enough or disabled enough or gay enough–to have been the target of such stereotypes and personally felt their ongoing painfulness. One can know the pain of being belittled and understand its implications perfectly well without constantly having to repeat one's painful experience of it.
So: here, then, is where my thinking has brought me: Censorship is wrong, except sometimes when it is right. And access to as much information and knowledge as possible is a good thing, except sometimes when it is a bad one.
Finally, I have to acknowledge that most of us involved with children's books—including me—have always been willing to accept censorious choices. We just like to label them as something other than censorship.
We call them book selection and see them as the act of choosing the right books for libraries or individual children, an act which also always, though we might not be willing to acknowledge it, deprives child readers of access to what we think are the wrong books. Even in choosing not to buy or share certain books because we cannot buy or share everything, we are still depriving young readers of access to the ones we have opted to leave out. If practising censorship—oops, I mean book selection—is inevitable, then we ought to do it humbly and with and ongoing sense of how easily it might turn into something more recognizably censorious. We might best do it while trying to have an awareness of our own various forms of privilege and their possible effect on our selection decisions—how it might be persuading us to leave out too much, or perhaps, I have to acknowledge, to leave out too little. We might best select with humility about the extent and limitations of our own wisdom and our own values, with an effort to be aware of what we haven't considered to be negative and with a willingness to allow as much as we possibly can and leave out as little as we can persuade ourselves to leave out. We might best remember that the necessity of selecting books does not free us from our obligation as adults to help children develop knowledge of how to interact with and think productively about the world in all its aspects—including the ones we would rather they did not know about.
And perhaps above all, we might best approach our considerations of these matters and how to deal with them with a profound sense of our own fallibility. We might try to be less certain—less certain, certainly, than I was myself in 1992.
Alter, Alexandra. "In an Era of Online Outrage, Do Sensitivity Readers Result in Better Books, or Censorship?" New York Times, December 24, 2017. https://www.nytimes.com/2017/12/24/books/in-an-era-of-online-outrage-do-sensitivity-readers-result-in-better-books-or-censorship.html
Blackall. Sophie "Depicting Slavery in A Fine Dessert." Sophie Blackall blog. http://sophieblackall.blogspot.com/2015/10/depicting-slavery-in-fine-dessert.html
Calling Caldecott. Horn Book. September 23, 2015. https://www.hbook.com/2015/09/blogs/calling-caldecott/a-fine-dessert/
"Cannibalism? pro? cons?" Yahoo Answers. https://answers.yahoo.com/question/index?qid=20070427215335AA2Sd6r
"The Diversity Gap in Children's Book Publishing, 2018." The Open Book Blog, May 10, 2018. Https://Blog.Leeandlow.Com/2018/05/10/The-Diversity-Gap-In-Childrens-Book-Publishing-2018/
Ganeshram, Ramin. A Birthday Cake for George Washington. Illustrated Vanessa Brantley-Newton. New York : Scholastic Press, 2016.
Jackson, Kosoko. A Place for Wolves. Naperville, Illinois : Sourcebooks Fire, 2019.
Jenkins, Emily. A Fine Dessert, illus. Sophie Blackall. New York: Schwartz & Wade Books, 2015.
"LOL Surprise Baby Dolls in Blind Bag–Do They Cry, or Color Change in Water?" YouTube. https://www.youtube.com/watch?v=rI2HtAU2KOs
Menkart, Deborah. "Under Pressure, Scholastic Recalls Racist Children's Book. Huffington Post, Dec 6, 2017. https://www.huffingtonpost.com/the-zinn-education-project/under-pressure-scholastic_b_9010900.html
Mcintosh, Peggy . "White Privilege and Male Privilege. A Personal Account of Coming to See Correspondences through Work in Women's Studies." Seed. https://www.nationalseedproject.org/images/documents/White_Privilege_and_Male_Privilege_Personal_Account-Peggy_McIntosh.pdf
Nodelman, Perry. "A Second Look: Sing Down the Moon." Horn Book Magazine 60.1 (Feb 1984): 94-98 https://zenodo.org/record/556564#.XJPwMy3MzOQ
– – -. "We Are All Censors." Canadian Children Literature 68 (1992): 121-133. https://zenodo.org/record/557034#.XJTshi3MzOQ
Park Dahlen, Sarah, and Jamie Naidoo. Diversity in Youth Literature: Opening Doors Through Reading. ALA Editions, 2012.
"Publishing Statistics on Children's Books about People of Color and First/Native Nations and by People of Color and First/Native Nations Authors and Illustrators." CCBC https://ccbc.education.wisc.edu/literature-resources/ccbc-diversity-statistics/
Reese, Debbie. American Indians in Children's Literature. https://americanindiansinchildrensliterature.blogspot.com
– – – . "Indigenizing Children's Literature." Journal of Language and Literacy Education [Online], 4,2 (2008): 59-72. http://jolle.coe.uga.edu/wp-content/uploads/2013/03/indigenizing.pdf
Research on Diversity in Youth Literature. http://sophia.stkate.edu/rdyl/
"Table 203.60: Enrollment and percentage distribution of enrollment in public elementary and secondary schools, by race/ethnicity and level of education: Fall 1999 through fall 2027." Digest of Education Statistics. IES/NCES: National Center for Education Statistics. https://nces.ed.gov/programs/digest/d17/tables/dt17_203.60.asp?
Thomas Ebony, The Dark Fantastic: Race and the Imagination from Harry Potter to The Hunger Games. New York: New York University Press, 2019.
Trier, Walter. 10 Little Negroes. London: Sylvan Press, 1944
Zhao, Amélie Wen. Blood Heir. New York: Delacorte Press, [2019.


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text:
require 'xmpp4r/iq'

module Jabber

  module Command

    ##
    # Class for handling ad-hoc commands
    # (JEP 0050)
    #
    # A command is uniquely identified by its node attribute.
    class IqCommand < Iq
      name_xmlns 'command', 'http://jabber.org/protocol/commands'

      def initialize(node=nil, action=nil)
        super()
        set_node(node)
        set_action(action)
      end

      ##
      # Get the node of the Command stanza
      # result:: [String] or nil
      def node
        attributes['node']
      end

      ##
      # Set the node of the Command stanza
      # v:: [String] or nil
      def node=(v)
        attributes['node'] = v
      end

      ##
      # Set the node of the Command stanza (chaining-friendly)
      # v:: [String] or nil
      def set_node(v)
        self.node = v
        self
      end

      ##
      # Get the sessionid of the Command stanza
      # result:: [String] or nil
      def sessionid
        attributes['sessionid']
      end

      ##
      # Set the sessionid of the Command stanza
      # v:: [String] or nil
      def sessionid=(v)
        attributes['sessionid'] = v
      end

      ##
      # Set the sessionid of the Command stanza (chaining-friendly)
      # v:: [String] or nil
      def set_sessionid(v)
        self.sessionid = v
        self
      end

      ##
      # Get the action of the Command stanza
      #
      # The following Symbols are allowed:
      # * :execute
      # * :cancel
      # * :prev
      # * :next
      # * :complete
      # return:: [Symbol] or nil
      def action
        case attributes['action']
          when 'execute' then :execute
          when 'cancel' then :cancel
          when 'prev' then :prev
          when 'next' then :next
          when 'complete' then :complete
          else nil
        end
      end

      ##
      # Set the action of the Command stanza (see IqCommand#action for details)
      # v:: [Symbol] or nil
      def action=(v)
        attributes['action'] = case v
          when :execute then 'execute'
          when :cancel then 'cancel'
          when :prev then 'prev'
          when :next then 'next'
          when :complete then 'complete'
          else nil
        end
      end

      ##
      # Set the action of the Command stanza (chaining-friendly)
      # v:: [Symbol] or nil
      def set_action(v)
        self.action = v
        self
      end

      ##
      # Get the status of the Command stanza
      #
      # The following Symbols are allowed:
      # * :executing
      # * :completed
      # * :canceled
      # return:: [Symbol] or nil
      def status
        case attributes['status']
          when 'executing' then :executing
          when 'completed' then :completed
          when 'canceled' then :canceled
          else nil
        end
      end

      ##
      # Set the status of the Command stanza (see IqCommand#status for details)
      # v:: [Symbol] or nil
      def status=(v)
        attributes['status'] = case v
          when :executing then 'executing'
          when :completed then 'completed'
          when :canceled then 'canceled'
          else nil
        end
      end

      ##
      # Set the status of the Command stanza (chaining-friendly)
      # v:: [Symbol] or nil
      def set_status(v)
        self.status = v
        self
      end

      ##
      # Get the actions allowed
      # return:: [REXML::Element] or nil
      def actions
        first_element('actions')
      end

    end
  end
end

redpajama_set_name: RedPajamaGithub


As per UGC / Punjab University Patiala norms.
Candidate should have 10 – 20 Years exp.
Leads & represents the Department in the day-to-day operations of the department.
Provide college-wide leadership by, directing the departments work with faculty & staff, colleagues, students & community partners in order to support, provide and or facilitate activities the ensure that the Institute achieves its objectives.
Plans, organizes, directs & administers activities & services that support students in assigned areas & ensures that such activities and services remain with budgetary limits.
The Director contributes to the Institutes success by providing input into the development of the Institute's strategic & operational plans, and by ensuring that the College achieves its students engagement & retention goals.
Experience – 10 – 20 Years.
Excellent Academic Record with at least 55 % marks ( or any equivalent grade in a point scale wherever grading system is followed ) at the Masters Degree Level in the relevant Subject from an Indian University or an equivalent Degree from accredited foreign University. For the positions of Professor & Associate Professor, a PHD Degree is a must.
Besides fulfilling the above qualifications Candidate should have qualified the NET (National Eligibility Test, if so mandated. Candidates with PHD Degree are exempted from the requirement of NET.
Candidates should meet the API requirements stipulated by UGC for the Positions of Professor, Associate Professor interested candidates are request to send their detailed Curriculum Vitae by an email.
Important – Application is 31st July 2017 please mentioned the Post in Subject line of your mail.


Computer errors like epmtf.dll error is really annoying, as it really affects the performance of your computer system. Many people like you have encountered this error every so often. This article is designed to explain what epmtf.dll is, what causes this epmtf.dll error and the most important thing is how to fix this error. So let's begin.
epmtf.dll file is an important DLL file which belongs to EPSON Multi-TIFF Plug-in by EPSON Multi-TIFF Plug-in. This file ensures the Windows system and EPSON Multi-TIFF Plug-in perform properly. If you receive this error when you try to run a software or use a system function, you should know that your software or Windows system may have some issue. The corruption or deletion of epmtf.dll file will lead to epmtf.dll error when the software or Windows system call this file. Usually, you will not receive epmtf.dll error unless there is some issue with your file or Windows system.
There are many possibilities that cause this epmtf.dll error.
epmtf.dll file was deleted when another program was uninstalled from your computer.
A new version of epmtf.dll file installed by another program is overwritten and is not compatible with other programs giving epmtf.dll error.
The epmtf.dll file was deliberately or mistakenly deleted by another computer user or program.
The registry entries of epmtf.dll file are corrupted.
How to Fix epmtf.dll Error?
The first thing you need to ensure is that this error is not caused by computer malware. There are a lot of computer malware that could really attack your computer causing various issues. Malware infection may be the cause of epmtf.dll error. They are able to change or delete program files, and change program and system settings. To ensure this epmtf.dll error is not caused by computer malware, you'd better use your antivirus software and run a virus scan over your computer system.
Step 2. Re-register the epmtf.dll file.
2.3 After epmtf.dll is registered, it will give you a message telling you that it's successfully registered.
If you've tried the steps above but cannot get epmtf.dll error fixed, then you can try to repair the registry. As it's known to all, the registry is the most important database where all settings of hardware and software on your computer is stored. Improper or incomplete software uninstallation can modify the registry and leave some invalid entries in the registry. When there is an issue in the registry, you can see some symptoms, such as DLL errors, EXE errors, and slow PC performance. It's not wise to manually look through the registry and fix it unless you're an experienced computer professional. A slightest mistake in the registry will lead to further damage to your system. The best and most recommended way to get your registry problems fixed is to run this brilliant fix tool. It will help you repair your registry and improve your PC performance.


Had some time this SpringBreak to watch some films and this one by Jorge Gutierrez is beautifully animated. I liked the mix of modern music and the Mexican folklore. I was also struck by the theme of death and grieving families.


AMAZING VALUE WITH THIS STUNNING AND UPDATED 2 BEDROOM VILLA IN VILLAGE PARK (ADULT VILLAS)! If you have been waiting for a VERY WELL PRICED and IMMACULATE home to come on the market in this complex, your wait is over. You will be impressed with the SOARING CEILINGS, the NEWER HARDWOOD AND TILE THROUGHOUT THE MAIN LEVEL. Other major UPDATES include ALL KITCHEN CABINETS, COUNTER TOPS, ALL APPLIANCES, and ALL LIGHTING on main level. Very spacious layout, perfect for entertaining. This well thought out main floor plan features an OPEN LIVING AND DINING ROOM with a gas Fireplace and VAULTED CEILINGS, a Master Bedroom with a good size walk in closet, a large 4 pc Bathroom with a soaker tub, a MAIN FLOOR DEN/OFFICE, and a MAIN FLOOR LAUNDRY. Downstairs in the PROFESSIONALLY FINISHED BASEMENT is another Bedroom, a Family Room, and 2nd full 4pc Bathroom. This complex is efficiently managed, well cared for, and quiet. LOCATION, ADULT COMPLEX, AND HOME HAS IT ALL!! CALL TODAY TO VIEW!


text:
Best Family Hotels in Cincinna...
Best Family Hotels in Cincinnati
U.S. News has identified top hotels for families by taking into account amenities, reputation... READ MORE
U.S. News has identified top hotels for families by taking into account amenities, reputation among professional travel experts, guest reviews and hotel class ratings. Use the filters and settings below to help find the best hotel for your family.
See Cincinnati Travel Guide »
6 matches | See all Cincinnati hotels »
All NeighborhoodsDowntown Cincinnati
The Westin Cincinnati
The Westin Cincinnati offers adjoining rooms, cribs and high chairs upon request. Children 12 and younger receive an activity book upon arrival.
Hilton Cincinnati Netherland Plaza
The Hilton Cincinnati Netherland Plaza offers some childrens amenities, including childrens menus, cribs and high chairs. A playground is less than a mile away from the hotel.
The Cincinnatian Hotel
The Cincinnatian Hotel first opened its doors in 1882, with a French Second Empire design and "Palace Hotel" for its name. Today, this historic hotel, located on Vine Street, is esteemed for The Palace restaurant, which is currently undergoing renovations until March 2018. The hotel's Cricket Lounge also boasts delectable fare and a relaxed ambiance, further enhanced by its surrounding eight-story atrium. But the elegant and comfortable rooms, appointed with calming beige and red accents, wooden furnishings, luxurious linens, complimentary Wi-Fi access and deep soaking tubs, are popular among guests, too. However, what recent visitors appreciate the most is the hotel's romantic atmosphere and extremely friendly staff. While recent guests loved the staff, they did notice that the older building could use some updating.
21c Museum Hotel Cincinnati
Families with children will find the 21c Museum Hotel Cincinnati to be a solid home base for exploring the city's top family-friendly attractions, including the Cincinnati Zoo & Botanical Garden, Newport Aquarium and two professional sports fields. Kids will also enjoy experiencing the many zany art installations in the ground floor museum and throughout the hotel.
The Hyatt Regency is situated in downtown Cincinnati and a good choice for travelers catching a game at nearby Paul Brown Stadium or the Great American Ball Park – both are within walking distance of the hotel. Rooms at the property are equipped with coffee makers, flat-screen TVs, iHome radios and Hyatt's signature Grand Beds. Recent guests suggested requesting a room on a higher floor for impressive Cincinnati skyline views. Past lodgers also noted that while the rooms were exceptionally clean, standard rooms and bathrooms were on the smaller side. But most travelers spent their time outside of the room – the hotel has a fitness center and a fifth-floor glass-enclosed heated pool with an attached sundeck. When you get hungry, sit down for a meal at Red Roost Tavern or grab a quick bite at The Market, which serves salads and paninis to go. And thanks to the hotel's Hyatt ties, loyalty program members can collect and use points for perks like meals at the hotel's restaurants.
Marriott Cincinnati RiverCenter
OK, this hotel isn't actually in Cincinnati but across the Ohio River in Covington, Kentucky, (about 98 miles northeast of Louisville). The Marriott's Ohio riverfront location, close to the big city, does seem to be one of its key selling points. That's particularly true if you're interested in catching a Bengals football game at Paul Brown Stadium (about 1 mile away) or a Reds baseball game at the Great American Ballpark (also just 1 mile away). Some guests complain of slow room service and a somewhat confusing journey from the lobby to the hotel rooms. Speaking of rooms, all feature beds with pillow-top mattresses, coffee makers, marble bathrooms and in-room Internet access (for a fee). If you want to make the most out of staying at the Cincinnati Marriott at RiverCenter, you should book a room facing the water and not the city streets. Additional on-site amenities guests can take advantage of include a fitness center, an indoor pool and a handful of restaurants and lounges. Earn or indulge in complimentary perks if you're a Marriott Rewards member.
More Cincinnati Hotel Rankings
Cincinnati Northern Kentucky Intl Airport (CVG)

redpajama_set_name: RedPajamaCommonCrawl


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text:
Space-Time Versus the Quantum
Scientific Horizons
Date: 11/16/2015; 59 minutes
UCSB's Joseph Polchinski speaks about the search for a unified theory of the laws of physics, and the difficulty of reconciling two of the main pieces: quantum mechanics, which governs the very small, and general relativity, which governs the very large. A professor of physics and a permanent member of the Kavli Institute for Theoretical Physics, Polchinski was named UC Santa Barbara's 2014 Faculty Research Lecturer. Recorded on 12.04.2014. (#30118)
Biomolecular Action Movies: Flash Imaging with X-ray Lasers
Laser-Plasma Accelerators: Riding the Wave to the Next Generation X-Ray Light Sources
Complexity and Robustness: How Biology, Ecology, and Technology Balance Tradeoffs in an Uncertain World
Science: Physical Science
Harnessing Fusion: Creating a Sun on Earth
Cuando Las Cosas se Ponen Pequenas
Saturday Science at Scripps Research: Ryan Shenvi - Strong Inference
K-12 Educational Standards
are available for this program.


text:
Q: using aws lambda as serverless input-sanitization proxy to s3 I'm looking to directly upload images from the client using presigned urls (S3), and I keep hitting these two barriers:

*

*Potentially malicious files and the need to sanitize input (in my case, images).

*Potentially malicious uploading of too many files at once.

Obviously this cannot be done on the client, as the weakness will still be exposed. monitoring file extensions, which to my knowledge can be accomplished using aws s3 bucket policies, isn't a real solution to this problem - realistically I would be looking for file sanitizing SDK's (for this project I'm using node, so accomplishing this server-side would be quite simple).
Can AWS Lambda supply this type of functionality? For this use case, would it still make sense to use Lambda at all? It seems to me that piping images to s3 through lambda to "save" on server-side piping is a little silly, considering a double upload is still required.

A: if you  generate the presigned url as per need and keep that alive as per your use case. So in that case the presigned url is live when you need it and different for all the clients.

A: I ended up implementing a direct-to-s3 upload from the client using presigned POST data generated on demand on a dedicated api server and sent to the client. Not to be confused with a presigned url that files can be uploaded to, the presigned data is used to compile an html form, whereupon submition of said form will upload the files.
Using server-generated PUT urls produced by the node aws-sdk can accomplish a few goals, namely:

*

*The urls are "presigned" and therefore no further authentication is needed, thus credentials never need to be exposed on the client.

*It is possible to limit upload to a certain key, and limit the upload time by defining an expiration time for the url. Needless to say, the url is initially limited to only the actions that the credentials used to sign the url are limited to.
Presigned POST data, on the other hand, requires more work but it allows the enforcement of another critical limitation for security reasons: upload size.

The other half of my problem was concerned with input sanitization - routing the files to s3 through my server (the standard way) would allow me to sanitize the input in any way I see fit. Client side upload on the other hand cannot prevent malicious users from uploading any file they want, including malicious files masquerading as images.
My first attempt at "catching" the files before they reach s3 - an aws lambda function would recieve the photos before s3 and act as a sort of proxy, sanitising and sending only clean data - didn't pan out as there is a strict cap on data transfers to a lambda using an api gateway - theoretically 6mb, although in my exprience less than that. Also, that effectively means double the upload time.
My second solution ended up working for me - I wrote a lambda function to be triggered by every POST upload to the relevant bucket, and implemented two constraints:

*

*Keeping each user folder under X mbs (by using the ListObject method provided by the aws-sdk and deleting all older photos that don't make the X mb cut).

*Sanitizing every uploaded file using the node 'mmmagic' package, and deleting files that aren't images (checking file extension is shallow and can't securely differentiate between images and non-images). At first I planned to also delete all exif data as well (as exif data can contain malicious code) but I ended up not doing that because it seemed excessive for a POC.
Using these features (expiry, credentials on the server, limit on upload size, limit on folder size, limit to strictly uploading, deleting non-images) I believe a fairly secure (although not hermetically so) and very efficient upload can take place.

redpajama_set_name: RedPajamaStackExchange


text:
Prabowo Subianto Reminds the Government to Prioritize Domestic Workers
By : Herry Barus And Aldo Bella Putra | Sunday, April 29 2018 - 19:30 IWST
Prabowo-SBY meeting is not expected to reach agreement yet
INDUSTRY.co.id - Jakarta - Chairman of the DPP Gerindra Prabowo Subianto said the Indonesian government should prioritize domestic workers to meet domestic needs while reducing unemployment in the country.
"We are not anti-foreign, we need labor with foreign capabilities but we are prioritizing our people," Prabowo said in the National Seminar of "End of Corporate Greed Toward a Prosperous Country" organized by the Indonesian Trade Union Confederation (KSPI) in Building Joang 45, Jakarta, Sunday (29/4/2018)
Prabowo said there are still many Indonesian people who do not have decent work yet. Therefore, employment opportunities should be widely shared for Indonesian citizens.
"Our people do not have a good and decent job, so our women are forced to become helpers in other countries, they leave husbands, children and families to send money to their villages, so we allow foreign workers to come in," he said. .
Prabowo said the Indonesian state should be friendly with foreign countries but should also safeguard the interests and welfare of all the people of Indonesia and be vigilant that natural resources are not exploited by other nations.
According to him, the people of Indonesia should be equipped with the knowledge and skills to fulfill the jobs with the skills needed to build the nation. Thus, the Indonesian state can use domestic human resources to fill the needs of skilled workers.
"If our people cannot afford our duty of Indonesian state leaders to make our people able, if the people are not smart the duty of this country's leader to make smart people," he said.
KSPI will voice one of the revocations of Presidential Decree Number 20 of 2018 which regulates Foreign Workers (TKA) on the anniversary of International Labor Day on May 1, 2018.
Meanwhile, KSPI President Said Iqbal said that the Presidential Regulation could add to the constraints of the people to get a job in their own country.
The attitude of the government previously, the Minister of Justice and Human Rights Yasonna H Laoly as reported by Antara considered the issue of foreign workers too politicized and overestimated.
"So this is too politicized, there has been a working meeting with the House of Representatives Commission IX yesterday about it, already explained by the State Secretary (Secretary of State Secretary Pratikno) So I think if the question of foreign labor is deliberately spread and exaggerated," said Yasonna after attending the event of the 54th Anniversary of the Community Service of the Directorate General of Corrections, Jakarta, Friday (4/27/2018)
According to him, Presidential Regulation (Perpres) No. 20 of 2018 on the Use of Foreign Workers is published so that the process of handling foreign workers more quickly and transparently.
"We want is that the process is faster, transparent, that is what the perpres will use," he said.
He also said that however Indonesia needs investment.
"It will be said to take the work of Indonesian people, if the investment does not come there is work?" he said.
Employment Minister Hanif Dhakiri said the number of foreign workers in Indonesia is still relatively proportional after the issuance of a Presidential Regulation on foreign workers and asks all parties not to worry about it.


text:
Phonte: "My Job Is to Make You Feel Less Alone in the World"
"If can't live it, I ain't gone rhyme it."
Brian "Z" Zisook
Photo Credit: Chris Charles
Fresh off the release of his acclaimed new album, No News is Good News, veteran MC Phonte was a guest Monday on Ebro Darden's program on Beats 1 on Apple Music.
In response to Darden citing his influence over modern day superstars such as Drake and Kendrick Lamar, Phonte detailed, in his opinion, the job of a recording artist, and explained why his specific approach has been so successful.
"I never wanted to rap something that I couldn't do. That's just my driving force. If I can't live it, I ain't gone rhyme it," Phonte told Darden. "You have to talk about things that you know and I feel if I write something, and you can listen to my album and you can hear yourself in a piece of it, then I've done my job as an artist. My job is to make you feel less alone in the world."
Like most middle-aged recording artists, Phonte knows full well that the Billboard charts are primarily inhabited by the youth. Rather than crafting material foreign to his current worldview in an attempt to position himself as "hip," the Little Brother alum is sticking with the source material he knows best: real life.
In his DJBooth article "GOAT-Worthy: Making the Case for Phonte," writer Andreas Hale cited Phonte's perspective on age and the growth of his content, specifically, as reasons why his music has been able to connect with an older audience on such a deep level:
"If nothing else, the one thing Phonte has done better than many of his peers over the past 15 years is growing up and reevaluating the circumstances surrounding his own life."
To age gracefully in hip-hop is akin to drinking a fifth of vodka and then making a free throw shot; it's not impossible, but it's damn hard. (Just ask Eminem.)
At 39, Phonte seems to have figured out. Who else will join him?
Phonte
Follow BrianZisook
Sadness & Reflection: A Soul-Baring Conversation with Phonte
We spoke with the veteran MC one week after the release of his second solo LP, 'No News Is Good News.'
Evidence, Phonte & the Struggle to Accept Life's Fragility
Two new albums are soundtracking the horrifying prospect of impending death.


Simply amazing… how are these guys not in movie production or game developement… if their not they should be!
Whoops wrong "they're"! Sorry, I write for the Onion.
Whoops wrong "they're"! Sorry, I write for the Onion.
So thats what the guys from Daft punk look like with out their helmets on.
Pretty awesome! The graphics very realistic with a 3D quality.


text:
Q: Taking back Up of Microsoft Access Database in c# .Net Windows App I am developing one c# .NET application.
I am using database of Microsoft Access(OLEDB).
I want to take back up of database time to time (Programatically).
(Or As i can create .bak file in sqlserver2008 r2)
What should i do?

A: An Access database is usually a single file.
To do a programmatic backup you can simply use a
File.Copy(sourceDbName, destDbName, true);

Of course you can add a simple routine that takes your input database, zip and store it, in your backup directory, optionally passing a password, like this:
using Ionic.Zip;
......

private void BackupToZip(string sourceDBName, string destZipFile, string password)
{
    using (ZipFile zip = new ZipFile(destZipFile))
    {
        if (bkpPass.Length > 0) zip.Password = password;
        ZipEntry e = zip.UpdateFile(sourceDbName, string.Empty);
        e.Comment = "Working copy stored in date: " + DateTime.Today.ToShortDateString();
        zip.Comment = "This zip archive has been created by ......";
        zip.Save();
    }
}

this snippet of code requires the DotNetZip Library


text:
PHOTOGRAPHY AGAINST RACISM
Atualizado: 9 de Set de 2020
The Afrotometria Collective, created in 2018, has photography as a tool for strengthening and raising awareness for the black people
Text: Everyday Brasil
Photos: Afrotometria
Photo: Tiago Santana/Afrotometria
Composed by Fernando Solidade, Iná Henrique Dias, Isabela Alves, Sergio Fernandes and Tiago Santana, the Afrotometria photography collective was born from the need to establish its own place and highlight what has been produced by black and black professionals and artists. "Since the well known places in the photography environment tend to keep the commonly racist bias, we will create our own places", says Sergio, one of the collective's representatives.
The collective, located in São Paulo, even with a short time of existence, already has many accomplishments and has gained visibility in photography with their approach in urgent issues for society.
In 2018, the first year of the collective, they created the Foto Preta project, an exhibition with 30 black photographers, many of whom had never exposed their work before. The first edition took place at Casa Elefante, in downtown São Paulo.
In its second edition, the project takes place at the Santa Cruz, Eucalyptus and Brooklin subway stations between the months of July and September of this year. Among the invited photographers are: Bruno Pompeu, Daisy Serena, Nego Junior, Hudson Rodrigues and Georgia Niara.
In both situations, the exhibition was held independently, without sponsorship. "We are paying to exhibit our work. The society, in general, does not give us much value. But if you look, most of the award-winning images are of a black body portrayed by a white photographer," says Sergio, who also mentions examples in other areas such as the white film director José Padilha being quoted to direct the film about councilwoman Marielle Franco and journalist William Waack, who was marked by a racist commentary, talking about racist actions on CNN. These actions ignore the existence of black professionals, even when the subject to be dealt with concerns themselves.
The project has also grown outside Brazil. Last year the members of Afrotometry were in Spain, in the cities of Salamanca and Madrid, where they were invited to hold an exhibition and photography workshop.
Photo: Fernando Solidade/Afrotometria
Photo: Sergio Fernandes/Afrotometria
In Sergio's opinion, a black person with a camera in his hand can tell his own story without the intervention of others and thus fight structural racism and its consequences, since the photos play an important role in building the imaginary of a society. "Racism teaches us that, as black people, we only have real progress when we act collectively, creating our own spaces, agendas and structure", he points out.
Currently the collective has been working on a website where they intend to map black photographers in Brazil and make it a gallery, where each photographer can submit their work and tell their story.
Photo: Iná Henrique Dias/Afrotometria
Photo: Iná Henrique Dias
To find out more about the work of the Afrotometry Collective:
https://www.instagram.com/afrotometria/
AUGUST 19, WORLD PHOTOGRAPHY DAY
VACCINE IN THE ARM, FOOD ON THE PLATE AND OUT, BOLSONARO
FEARS AND DREAMS


text:
Villagonzalo Pedernales ist ein Ort und eine Gemeinde (municipio) mit  Einwohnern (Stand ) in der Provinz Burgos in der nordspanischen Autonomen Region Kastilien-León.

Lage und Klima
Die Gemeinde liegt in einer Talmulde der kastilischen Hochebene (meseta) in einer Höhe von etwa  und ist etwa 7 km (Fahrtstrecke) in südwestlicher Richtung von der Stadt Burgos entfernt. Das Klima ist gemäßigt bis warm; Regen (ca. 570 mm/Jahr) fällt – mit Ausnahme der eher trockenen Sommermonate – übers Jahr verteilt.

Bevölkerungsentwicklung

Die Mechanisierung der Landwirtschaft und die Aufgabe bäuerlicher Kleinbetriebe führte zu einem Verlust an Arbeitsplätzen und zu einer Abwanderung eines großen Teils der Bevölkerung in die Städte. Die Nähe zur Stadt Burgos und die vergleichsweise günstigen Grundstückspreise ließen die Bevölkerung des Ortes um die Jahrtausendwende wieder anwachsen.

Wirtschaft
Die Region ist seit Jahrhunderten ganz wesentlich von der Landwirtschaft geprägt; man lebte weitgehend als Selbstversorger, doch lagen auch die Märkte von Burgos in erreichbarer Entfernung. Im ausgehenden 20. Jahrhundert wurden zwei Gewerbegebiete (poligonos industriales) ausgewiesen.

Geschichte

Der Ort Pedernales gehörte im Hochmittelalter zum Grundbesitz des Klosters San Julián de Pedrenales. Im 13. Jahrhundert kam er unter die Kontrolle der nahegelegenen Klöster Las Huelgas Reales und San Pedro de Cardeña. Zeitweise hatte auch das Erzbistum Burgos die Grundherrschaft (señorio) inne. An dieser Situation änderte sich bis zur Auflösung der Klöster und der mittelalterlichen Grundherrschaften (desamortisación) in Spanien nichts. Der Namenszusatz Villagonzalo wurde erst im 19. Jahrhundert hinzugefügt; er erinnert an den berühmtesten Sohn des Ortes, Gonzalo Téllez.

Sehenswürdigkeiten
 Das zweigeschossige Rathaus (ayuntamiento) befindet sich in einem im 17. Jahrhundert erbauten ehemaligen Palast der Grafen von Villariezo. Die Fassade zeigt eine schöne Mischung aus hellen Bruchsteinen und roten Ziegelsteinen. Der dreiportalige Mittelrisalit schließt ab mit einem Giebelaufsatz, in welchem sich ein steinerner Wappenschild befindet.
 Die aus exakt behauenen Natursteinen errichtete dreischiffige Iglesia de San Vicente mit ihrem zweigeschossigen Glockengiebel (espadaña) und ihrer Südvorhalle (portico) stammt aus dem 16. Jahrhundert; sie wurde jedoch im 18. Jahrhundert umgestaltet. In den flach geschlossenen Apsiden im Innern der Kirche finden sich drei barocke Altarretabel.

Persönlichkeiten
 Gonzalo Téllez (* um 870 in oder bei Pedernales) wird in einem Dokument des Jahres 903 als "Graf von Kastilien" bezeichnet.

Weblinks

 Villagonzalo Pedernales – Fotos + Infos (wikiburgos, spanisch)
 Villagonzalo Pedernales, Kirche – Fotos + Infos (spanisch)
 Villagonzalo Pedernales, Rathaus – Fotos + Infos (spanisch)
 Villagonzalo Pedernales, Feste – Fotos + Infos (spanisch)

Einzelnachweise

Ort in Kastilien und León
Provinz Burgos

redpajama_set_name: RedPajamaWikipedia


All you need is your imagination...design your color scheme and paint these pre-cut vinyl pictures using over 14 different colors of sand. In one word "Frameable"!
We are a Kids Art Studio where Walk-ins are always welcome during regular business hours.
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Our staff is experienced, fun, creative, and always willing to offer instruction on any projects. We package each project to take home the same day. Walk-Ins are always welcome during regular business hours.
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The phenomenon of "fake news" may have captured the imagination of Americans during the 2016 Presidential Campaign and the later investigation of Russia's attempts to swing the election to Donald Trump using fake news on Facebook among other schemes.
The truth is that fake or phony news has been around as a tool for a while and by many to spread propaganda and conspiracy theories for many years prior to the 2016 election. Websites including InfoWars and Brietbart among others have been spreading fake news that supports their agendas.
However, it has become a political and societal issue since the election and poor Facebook has become the poster child of websites that fall for the scheme.
Recently the social media company has admitted to its mistakes and has tried to make things right with their subscribers. It is now flagging phony news articles that are going to Facebook members via their news feed. It is using AI to achieve this.
The actual detection of these types of articles by AI is a difficult endeavor. Of course, the analysis of big data is involved, but it also concerns data veracity. Identifying it is actually involved with determining the truth of the data. This can be done using the method of weighing facts. What happens if a fake news article appears on hundreds of websites at the same time? Under this circumstance, using the technique of weighing facts may cause AI to determine that the story is legitimate. Perhaps using the method of predict reputation in conjunction with weighing facts can help, but there still could be problems. For example, reliable news source websites that do not take the time to verify a news story could pick it up assuming that it is true.
It's obvious that using AI to identify these articles needs more development. A number of organizations are involved in enhancing AI's capacity. One such establishment that is involved is West Virginia University.
The Reed College of Media in cooperation with the Benjamin M. Statler College of Engineering and Mineral Resources of West Virginia University has created a course that is focused on using AI to identify phony news articles.


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Rock Progressivo Italiano
Prog Reviewer
Phaedra is an Italian prog band from Trento that began life in 1993. After many troubles, line up changes and a lot of work in studio, in 2010 the band released a self produced album with a line up featuring founder member Claudio Bonvecchio (bass, guitars, backing vocals) along with Stefano Gasperetti (keyboards, electric and acoustic guitars, mandolin), Stefano Dalcanale (drums), Davide Tabarelli (keyboards, theremin), Fabrizio Crivellari (flute), Elisabetta Wolf (violin), Antonio Floris (violin, viola) and Claudio Granatiero (lead vocals). This work, titled Ptah, is a concept album telling a science-fiction story written by the vocalist Claudio Granatiero whose atmosphere reminds me of some novels by the French writer René Barjavel as "La nuit des temps" (The Ice People) and "Le grand secret" (The Immortals) or the sci-fi TV series "Space:1999". The music flows in a long suite where calm acoustic passages alternates with more aggressive parts. The overall sound could recall some historic Italian bands such as Locanda delle Fate or Maxophone and features a very good use of flute and violin...
The excellent instrumental "Overture" set the atmosphere and draws some melodic lines that will be developed later... "They say that once upon a time the sky was blue / They say that the sun was shining / There were green lawns over there and there was a river as well... They say, but for me it's just a dream... They say that there were many children... And now I'm alone...". On "Dicono" (They say) the very particular voice of Claudio Granatiero interprets a lonely child on a dying planet, victim of the human ambition. What happened to the Earth?
The next track "Sotto un cielo stellato" (Under a starry sky) takes us far back in time, on another planet where some people are leaving their advanced civilization to seek for another world where they can live and start again. The people of that planet had defeated maladies and aging but they couldn't survive to a sudden natural catastrophe provoked by their endless quest for knowledge. The vocals are broken, almost out of tune, when depicting a sad farewell and the nostalgia for what was left behind while the music in the middle section describes a journey through the space.
Next comes "Il reietto" (The outcast) that describes in music and words a strange character, one of the people who left the doomed planet when he was just a child... "We escaped from Death / We tricked our fate / We wondered through the space looking for a better day / Nobody run after us / Nobody regretted us / But fear has not left us since then...".
"Un mondo nuovo" (A new world) is a beautiful instrumental track featuring nice flute passages. The music here tries to describe the feelings of joy and relief that the space- traveling survivors prove while they're getting closer to the Earth. Then they go down from their starship to explore the new planet and realize that they are finally ready for a new start...
"Come un bambino" (As a child) describes the meeting with a primitive form of life whose strength is the brain: man. The survivors don't get old but they are not immortal and they are not able to breed anymore. They "adopt" men as children, they start to manipulate their DNA to accelerate their evolution to build up a new civilization... "Life is growing up, new hope / Offspring of the Earth and of an ancient science / Here men will live their innocence / They will grow up strong, they will be mighty / Our leadership will make them wise / We will be free again...".
"La costruzione di Atlantide" (The construction of Atlantis) is another instrumental track which begins with a nice marching beat, then soaring melodies played by flute, violin and synthesizers interact painting a busy scene with "Renaissance colours". The music tries to depict a scene where the survivors and their new "children" build up a new city and a new civilization.
On "Uomo!" (Man!) the tension rises. Something goes wrong between teachers and pupils. Men get old and die while their masters are always young, immutable and strict. Seeds of rebellion are spreading... "How many years have passed by? I still remember my defeat... It's sad when you see the work of a whole life destroyed by a son who can't understand / That all what you were doing was necessary to give him a better world and a happy life...".
"La distruzione di Atlantide" (The destruction of Atlantis) begins with an acoustic guitar arpeggio. It's a dark, sad instrumental track that marks the end of the new civilization. All the masters but one are killed, dreams explode and Atlantis crumbles... The men escaped from Atlantis go back to their nomadic primitive life and the knowledge of the masters gets lost in a few generations. The memory of Atlantis survives just as a myth...
"Dilemma interiore" (Inner dilemma) describes the pain of the only master escaped, Ptah. For many centuries he shunned men. His feelings were contradictory: hope, fear, disappointment, love. But eventually despair gives way to hope... "Leave the past behind you / Dream again / Don't let fear rule over you / You will find all the strength you need inside you...".
"Il saggio errante" (The wondering wise man) is a nice instrumental that describes the peregrinations of Ptah while he tries to transmit his knowledge and help humankind undercover. From the Egyptian city of Qena to Benares in India, to the dark sea of the coast of Norway...
The next track "Preghiera" (Prayer) deals with the issue of Faith. It begins with organ chords and a church like choir, then from a strummed acoustic guitar pattern heartfelt vocals soar... When Ptah came back seeking contacts with men, after centuries of solitude, he realized that humankind had developed the faith in God. Of course, God was just a distorted memory of the old masters, but he started to think about it for the first time... "I don't know if you can hear me, if you exist or you're nothing but a dream / Many people believes in you / No one can know if you are real / But listen to the pain which is destroying me / It doesn't give me any hope... Give me hope... Knowledge has always been my only faith, my only God / But when everything falls down and time bestows on you the gift of eternity / There's no reason to go on living and fighting / Please, give me a sign...".
"Il peso del rimorso" (The burden of remorse) describes a spiritual struggle. No sign came from God and Ptah wonders whether is it better to give up trying to transmit his knowledge to humankind or not... Ptah can't bear the burden of the remorse, he feels that he must help what he still consider his children, he has to help men...
"La decisione" (The decision) concludes the album. Thanks to the hidden help of Ptah, men were able to build up a new advanced civilization that could even compete with the one of the old masters. When Ptah reveals himself nobody believes him and a new destructive war is going to begin. The impending doom closes the circle and you can now imagine Ptah talking to the wind clod in a crimson cape while beside him a child dreams of a better world with green lawns and rivers and other children to play with...
Well, on the whole this is a very good album although the vocal parts are not flawless. Claudio Granatiero wrote the lyrics and the liner notes in the booklet that contribute to explain the plot but in my opinion he should have shared the vocal parts with other singers since he had to interpret too many characters and passages in this "rock-opera" and the result is not always convincing...
andrea | 4/5 | 2011-12-10
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Migrate to Australia on PR Visa, which allows you and your family to settle permanently in Australia.
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Benefits of applying for an Australian PR Visa is you can earn in dollars. You have the freedom to Live, work and study in any Australian state and Australian passport allows you to travel visa free to a number of countries.


Whether you just bought new kitchen cabinetry and want to keep it looking beautiful or you've had your cabinets for years and want to give them a thorough cleaning, here are some do's and don'ts to safely clean your wood cabinetry and get great results.
Wood cabinets are finished using special varnishes that protect the underlying wood from damage. It's important to avoid doing anything that can strip the varnish from the cabinets or damage the wood underneath. So, before we get into proper cleaning methods, here are some things you should avoid at all costs when it comes to cleaning your wood cabinets.
Water is one of the worst enemies of wood cabinetry and the leading cause of damage to cabinets caused by homeowners. This is especially true in areas around the sink. Be sure splashes are wiped up immediately and never let water pool or drip on cabinet drawers. Also, be careful when you mop your floor. Don't splash water on lower cabinets or allow water to settle on the kick plates.
It's tempting to pick up an abrasive sponge or cloth to remove a sticky spot on your cabinets. However, abrasive cloths or pads can dull or damage the finish of your cabinets or leave scratches that can't be removed.
Soap pads, scouring pads and brushes are great for pots and pans, but don't be tempted to use them on your wood cabinets. All of these items are abrasive and can scratch your cabinetry. Soap and scouring pads may also contain chemicals that will damage the stain or finish of your cabinetry.
While ammonia is great for removing grease, it's too harsh to use on your wood cabinetry and can damage the finish. You should also avoid spraying your cabinets with glass cleaner because glass cleaner also contains ammonia. If you need to clean glass cabinet doors, make sure you shield the wood part of the door from any overspray.
Strong solvent cleaners, mineral spirits, paint thinner and other harsh chemicals should never be used on your cabinetry because they can damage the varnish that protects the underlying wood of your cabinets.
While products like Endust or wood polishes or sprays may make your wood furniture shine, don't use these products on your cabinetry. They may contain chemicals that could damage your cabinetry and they often leave a sticky residue that attracts dust and dirt that can give your cabinets a dull appearance.
The best way to keep your cabinetry looking great is to keep dust, dirt, grease, and fingerprints from building up over time.
Use a damp, soft cloth to wipe up spills, splashes or spatter right when it happens.
Dust your cabinetry with a soft duster or soft cloth. Keeping your cabinetry free of dust will prevent scratches and keep your cabinetry looking bright and new.
Wipe down your cabinet doors and drawer fronts at least once a week to prevent buildup. If you handle this job regularly, you won't need soap or special cleaners. Plain water and a soft cloth will do the job perfectly. Simply wipe down your cabinet doors and drawer fronts using a damp – but not wet – soft cloth. Wipe your cabinetry dry with another clean, soft cloth. Never use hot water to clean your cabinetry!
If dirt, grime, or grease build up on your cabinetry over a period of time, you can use diluted soapy water or a mild, all-purpose cleaner without ammonia to clean your wood cabinetry.
Oil soap cleaners, specially formulated for wood components, are also safe to use.
Make sure you dilute any cleaners in water and avoid spraying the cleaner directly on the wood. Be sure not to get the cabinetry too wet and never use hot water. Wipe down the cabinets with a dry, soft cloth to complete the job.
Safely cleaning your wood cabinets shouldn't be confusing or difficult. Just remember to avoid harsh chemicals and abrasive tools, and use a damp cloth and plain water for most cleaning jobs. Sticking to the basics and cleaning your cabinets on a regular basis will ensure your cabinetry stays beautiful for years to come.


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Home/Technology News/Online marketplace, Jiji Africa rebrands amidst growth
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Online marketplace, Jiji Africa rebrands amidst growth
fthghana Follow on Twitter September 21, 2021Last Updated: September 21, 2021
One of the largest online marketplace in Africa, Jiji has completed an extensive rebranding effort to align with accelerated company growth, development, and vision for the future.
They aim to strengthen its young, friendly, and extraordinary corporate image. At the heart of this rebranding is a change of the company's vision, mission, and position. And that's what they wanted to reflect in the new tagline and design approach.
A unique design feature — named Ji-spots — has been designed to represent Jiji's diversity in its service offerings. They also mention that such elements and the new palette best describe the main difference of their classifieds platform from online shops or marketplaces.
The refreshed Jiji brand includes a new tagline, "Because Deals Can Be Easy." It should represent the ease of using the Jiji platform in whatever service one chooses, whether it's buying, selling, hiring, renting, swapping, etc.
"We are not a shop, so we don't sell any products. Instead, we improve making deals to help people find each other and get what they want. We want things to become easier with the Jiji platform," Valeriia Kupreichuk, Jiji Africa's Brand Manager.
"The new brand reflects Jiji's focus on customer satisfaction and ease of online shopping. Our dream is to live in a world where people can afford everything they need. To fulfil this, we created a platform where people can find other people with the right solutions, be it a product, a job, or a service. With us, anyone can exchange, sell and buy anything based on their needs, budget, and circumstances. We are for satisfying needs and against frustration," said Vitalii Sharovarov, Jiji Africa's CMO.
With a network of five markets across Africa, including Nigeria, Uganda, Tanzania, Kenya, and Ghana, Jiji gets approximately 1.6 Million+ active ads and 2.5 Million buyers monthly. By significantly rebranding, Jiji is looking forward to opening up new levels of making deals between people and building an even stronger community where anyone can feel satisfied and safe.
Anton Volyanski, Jiji Africa's Founder, says: "We have been planning the rebrand for some time. It coincides with a period of strong growth in our company and a period of unprecedented change in the way e-commerce is marketed, especially with the Post Covid wave. We have always tried to be innovative with marketing, and the evolution of our brand underpins this. We wanted a modern and adaptable style but with links to our African heritage. This is important for our clients, and so it is crucial for us."
"The new branding represents a change in our image but our goal still remains the same. The world around us is changing, and so we must adapt to the changing needs. The company has a determination never to stop leading the way in innovation, personality and thought," said Yuliy Shenfeld, Jiji Nigeria's Country Manager." This branding reflects the immense growth we have witnessed in our company and the focus on customer-centricity. We feel it's important to let people know what Jiji stands for and our main position —We are against frustration— summarizes it all."
Since it penetrated the Nigerian Market in 2014 and bought off OLX assets in 2019, Jiji has been raising the bar in the e-commerce industry. It has led the way in innovation, customer-centric features that have increased their site's traffic and sales.
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Kirstie Newton takes to the road for some family fun in a Ford S-Max.
Despite being a three-person family, I have long hankered after a seven-seater car. At weekends, we often go out for scenic drives (usually with CT in mind), and invariably take the grandparents along. But trying to get a pair of grown-up bottoms in the back next to a child seat is always a task, and the two end up jostling and squabbling like teenagers. When my friend, Sally, offered to pick me up from Bodmin Parkway station for a trip to Lanydrock, with three children of her own in tow, I salivated indecently over her people carrier. So I was thrilled to test-drive the spacious Ford S-Max over the bank holiday.
It seemed only right to do something family orientated and, the day being absolutely fabulous (in a marked change to the summer weather as a whole), we decided to head down to the Lizard, starting with Kynance Cove. It was several years since our last visit, and I won't be leaving it so long until the next. Having parked in the National Trust car park (free to members), we took our beach bag and struck off down the steep path towards the beach. The view clean took my breath away: blue skies, white sands, azure waters sparkling with the reflection of the sunlight – had it been a picture postcard, you might have thought it was the Med.
Reality bit, however – although sunny, it wasn't actually terribly warm. Not that this deterred my daughter, who had stripped off before you could say Jack Robinson and was happily frolicking in the many freezing sea pools. Do five-year-olds feel the cold? Apparently not.
There are many reasons to love this part of The Lizard. It is surrounded by heathland which is home to some of the rarest flora and fauna in the UK. If you're lucky, you might even spot the red legs or hear the call of Cornwall's native chough.
Look down at your feet, and see the familiar greens and reds of serpentine, which is unique to the Lizard peninsula. Once thought to be the root of a volcano, it's now known to be part of the Earth's mantle, bulldozed by an advancing continent, onto the newly evolving Cornish mainland millions of years ago. When Queen Victoria and Prince Albert visited in 1846, they were enchanted by the unusual characteristics of serpentine, and their royal patronage spawned an industry of architectural and decorative stone working that continues in a lesser form to this day – see the shops at nearby Lizard village.
There's a very popular café here, serving Ann's pasties and other food between Easter and November (weather dependent in colder months), and has sustainable toilets. The beach is an explorer's paradise, with lots of nooks and crannies; however, it's worth checking tide times, especially at spring high water, when the beach is completely covered. We didn't have long ourselves, and were soon scooping up our belongings and moving further up the sands. There, it was considerably breezier, and our newspaper blew clean away, to much hilarity (on Daughter's part at least).
We took this as our cue to move on, and headed to Lizard village for an ice cream and a gentle stroll. The most southerly point is about 15 minutes' walk from here. Then it was time to head back, taking a scenic route across Goonhilly Downs, past the famous Earth Station, and back to Helston.


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