The Epic of Gilgamesh illustrated by Wael Tarabieh (2/2)
“Medea is very much concerned with the problem of woman’s place in human society […] Euripides is concerned in this play not with progress or reform but (as in the Hippolytus and the Bacchae) with the eruption in tragic violence of forces in human nature which have been repressed and scorned, which in their long-delayed breakout exact a monstrous revenge. The Medea is not about woman’s rights; it is about woman’s wrongs, those done to her and by her.”
— Knox, B. (1979). The Medea of Euripides, from Word and action: essays on the ancient theater. Baltimore: Johns Hopkins University Press, pp.295-322.
But our notebooks give us away, for however dutifully we record what we see around us, the common denominator of all we see is always, transparently, shamelessly, the implacable “I.” We are not talking here about the kind of notebook that is patently for public consumption, a structural conceit for binding together a series of graceful pensées; we are talking about something private, about bits of the mind’s string too short to use, an indiscriminate and erratic assemblage with meaning only for its maker. And sometimes even the maker has difficulty with the meaning.
Joan Didion, from On Keeping A Notebook in: Slouching Towards Bethlehem
Statuette of alabaster standing nude goddess, from Babylon, circa first century B.C.-first century A.D. (with movable arms, and ruby eyes and navel).CreditVincent Tullo for The New York Times
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Four books by Frantz Fanon - Downloadable
The Wretched of the Earth. New York: Grove, 2004. Here it is.
Black Skin, White Masks. London: Pluto, 2008. Here it is.
A Dying Colonialism. New York, NY: Grove, 2007. Here it is.
Toward the African Revolution. New York, NY: Grove, 1994. Here it is.
If you haven’t read Fanon, now is the time. The zip file password is: archive.