Merlin is the archetypal wizard, Welsh and Celtic in origin but with connections across the water in Cornwall and middle Europe, and, of course, the Arthurian legends. The powerful wizard is portrayed across folklore with many magical powers, including the power of shapeshifting, and is well-known for being King Arthur’s mentor, ultimately guiding him towards becoming the king of Camelot. In this documentary, we take a deep dive into the fantastic world of Merlin and his influence in today’s society.
Court documents claim that a confidential informant who helped bring down Atomwaffen Division is also a publisher of white supremacist literature.
The Federal Bureau of Investigation has paid a man involved in a publishing house specializing in occult neo-Nazi books more than $100,000 since 2003, according to court filings.
The publishing house is Martinet Press, fine purveyors of Atomwaffen Division-approved books such as Iron Gates and Liber 333. The former is a book about a Satanic cult roaming a post-apocalyptic America, which opens with a scene of a child being murdered.The apparent informant is Joshua Caleb Sutter, a man with longstanding ties to white supremacist organizations. Sutter’s father was a Pentacostal preacher who ran racist memorabilia stores in the area around the South Carolina capital of Columbia; Sutter and his father would take turns running the counter.
The court documents implicating Sutter are from the federal government’s case against Kaleb Cole, whom prosecutors say was a leader of the neo-Nazi terror group Atomwaffen Division. Obtained by investigative journalist Ali Winston, the documents are a motion to suppress evidence related to a search warrant used to search Cole’s house.
Rachel Greenwald Smith on the Treacherous Common Territories of Literary Culture and Capitalism
Ardor characterizes Anderson’s tone, but it also becomes a value in and of itself in her editorial work. “I loathe compromise, and yet I have been compromising in every issue by putting in things that were ‘almost good’ or ‘interesting enough’ or ‘important,’” she writes in this particular issue. “There will be no more of it.”
Against “good poems” she wants to publish capital-A Art, art that goes beyond simply being the best version of itself. Notably diverging from Poetry magazine’s Open Door policy, Anderson believed that truly great art was not a matter of individual quality; it was a matter of ferocity of commitment. She wanted art that could knock a person over, art that “uses up all the life it can get.” She invokes the modernist credo “art for art’s sake,” but in an avant-garde reversal insists that this means not a retreat from the world of politics and history but a commitment to it. “Revolution is Art,” she explains. “You want free people just as you want the Venus that was modelled by the sea.”
What qualities help assure that a community can survive the threat of disaster? The population density of cities leads to inherent vulnerabilities to mass climate disasters: such as single point of failure transit systems and utilities built prior to today’s environmental realities. At the same time the resources of cities offer tremendous potential for preparation and innovation.
As a sociologist, Klinenberg brings insights on how neighborhood dynamics (what he calls “social infrastructure”) can help individuals & communities prepare for extreme weather including flooding and heat waves. He discusses how cities can be wiser and think more long-term by planning traditional infrastructure projects which also enable such social infrastructure in their design.
“Climate Change and the Future of Cities” was given on March 07, 02017 as part of The Long Now Foundation’s “Conversations at The Interval” Salon Talks. These hour long talks are recorded live at The Interval, our bar, cafe, & museum in San Francisco. Since 02014 this series has presented artists, authors, entrepreneurs, scientists (and more) taking a long-term perspective on subjects like art, design, history, nature, technology, and time. To follow the talks, you can:
Firefighters battling the Dixie Fire have also been facing a second enemy: a serial arsonist who went on a spree of setting fires in July and August — and who sought to trap fire crews with his fires, according to agents from the U.S. Forest Service. They allege former college professor Gary Maynard is the culprit, citing their tracking of his movements and other evidence.
“Where Maynard went, fires started. Not just once, but over and over again,” the government said in a court memorandum arguing for Maynard to be denied bail.
A howl erupts from the body, out into the world. From the flesh of the animal howling, its musicality rides the air, unseen but undeniably there.
A cough or a sneeze releases tiny particles of a disease named Covid-19 from the body, a presence that can ride upon the air and infect those who cannot see it, or deny its presence. It is not a friend to those animals it makes its host – perhaps it has become a friend to authoritarian governments however? Or has it been a monkeywrench in the machine, undermining political-narratives and creating issues for the state? Perhaps neither? Perhaps both? We do not pretend to know, with any quality of definiteness.
We know that we encounter the body as beautiful. We feel a desire for the bodily presence of living beings. If eroticism is assenting to life up to the point of death, as Bataille defines eroticism, there is an erotic quality to our life-desire. What does desire, eroticism, or love mean amidst a pandemic? Is this space that we find ourselves in the best or the worst space for love poetry? Again, we do not pretend to know.
For the fourth issue of The Night Forest Journal, we are asking for submissions on the body, biopolitics and Covid-19. As with previous issues, we will accept poems, essays, short stories and visual art for this project. Suggested areas of focus are –
Health and wellbeing
Love, sex and desire in the pandemic
Free-love during lockdowns
Conspiracy and the art of seduction
Vaccine passports and (micro-)nationalism
We will publish up to 3 submissions from each contributor, but will consider any submissions sent to us. There is no limit in length of poems or essays. Submissions can be sent to us via firstname.lastname@example.org or via our social-media presences. The deadline for submissions is the winter solstice 2021.