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Ro Khanna's Uphill Climb: Beat A Strong Incumbent, Then Get Congress To Work Together
Congressional candidate Ro Khanna says he's running on a new economic platform, based on his district in the heart of Silicon Valley, and he boasts the backing of tech superstars like Marissa Mayer, president and CEO of Yahoo, and Sheryl Sandberg, Facebook's chief operating officer. But his message sounds a bit familiar.
In January 2011, two months after Republicans took over the House of Representatives in a wave election, President Obama gave a State of the Union speech about "winning the future," hoping to rally political support behind strategic spending on infrastructure, education and research and development. More than two years later, the president is still waiting for that message to break through. Meanwhile, partisan tensions culminated this week in a government shutdown; spending levels on things like science and research are at desperate lows under sequestration spending cuts that Republicans have embraced. But that isn't keeping Khanna from reviving Obama's tactic.
In California's 17th district, a blue district in the South San Francisco Bay Area, Khanna, a Democrat, is mounting a primary campaign against incumbent Democrat Rep. Mike Honda. His rhetoric is strikingly similar to Obama's in 2011, but he insists his can rally support from both sides of the aisle.
"There has always been a role for government investment in infrastructure, in education, in the National Science Foundation, the National Institutes of Health, that have been critical toward being an economic superpower, critical to our economic competitiveness," Khanna said during a phone interview this week. "I think that that argument can get through and get past the sort of obstructionism because it's hurting our ability to compete in the 21st century."
This platform, influenced by his district, which houses tech giants like Yahoo (NASDAQ:YHOO) and Apple Corp. (NASDAQ:AAPL), seems particularly attuned to the needs of tech and startups. It includes provisions like giving startups access to research and development tax credits, and allowing them to raise capital through crowdfunding, as well as more traditional investment in infrastructure and clean energy.
Khanna's says his economic message, the raison d'etre of his campaign, has been inspired by conversations with the tech industry and small businesses in his district. This includes an emphasis on bringing women into the tech field, which is notorious for having low levels of female employees as developers and engineers and in leadership positions. "There's no question that the tech community has to do better at being more diverse when it comes to opportunities for women and when it comes to opportunities for minorities; I mean, African Americans and Latino Americans are underrepresented," he said. This fact, he said, will only exacerbate current income inequality as well as endanger American competitiveness globally. "China has a billion people," he said. "We don't have a person to waste in this country."
Khanna, 36, the son of immigrants from India, formerly worked as an intellectual property lawyer in the Bay Area. In 2009, he joined the Department of Commerce as deputy assistant secretary. He left the administration in 2011, wrote a book, Entrepreneurial Nation: Why Manufacturing Is Still Key to America's Future, returned to practicing law representing tech firms back in California, and began mulling a campaign of his own. Now, in challenging Honda, he's fashioned a campaign platform based on the economic message of investing in a 21st century economy.
Khanna's campaign has gotten attention for its surprisingly large war chest, raising more than $1 million in the second quarter and ending June with $1.7 million cash on hand. By comparison, Honda raised $400,000 in the second quarter.
His campaign is also pitting much of the tech industry in Silicon Valley against the Democratic establishment. Khanna boasts the support of many in the tech industry, his website highlights the support of "over 100 Technology leaders," including Sandberg and Mayer. But incumbent Rep. Honda has the party leadership on his side at the state and national levels, including endorsements from President Obama and Nancy Pelosi. So far the poll numbers are on his side too. A poll in late August showed Honda leading 49 percent to 15 percent. But due to California's new primary system, in which the top two candidates proceed to the general election regardless of party, Khanna could make his battle against Honda stretch all the way to next November.
"We feel for a long time that Silicon Valley hasn't been represented at the federal level," said Sean Parker, former Facebook president and co-founder of Napster, at a Khanna fundraiser, according to Politico. "We haven't had the young, dynamic, hard-driving candidate who understands the unique issues facing Silicon Valley right now … To a certain extent we are starting to come into a realization of our own power, and our own capability, not just as innovators and technology pioneers but also in a political sense."
Honda, one of the most liberal members of Congress, has a reputation as a defender of programs like Social Security. But he has also reached out to the tech industry in recent months, backing policies important to the industry, such as STEM education and increased funding for the U.S. Patent and Trademark Office -- two items also on Khanna's agenda. Honda's campaign did not respond immediately to a request for comment on the election.
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Known for its comfortable, inviting space and great acoustics, the Publick Playhouse is one of the best performing arts venues in the greater Washington, DC area.
Since 1947, the richly historic Playhouse continues to serve as a popular venue for music and modern dance, musical theater, historical drama, educational programs and monthly events for seniors. With its ornate sky scene and plush seating for 494, the theatre is one of the two surviving Art Deco theatres in Prince George's County.

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Jerome David Salinger - biography
Jerome David Salinger (pronounced /ˈsælɪndʒər/, SAL-in-jər; January 1, 1919 – January 27, 2010) was an American author, best known for his 1951 novel The Catcher in the Rye, as well as his reclusive nature. His last original published work was in 1965; he gave his last interview in 1980.
Raised in Manhattan, Salinger began writing short stories while in secondary school, and published several stories in the early 1940s before serving in World War II. In 1948 he published the critically acclaimed story "A Perfect Day for Bananafish" in The New Yorker magazine, which became home to much of his subsequent work. In 1951 Salinger released his novel The Catcher in the Rye, an immediate popular success. His depiction of adolescent alienation and loss of innocence in the protagonist Holden Caulfield was influential, especially among adolescent readers. The novel remains widely read and controversial, selling around 250,000 copies a year.
The success of The Catcher in the Rye led to public attention and scrutiny: Salinger became reclusive, publishing new work less frequently. He followed Catcher with a short story collection, Nine Stories (1953), a volume containing a novella and a short story, Franny and Zooey (1961), and a volume containing two novellas, Raise High the Roof Beam, Carpenters and Seymour: An Introduction (1963). His last published work, a novella entitled "Hapworth 16, 1924", appeared in The New Yorker on June 19, 1965.
Afterward, Salinger struggled with unwanted attention, including a legal battle in the 1980s with biographer Ian Hamilton and the release in the late 1990s of memoirs written by two people close to him: Joyce Maynard, an ex-lover; and Margaret Salinger, his daughter. In 1996, a small publisher announced a deal with Salinger to publish "Hapworth 16, 1924" in book form, but amid the ensuing publicity, the release was indefinitely delayed. He made headlines around the globe in June 2009, after filing a lawsuit against another writer for copyright infringement resulting from that writer's use of one of Salinger's characters from The Catcher in the Rye. Salinger died of natural causes on January 27, 2010, at his home in Cornish, New Hampshire.
Early life
Jerome David Salinger was born in Manhattan, New York, on New Year's Day, 1919. His mother, Marie (née Jillich), was of Scots-Irish descent. His father, Sol Salinger, was a Lithuanian Jew who sold kosher cheese. Salinger's mother changed her name to Miriam and passed as Jewish. Salinger did not find out that his mother was not Jewish until just after his bar mitzvah. He had one sibling: his older sister Doris (1911–2001).
The young Salinger attended public schools on the West Side of Manhattan, then moved to the private McBurney School for ninth and tenth grade. He acted in several plays and "showed an innate talent for drama", though his father opposed the idea of J.D. becoming an actor. He was happy to get away from his over-protective mother by entering the Valley Forge Military Academy in Wayne, Pennsylvania. Though he had written for the school newspaper at McBurney, at Valley Forge Salinger began writing stories "under the covers [at night], with the aid of a flashlight." He started his freshman year at New York University in 1936, and considered studying special education, but dropped out the following spring. That fall, his father urged him to learn about the meat-importing business and he was sent to work at a company in Vienna, Austria.
He left Austria only a month or so before it was annexed by Nazi Germany, on March 12, 1938. He attended Ursinus College in Collegeville, Pennsylvania, for only one semester. In 1939, Salinger attended a Columbia University evening writing class taught by Whit Burnett, longtime editor of Story magazine. According to Burnett, Salinger did not distinguish himself until a few weeks before the end of the second semester, at which point "he suddenly came to life" and completed three stories.
Burnett told Salinger that his stories were skillful and accomplished, and accepted "The Young Folks", a vignette about several aimless youths, for publication in Story. Salinger's debut short story was published in the magazine's March–April 1940 issue. Burnett became Salinger's mentor, and they corresponded for several years.
World War II
In 1941, Salinger started dating Oona O'Neill, daughter of the playwright Eugene O'Neill. Despite finding the debutante self-absorbed (he confided to a friend that "Little Oona's hopelessly in love with little Oona"), he called her often and wrote her long letters. Their relationship ended when Oona began seeing Charlie Chaplin, whom she eventually married. In late 1941, Salinger briefly worked on a Caribbean cruise ship, serving as an activity director and possibly as a performer.
The same year, Salinger began submitting short stories to The New Yorker. Seven of Salinger's stories were rejected by the magazine that year, including "Lunch for Three", "Monologue for a Watery Highball", and "I Went to School with Adolf Hitler". In December 1941, however, it accepted "Slight Rebellion off Madison", a Manhattan-set story about a disaffected teenager named Holden Caulfield with "pre-war jitters". When Japan carried out the attack on Pearl Harbor that month, the story was rendered "unpublishable"; it did not appear in the magazine until 1946. In the spring of 1942, several months after the United States entered World War II, Salinger was drafted into the Army, where he saw combat with the 12th Infantry Regiment, 4th Infantry Division. He was active at Utah Beach on D-Day and in the Battle of the Bulge.
During the campaign from Normandy into Germany, Salinger arranged to meet with Ernest Hemingway, a writer who had influenced him and was working as a war correspondent in Paris. Salinger was impressed with Hemingway's friendliness and modesty, finding him more "soft" than his gruff public persona. Hemingway was impressed by Salinger's writing, and remarked: "Jesus, he has a helluva talent." The two writers began corresponding; Salinger wrote Hemingway in July 1946 that their talks were among his few positive memories of the war.Salinger added that he was working on a play about Holden Caulfield, the protagonist of his story "Slight Rebellion off Madison", and hoped to play the part himself.
Salinger was assigned to a counter-intelligence division, where he used his proficiency in French and German to interrogate prisoners of war. He was also among the first soldiers to enter a liberated concentration camp. Salinger's experiences in the war affected him emotionally. He was hospitalized for a few weeks for combat stress reaction after Germany was defeated, and he later told his daughter: "You never really get the smell of burning flesh out of your nose entirely, no matter how long you live." Both of his biographers speculate that Salinger drew upon his wartime experiences in several stories, such as "For Esmé – with Love and Squalor", which is narrated by a traumatized soldier. Salinger continued to write while serving in the army, and published several stories in slick magazines such as Collier's and The Saturday Evening Post. He also continued to submit stories to The New Yorker, but with little success; it rejected all of his submissions from 1944 to 1946, and in 1945 rejected a group of 15 poems.
Post-war years
After Germany's defeat, Salinger signed up for a six-month period of "Denazification" duty in Germany for the Counterintelligence Corps. He lived in Weissenburg and, soon after, married a woman named Sylvia Welter. He brought her to the United States in April 1946, but the marriage fell apart after eight months and Sylvia returned to Germany. Years later, in 1972, Salinger's daughter Margaret was with him when he received a letter from Sylvia. He looked at the envelope, and without reading it, tore it apart. It was the first time he had heard from her since the breakup, but as Margaret put it, "when he was finished with a person, he was through with them." In 1946, Whit Burnett agreed to help Salinger publish a collection of his short stories through Story Press's Lippincott Imprint. Titled The Young Folks, the collection was to consist of twenty stories—ten, like the title story and "Slight Rebellion off Madison," were already in print; ten were previously unpublished. Though Burnett implied the book would be published and even negotiated Salinger a $1,000 advance on its sale, Lippincott overruled Burnett and rejected the book. Salinger blamed Burnett for the book's failure to see print, and the two became estranged.
By the late 1940s, Salinger had become an avid follower of Zen Buddhism, to the point that he "gave reading lists on the subject to his dates" and arranged a meeting with Buddhist scholar D. T. Suzuki. In 1948, he submitted a short story titled "A Perfect Day for Bananafish" to The New Yorker. The magazine was so impressed with "the singular quality of the story" that its editors accepted it for publication immediately, and signed Salinger to a contract that allowed them right of first refusal on any future stories. The critical acclaim accorded "Bananafish," coupled with problems Salinger had with stories being altered by the "slicks," led him to publish almost exclusively in The New Yorker. "Bananafish" was also the first of Salinger's published stories to feature the Glasses, a fictional family consisting of two retired vaudeville performers and their seven precocious children: Seymour, Buddy, Boo Boo, Walt, Waker, Zooey, and Franny. Salinger eventually published seven stories about the Glasses, developing a detailed family history and focusing particularly on Seymour, the troubled eldest child.
In the early 1940s, Salinger had confided in a letter to Whit Burnett that he was eager to sell the film rights to some of his stories in order to achieve financial security. According to Ian Hamilton, Salinger was disappointed when "rumblings from Hollywood" over his 1943 short story "The Varioni Brothers" came to nothing. Therefore he immediately agreed when, in mid-1948, independent film producer Samuel Goldwyn offered to buy the film rights to his short story "Uncle Wiggily in Connecticut." Though Salinger sold his story with the hope—in the words of his agent Dorothy Olding—that it "would make a good movie," the film version of "Wiggily" was lambasted by critics upon its release in 1949. Renamed My Foolish Heart and starring Dana Andrews and Susan Hayward, the melodramatic film departed to such an extent from Salinger's story that Goldwyn biographer A. Scott Berg referred to it as a "bastardization." As a result of this experience, Salinger never again permitted film adaptations to be made from his work. When Brigitte Bardot wanted to buy the rights to "A Perfect Day for Bananafish," Salinger refused the request, but told his friend, Lillian Ross, longtime staff writer for The New Yorker, "She's a cute, talented, lost enfante, and I'm tempted to accommodate her, pour le sport." .
The Catcher in the Rye
In the 1940s, Salinger confided to several people that he was working on a novel featuring Holden Caulfield, the teenage protagonist of his short story "Slight Rebellion off Madison," and The Catcher in the Rye was published on July 16, 1951. The novel's plot is simple, detailing sixteen-year-old Holden's experiences in New York City following his expulsion, and departure, from an elite prep school. The book is more notable for the iconic persona and testimonial voice of its first-person narrator, Holden. He serves as an insightful but unreliable narrator who expounds on the importance of loyalty, the "phoniness" of adulthood, and his own duplicity. In a 1953 interview with a high-school newspaper, Salinger admitted that the novel was "sort of" autobiographical, explaining that "My boyhood was very much the same as that of the boy in the book ... [I]t was a great relief telling people about it." Initial reactions to the book were mixed, ranging from The New York Times's hailing of Catcher as "an unusually brilliant first novel" to denigrations of the book's monotonous language and the "immorality and perversion" of Holden, who uses religious slurs and freely discusses casual sex and prostitution. The novel was a popular success; within two months of its publication, The Catcher in the Rye had been reprinted eight times. It spent thirty weeks on the New York Times Bestseller list.
The book's initial success was followed by a brief lull in popularity, but by the late 1950s, according to Ian Hamilton, it had "become the book all brooding adolescents had to buy, the indispensable manual from which cool styles of disaffectation could be borrowed." Newspapers began publishing articles about the "Catcher Cult," and the novel was banned in several countries—as well as some U.S. schools—because of its subject matter and what Catholic World reviewer Riley Hughes called an "excessive use of amateur swearing and coarse language." One diligent parent counted 237 appearances of the word "goddamn" in the novel, along with 58 of "bastard", 31 of "Chrissake" and 6 of "fuck."
In the 1970s, several U.S. high school teachers who assigned the book were fired or forced to resign. In 1979 one book-length study of censorship noted that The Catcher in the Rye "had the dubious distinction of being at once the most frequently censored book across the nation and the second-most frequently taught novel in public high schools," (after John Steinbeck's Of Mice and Men). The book remains widely read; as of 2004, the novel was selling about 250,000 copies per year, "with total worldwide sales over 65 million".
In the wake of its 1950s success, Salinger received (and rejected) numerous offers to adapt The Catcher in the Rye for the screen, including one from Samuel Goldwyn. Since its publication, there has been sustained interest in the novel among filmmakers, with Billy Wilder, Harvey Weinstein, and Steven Spielberg among those seeking to secure the rights. Salinger stated in the 1970s that "Jerry Lewis tried for years to get his hands on the part of Holden." Salinger repeatedly refused, though, and in 1999, Joyce Maynard definitively concluded: "The only person who might ever have played Holden Caulfield would have been J. D. Salinger."
Writing in the 1950s and move to Cornish
In a July 1951 profile in Book of the Month Club News, Salinger's friend and New Yorker editor William Maxwell asked Salinger about his literary influences. Salinger responded: "A writer, when he's asked to discuss his craft, ought to get up and call out in a loud voice just the names of the writers he loves. I love Kafka, Flaubert, Tolstoy, Chekhov, Dostoevsky, Proust, O'Casey, Rilke, Lorca, Keats, Rimbaud, Burns, E. Brontë, Jane Austen, Henry James, Blake, Coleridge. I won't name any living writers. I don't think it's right." In letters written in the 1940s, Salinger had expressed his admiration of three living, or recently deceased, writers: Sherwood Anderson, Ring Lardner, and F. Scott Fitzgerald; Ian Hamilton wrote that Salinger even saw himself for some time as "Fitzgerald's successor." Salinger's "A Perfect Day For Bananafish" has an ending similar to that of Fitzgerald's earlier published short story "May Day."
After several years of practicing Zen Buddhism, in 1952, while reading The Gospel of Sri Ramakrishna about Hindu religious teacher Sri Ramakrishna, Salinger wrote friends of a momentous change in his life. He became an adherent of Ramakrishna's Advaita Vedanta Hinduism, which advocated celibacy for those seeking enlightenment, and detachment from human responsibilities such as family. Salinger's religious studies were reflected in some of his writing. The story "Teddy" features a ten-year-old child who expresses Vedantic insights. He also studied the writings of Ramakrishna's disciple Vivekananda; in the story "Hapworth 16, 1924," the character of Seymour Glass describes him as "one of the most exciting, original and best-equipped giants of this century."
In 1953, Salinger published a collection of seven stories from The New Yorker ("Bananafish" among them), as well as two that the magazine had rejected. The collection was published as Nine Stories in the United States, and For Esmé – with Love and Squalor in the UK, after one of Salinger's best-known stories. The book received grudgingly positive reviews, and was a financial success—"remarkably so for a volume of short stories," according to Hamilton. Nine Stories spent three months on the New York Times Bestseller list. Already tightening his grip on publicity, though, Salinger refused to allow publishers of the collection to depict his characters in dust jacket illustrations, lest readers form preconceived notions of them.
As the notoriety of The Catcher in the Rye grew, Salinger gradually withdrew from public view. In 1953, he moved from an apartment at 300 East 57th Street, New York to Cornish, New Hampshire. Early in his time at Cornish he was relatively sociable, particularly with students at Windsor High School. Salinger invited them to his house frequently to play records and talk about problems at school. One such student, Shirley Blaney, persuaded Salinger to be interviewed for the high school page of The Daily Eagle, the city paper. However, after Blaney's interview appeared prominently in the newspaper's editorial section, Salinger cut off all contact with the high schoolers without explanation. He was also seen less frequently around town, meeting only one close friend—jurist Learned Hand—with any regularity.
Marriage and family
In June 1955, at the age of 36, Salinger married Claire Douglas, a Radcliffe student. They had two children, Margaret (b. December 10, 1955) and Matthew (b. February 13, 1960). Margaret Salinger wrote in her memoir Dream Catcher that she believes her parents would not have married, nor would she have been born, had her father not read the teachings of Lahiri Mahasaya, a guru of Paramahansa Yogananda, which brought the possibility of enlightenment to those following the path of the "householder" (a married person with children). After their marriage, J.D. and Claire were initiated into the path of Kriya yoga in a small store-front Hindu temple in Washington, D.C., during the summer of 1955. They received a mantra and breathing exercises to practice for ten minutes twice a day.
Salinger also insisted that Claire drop out of school and live with him, only four months shy of graduation, which she did. Certain elements of the story "Franny", published in January 1955, are based on his relationship with Claire, including her ownership of the book The Way of the Pilgrim. Because of their isolated location and Salinger's proclivities, they hardly saw other people for long stretches of time. Claire was also frustrated by Salinger's ever-changing religious beliefs. Though she committed herself to Kriya yoga, she remembered that Salinger would chronically leave Cornish to work on a story "for several weeks only to return with the piece he was supposed to be finishing all undone or destroyed and some new 'ism' we had to follow." Claire believed "it was to cover the fact that Jerry had just destroyed or junked or couldn't face the quality of, or couldn't face publishing, what he had created."
After abandoning Kriya yoga, Salinger tried Dianetics (the forerunner of Scientology), even meeting its founder L. Ron Hubbard, but according to Claire he was quickly disenchanted with it. This was followed by adherence to a number of spiritual, medical, and nutritional belief systems including Christian Science, homeopathy, acupuncture, macrobiotics, the teachings of Edgar Cayce, fasting, vomiting to remove impurities, megadoses of Vitamin C, urine therapy, "speaking in tongues" (or Charismatic glossolalia), and sitting in a Reichian "orgone box" to bathe in "orgone energy."
Salinger's family life was further marked by discord after the first child was born; according to Margaret, Claire felt that her daughter had replaced her in Salinger's affections. The infant Margaret was sick much of the time, but Salinger, having embraced the tenets of Christian Science, refused to take her to a doctor.
According to Margaret, her mother admitted to her years later that she went "over the edge" in the winter of 1957 and had made plans to murder her 13-month-old infant and then commit suicide. Claire had intended to do it during a trip to New York City with Salinger, but she instead acted on a sudden impulse to take Margaret from the hotel and run away. After a few months, Salinger persuaded her to return to Cornish.
Last publications and Maynard relationship
Salinger published Franny and Zooey in 1961, and Raise High the Roof Beam, Carpenters and Seymour: An Introduction in 1963. Each book contained two short stories or novellas, previously published in The New Yorker, about members of the Glass family. On the dust jacket of Franny and Zooey, Salinger wrote, in reference to his interest in privacy: "It is my rather subversive opinion that a writer's feelings of anonymity-obscurity are the second most valuable property on loan to him during his working years."
On September 15, 1961, Time magazine devoted its cover to Salinger. In an article that profiled his "life of recluse", the magazine reported that the Glass family series "is nowhere near completion ... Salinger intends to write a Glass trilogy." However, Salinger published only one other story after that: "Hapworth 16, 1924", an epistolary novella in the form of a long letter from seven-year-old Seymour Glass from summer camp. It took up most of the June 19, 1965, issue of The New Yorker. Around this time, Salinger had isolated Claire from friends and relatives and made her—in the words of Margaret Salinger—"a virtual prisoner." Claire separated from him in September 1966; their divorce was finalized on October 3, 1967.
In 1972, at the age of 53, Salinger had a year-long relationship with 18-year-old Joyce Maynard, already an experienced writer for Seventeen magazine. The New York Times had asked Maynard to write an article for them which, when published as "An Eighteen-Year-Old Looks Back On Life" on April 23, 1972, made her a celebrity. Salinger wrote a letter to her warning about living with fame. After exchanging 25 letters, Maynard moved in with Salinger the summer after her freshman year at Yale University. Maynard did not return to Yale that fall, and spent ten months as a guest in Salinger's Cornish home. The relationship ended, he told his daughter Margaret at a family outing, because Maynard wanted children, and he felt he was too old.
However, in her own autobiography, Maynard paints a different picture, saying Salinger abruptly ended the relationship and refused to take her back. She had dropped out of Yale to be with him, even forgoing a scholarship. Maynard later writes in her own memoir how she came to find out that Salinger had begun relationships with young women by exchanging letters. One of those letter recipients included Salinger's last wife, a nurse who was already engaged to be married to someone else when she met the author.
While he was living with Maynard, Salinger continued to write in a disciplined fashion, a few hours every morning. According to Maynard, by 1972 he had completed two new novels. In a rare 1974 interview with The New York Times, he explained: "There is a marvelous peace in not publishing ... I like to write. I love to write. But I write just for myself and my own pleasure." According to Maynard, he saw publication as "a damned interruption." In her memoir, Margaret Salinger describes the detailed filing system her father had for his unpublished manuscripts: "A red mark meant, if I die before I finish my work, publish this 'as is,' blue meant publish but edit first, and so on." A neighbor said that Salinger told him that he had written 15 unpublished novels.
Legal conflicts
Although Salinger tried to escape public exposure as much as possible, he continued to struggle with unwanted attention from both the media and the public. Readers of his work and students from nearby Dartmouth College often came to Cornish in groups, hoping to catch a glimpse of him. Upon learning in 1986 that the British writer Ian Hamilton intended to publish In Search of J.D. Salinger: A Writing Life (1935–65), a biography including letters Salinger had written to other authors and friends, Salinger sued to stop the book's publication. The book was finally published in 1988 with the letters' contents paraphrased. The court ruled that Hamilton's extensive use of the letters went beyond the limits of fair use, and that "the author of letters is entitled to a copyright in the letters, as with any other work of literary authorship."
An unintended consequence of the lawsuit was that many details of Salinger's private life, including that he had spent the last twenty years writing, in his words, "Just a work of fiction ... That's all," became public in the form of court transcripts. Excerpts from his letters were also widely disseminated, most notably a bitter remark written in response to Oona O'Neill's marriage to Charlie Chaplin:
I can see them at home evenings. Chaplin squatting grey and nude, atop his chiffonier, swinging his thyroid around his head by his bamboo cane, like a dead rat. Oona in an aquamarine gown, applauding madly from the bathroom.
Salinger was romantically involved with television actress Elaine Joyce for several years in the 1980s. The relationship ended when he met Colleen O'Neill (b. June 11, 1959), a nurse and quiltmaker, whom he married around 1988. O'Neill, forty years his junior, once told Margaret Salinger that she and Salinger were trying to have a child.
In 1995, Iranian director Dariush Mehrjui released the film Pari, an unauthorized and loose adaptation of Salinger's Franny and Zooey. Though the film could be distributed legally in Iran since the country has no official copyright relations with the United States, Salinger had his lawyers block a planned screening of the film at the Lincoln Center in 1998. Mehrjui called Salinger's action "bewildering," explaining that he saw his film as "a kind of cultural exchange."
In 1996 Salinger gave a small publisher, Orchises Press, permission to publish "Hapworth 16, 1924", the previously uncollected novella. It was to be published that year, and listings for it appeared at Amazon.com and other book-sellers. After a flurry of articles and critical reviews of the story appeared in the press, the publication date was pushed back repeatedly before apparently being cancelled altogether. Amazon anticipated that Orchises would publish the story in January 2009, but at the time of his death it had only a placeholding listing of "currently unavailable."
In June 2009 Salinger consulted lawyers about the upcoming publication in the US of an unauthorized sequel to The Catcher in the Rye written by Swedish book publisher Fredrik Colting under the pseudonym J. D. California. California's book is called 60 Years Later: Coming Through the Rye, and appears to pick up the story of Salinger's protagonist Holden Caulfield. In Salinger's 1951 classic, Caulfield is 17 years old, wandering the streets of New York after being expelled from his private school; the California book features a 76-year-old man, "Mr. C", musing on having escaped his nursing home. Salinger's New York literary agent Phyllis Westberg told the British newspaper Sunday Telegraph: "The matter has been turned over to a lawyer." The fact that little was known about Colting and the book was set to be published by a new publishing imprint called 'Windupbird Publishing' gave rise to speculation in literary circles that the whole thing might be a stunt. District court judge Deborah A. Batts issued an injunction which prevents the book from being published within the U.S. The book's author filed an appeal on July 23, 2009; it was heard in the Second Circuit Court of Appeals on 3 September 2009. The case was ongoing as of February 2010.
Later publicity
In 1999, 25 years after the end of their relationship, Joyce Maynard put up for auction a series of letters Salinger had written to her. Maynard's memoir of her life and her relationship with Salinger, At Home in the World: A Memoir, was published the same year. Among other indiscretions, the book described how Maynard's mother had consulted with her on how to appeal to the aging author (dressing like a child), and described Maynard's relationship with him at length. In the ensuing controversy over both the memoir and the letters, Maynard claimed that she was forced to auction the letters for financial reasons; she would have preferred to donate them to Beinecke Library. Software developer Peter Norton bought the letters for $156,500 and announced his intention to return them to Salinger.
A year later, Salinger's daughter Margaret, by his second wife Claire Douglas, published Dream Catcher: A Memoir. In her book, Ms. Salinger described the harrowing control Salinger had over her mother and dispelled many of the Salinger myths established by Ian Hamilton's book. One of Hamilton's arguments was that Salinger's experience with post-traumatic stress disorder left him psychologically scarred, and that he was unable to deal with the traumatic nature of his war service. Though Ms. Salinger allowed that "the few men who lived through 'Bloody Mortain,' a battle in which her father fought, were left with much to sicken them, body and soul," she also painted a picture of her father as a man immensely proud of his service record, maintaining his military haircut, service jacket, and moving about his compound (and town) in an old Jeep.
Both Margaret Salinger and Maynard characterized the author as a devoted film buff. According to Margaret, his favorite movies include Gigi, The Lady Vanishes, The 39 Steps (Phoebe's favorite movie in The Catcher in the Rye), and the comedies of W.C. Fields, Laurel and Hardy, and the Marx Brothers. Predating VCRs, Salinger had an extensive collection of classic movies from the 1940s in 16 mm prints. Maynard wrote that "he loves movies, not films," and his daughter argued that her father's "worldview is, essentially, a product of the movies of his day. To my father, all Spanish speakers are Puerto Rican washerwomen, or the toothless, grinning-gypsy types in a Marx Brothers movie." Lillian Ross, a staff writer for The New Yorker and longtime friend of Salinger, wrote following his death, "Salinger loved movies, and he was more fun than anyone to discuss them with. He enjoyed watching actors work, and he enjoyed knowing them. (He loved Anne Bancroft, hated Audrey Hepburn, and said that he had seen Grand Illusion ten times.)"
Margaret also offered many insights into other Salinger myths, including her father's supposed long-time interest in macrobiotics and involvement with "alternative medicine" and Eastern philosophies. A few weeks after Dream Catcher was published, Margaret's brother Matt discredited the memoir in a letter to The New York Observer. He disparaged his sister's "gothic tales of our supposed childhood" and stated: "I can't say with any authority that she is consciously making anything up. I just know that I grew up in a very different house, with two very different parents from those my sister describes."
Salinger died of natural causes at his home in New Hampshire on January 27, 2010. He was 91. Salinger's literary representative commented to The New York Times that the writer had broken his hip in May 2009, but that "his health had been excellent until a rather sudden decline after the new year." The representative believed that Salinger's death was not a painful one.
Literary style and themes
In a contributor's note Salinger gave to Harper's Magazine in 1946, he wrote: "I almost always write about very young people," a statement which has been referred to as his credo. Adolescents are featured or appear in all of Salinger's work, from his first published short story, "The Young Folks," to The Catcher in the Rye and his Glass family stories. In 1961, the critic Alfred Kazin explained that Salinger's choice of teenagers as a subject matter was one reason for his appeal to young readers, but another was "a consciousness [among youths] that he speaks for them and virtually to them, in a language that is peculiarly honest and their own, with a vision of things that capture their most secret judgments of the world." Salinger's language, especially his energetic, realistically sparse dialogue, was revolutionary at the time his first stories were published, and was seen by several critics as "the most distinguishing thing" about his work.
Salinger identified closely with his characters, and used techniques such as interior monologue, letters, and extended telephone calls to display his gift for dialogue. Such style elements also "[gave] him the illusion of having, as it were, delivered his characters' destinies into their own keeping." Recurring themes in Salinger's stories also connect to the ideas of innocence and adolescence, including the "corrupting influence of Hollywood and the world at large," the disconnect between teenagers and "phony" adults, and the perceptive, precocious intelligence of children.
Contemporary critics discuss a clear progression over the course of Salinger's published work, as evidenced by the increasingly negative reviews received by each of his three post-Catcher story collections. Ian Hamilton adheres to this view, arguing that while Salinger's early stories for the "slicks" boasted "tight, energetic" dialogue, they had also been formulaic and sentimental. It took the standards of The New Yorker editors, among them William Shawn, to refine his writing into the "spare, teasingly mysterious, withheld" qualities of "A Perfect Day for Bananafish," The Catcher in the Rye, and his stories of the early 1950s. By the late 1950s, as Salinger became more reclusive and involved in religious study, Hamilton notes that his stories became longer, less plot-driven, and increasingly filled with digression and parenthetical remarks. Louis Menand agrees, writing in The New Yorker that Salinger "stopped writing stories, in the conventional sense ... He seemed to lose interest in fiction as an art form—perhaps he thought there was something manipulative or inauthentic about literary device and authorial control." In recent years, Salinger's later work has been defended by some critics; in 2001, Janet Malcolm wrote in The New York Review of Books that "Zooey" "is arguably Salinger's masterpiece ... Rereading it and its companion piece "Franny" is no less rewarding than rereading The Great Gatsby."
Salinger's writing has influenced several prominent writers, prompting Harold Brodkey (himself an O. Henry Award-winning author) to state in 1991: "His is the most influential body of work in English prose by anyone since Hemingway." Of the writers in Salinger's generation, Pulitzer Prize-winning novelist John Updike attested that "the short stories of J. D. Salinger really opened my eyes as to how you can weave fiction out of a set of events that seem almost unconnected, or very lightly connected ... [Reading Salinger] stick[s] in my mind as really having moved me a step up, as it were, toward knowing how to handle my own material." The critic Louis Menand has observed that the early stories of Pulitzer Prize-winner Philip Roth were affected by "Salinger's voice and comic timing".
National Book Award finalist Richard Yates told The New York Times in 1977 that reading Salinger's stories for the first time was a landmark experience, and that "nothing quite like it has happened to me since." Yates describes Salinger as "a man who used language as if it were pure energy beautifully controlled, and who knew exactly what he was doing in every silence as well as in every word." Gordon Lish's O. Henry Award-winning short story "For Jeromé—With Love and Kisses" (1977, collected in What I Know So Far, 1984), is a parody of Salinger's "For Esmé—with Love and Squalor".
In 2001, Louis Menand wrote in The New Yorker that "Catcher in the Rye rewrites" among each new generation had become "a literary genre all its own". He classed among them Sylvia Plath's The Bell Jar (1963), Hunter S. Thompson's Fear and Loathing in Las Vegas (1971), Jay McInerney's Bright Lights, Big City (1984), and Dave Eggers's A Heartbreaking Work of Staggering Genius (2000). The writer Aimee Bender was struggling with her first short stories when a friend gave her a copy of Nine Stories; inspired, she later described Salinger's effect on writers, explaining: "[I]t feels like Salinger wrote The Catcher in the Rye in a day, and that incredible feeling of ease inspires writing. Inspires the pursuit of voice. Not his voice. My voice. Your voice." Authors such as Stephen Chbosky, Jonathan Safran Foer, Carl Hiaasen, Susan Minot, Haruki Murakami, Gwendoline Riley, Tom Robbins, Louis Sachar, and Joel Stein have cited Salinger as an influence.
A film released in 2000, Finding Forrester, was loosely based on Salinger's life. Sean Connery plays a reclusive author whose only published novel was considered a masterpiece. After publishing the novel, Connery's character had become reclusive and remained so for nearly 30 years.
His book Catcher in the Rye has inspired the plot of the popular Japanese anime Ghost in the Shell: Stand Alone Complex, which also has several references to his works and life.
List of works
- The Catcher in the Rye (1951)
- Nine Stories (1953)
- "A Perfect Day for Bananafish" (1948)
- "Uncle Wiggily in Connecticut" (1948)
- "Just Before the War with the Eskimos" (1948)
- "The Laughing Man" (1949)
- "Down at the Dinghy" (1949)
- "For Esmé – with Love and Squalor" (1950)
- "Pretty Mouth and Green My Eyes" (1951)
- "De Daumier-Smith's Blue Period" (1952)
- "Teddy" (1953)
- Franny and Zooey (1961)
- "Franny" (1955)
- "Zooey" (1957)
- Raise High the Roof Beam, Carpenters and Seymour: An Introduction (1963)
- "Raise High the Roof-Beam, Carpenters" (1955)
- "Seymour: An Introduction" (1959)
Published and anthologized stories
- "Go See Eddie" (1940, republished in Fiction: Form & Experience, ed. William M. *Jones, 1969)
- "The Hang of It" (1941, republished in The Kit Book for Soldiers, Sailors and Marines, 1943)
- "The Long Debut of Lois Taggett" (1942, republished in Stories: The Fiction of the Forties, ed. Whit Burnett, 1949)
- "A Boy in France" (1945, republished in Post Stories 1942–45, ed. Ben Hibbs, 1946)
- "This Sandwich Has No Mayonnaise" (1945, republished in The Armchair Esquire, ed. L. Rust Hills, 1959)
- "A Girl I Knew" (1948, republished in Best American Short Stories 1949, ed. Martha Foley, 1949)
- "Slight Rebellion off Madison" (1946, republished in Wonderful Town: New York Stories from The New Yorker, ed. David Remnick, 2000)
Published and unanthologized stories
- "The Young Folks" (1940)
- "The Heart of a Broken Story" (1941)
- "Personal Notes of an Infantryman" (1942)
- "The Varioni Brothers" (1943)
- "Both Parties Concerned" (1944)
- "Soft-Boiled Sergeant" (1944)
- "Last Day of the Last Furlough" (1944)
- "Once a Week Won't Kill You" (1944)
- "Elaine" (1945)
- "The Stranger" (1945)
- "I'm Crazy" (1945)
- "A Young Girl in 1941 with No Waist at All" (1947)
- "The Inverted Forest" (1947)
- "Blue Melody" (1948)
- "Hapworth 16, 1924" (1965)
Unpublished stories
- "Mrs. Hincher" (1942)
- "The Last and Best of the Peter Pans" (1942)
- "The Lonely Men" (1944)
- "The Magic Foxhole" (1944)
- "Birthday Boy" (1946)
- "The Ocean Full of Bowling Balls" (1947)
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While you are here – please check out my home page!
This week I was asked by TAC (Transport Accident Commission – Victoria) if I would be interested in talking about being a mother who has lost a son to road trauma and about what was it is like to be without him on mother's day. To also talk about my road safety message to the wider community. Please find here above the short TAC film titled 'Karen's Story' produced and used as a road safety message for Mother's Day 2017.
© Karen Robinson – May 2017
Whilst you are here – please check out my home page! Post-traumatic Growth – My Art Therapy Journey – A window into the soul of an Abstract Artist through art therapy and storytelling…by Karen Robinson


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"The problem with Facebook is that it's keeping things from you." Yep, that pretty much sums it up. If you're reading this on Facebook right now, know that you've almost won the lottery.
My recent experiences with Facebook promotions was a less than stellar example of the grift that is Facebook. This guy does a very good job of explaining the internals of why this media outlet will never work out for creatives and independents.
Yeah sure, I'll still use FB as a social site for an author presence, but my expectations have been summarily reduced. Otherwise, it's little more than a corporate shill that hasn't figured out how to monazite its products correctly. That is why I'm not going to do much more to develop my author presence in this social network. Ultimately, it will cost me more to get views that will likely never turn into sales, than other social networks where the views and the sales are far more likely to occur.
Also, buy my book.


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Editor's note: Campbell Brown anchors CNN's "Campbell Brown: Election Center" at 8 p.m. ET Mondays through Fridays. She delivered this commentary during the "Cutting through the Bull" segment of Monday night's broadcast.
Campbell Brown says whoever wins should enter the White House with his dignity intact.
NEW YORK (CNN) -- By now you've probably heard about how ugly things have gotten out there on the campaign trail in the last 48 hours.
But we thought for just a moment we would take you back to kinder, gentler times.
Remember this:
Sen. John McCain: I pledge again a respectful campaign. A respectful campaign based on the issues and based on the stark differences we have on the vision for the future of America.
Sen. Barack Obama: I said I was looking forward to a civil substantive debate on the issues and he agreed.
McCain: I've pledged to conduct a respectful campaign and I urge, time after time, various entities within the Republican party to also do that.
Obama: We don't need John McCain and I to be demonizing each other. You won't get that from my campaign.
Oh how far we have come in such a short period of time.
To say, as Gov. Sarah Palin is now doing, that Barack Obama pals around with terrorists is just outrageous.
But Obama's hands aren't clean either. Here is what he said in May of this year about McCain's involvement in the Keating Five, a savings and loan scandal that happened in the late 80s. iReport.com: Your hopes for next debate
Obama said, "I don't think there is any doubt that John McCain's public record about issues that he's apologized for and written about is not germane to the presidency."
And yet this morning the Obama campaign released a mini-documentary, walking voters through all the details of the Keating Five -- making it very much germane.
There is just one month left. Please, please don't let this devolve into a campaign you are sickened by and embarrassed to be part of.
Here's a purely practical reason: The negativity you are spewing now will only make your job harder after Election Day.
Bipartisanship is really tough to achieve when everyone on both sides is left with a bad bad taste in their mouths.
Here is the new CNN Opinion Research Corp. When asked "How are things going in the country today?" 80 percent said badly. Eighty percent. Pollsters have been asking that question since 1974. Eighty percent is an all-time low. People want to hear solutions from you. They want to hear how you are going to get us out of this mess.
One of you will have to. Don't you want to be able to walk into the White House with your dignity intact and your head held high?
The opinions expressed in this commentary are solely those of the writer.
All About John McCain • Barack Obama


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Eliezer suggests that increased economic growth is likely bad for the world, as it should speed up AI progress relative to work on AI safety. He reasons that this should happen because safety work is probably more dependent on insights building upon one another than AI work is in general. Thus work on safety should parallelize less well than work on AI, so should be at a disadvantage in a faster paced economy. Also, unfriendly AI should benefit more from brute computational power than friendly AI. He explains,
"Both of these imply, so far as I can tell, that slower economic growth is good news for FAI; it lengthens the deadline to UFAI and gives us more time to get the job done. "…
"Roughly, it seems to me like higher economic growth speeds up time and this is not a good thing. I wish I had more time, not less, in which to work on FAI; I would prefer worlds in which this research can proceed at a relatively less frenzied pace and still succeed, worlds in which the default timelines to UFAI terminate in 2055 instead of 2035."
I'm sympathetic to others' criticisms of this argument, but would like to point out a more basic problem, granting all other assumptions. As far as I can tell, the effect of economic growth on parallelization should go the other way. Economic progress should make work in a given area less parallel, relatively helping those projects that do not parallelize well.
Economic growth, without substantial population growth, means that each person is doing more work in their life. This means the work that would have otherwise been done by a number of people can be done by a single person, in sequence. The number of AI researchers at a given time shouldn't obviously change much if the economy overall is more productive. But each AI researcher will have effectively lived and worked for longer, before they are replaced by a different person starting off again ignorant. If you think research is better done by a small number of people working for a long time than a lot of people doing a little bit each, economic growth seems like a good thing.
On this view, economic growth is not like speeding up time – it is like speeding up how fast you can do things, which is like slowing down time. Robotic cars and more efficient coffee lids alike mean researchers (and everyone else) have more hours per day to do things other than navigate traffic and lid their coffee. I expect economic growth seems like speeding up time if you imagine it speeding up others' abilities to do things and forget it also speeds up yours. Or alternatively if you think it speeds up some things everyone does, without speeding up some important things, such as people's abilities to think and prepare. But that seems not obviously true, and would anyway be another argument.


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Title: Girl, Illustrated: Japanese Manga, Anime and Video Game Characters
Japanese Title: ガールズグラフ:コミック・ゲーム・ライトノベルのイラストレーターファイル (Girls graph: Comic, game, light novel no illustrator file)
Art Director: Sometani Yōhei (染谷 洋平)
Translators: Shima Miya (嶋 美弥) and Marian Kinoshita (木下 マリアン)
Publisher: Pie Books
Publication Year: 2009
Pages: 205
A few days ago I was killing time in the Borders next to Penn Station in New York City. I love this Borders. Not only do they allow people to sit on the heating vents next to the windows when it's freezing outside, but they also have the largest and best-stocked manga section of any brick-and-mortar bookstore I've ever been inside. Every time I visit this Borders I find something that I had no idea had even been published. This time I found several copies of Girl, Illustrated. While I was flipping through one of them, I kept thinking about the recent New York Times article titled "In Tokyo, a Crackdown on Sexual Images of Minors."
I am not a big fan of the article. For one, it doesn't bother to introduce Ishihara Shintarō, his racism, his sexism, or his vocal ultra-nationalist political stance. So, when Ishihara is quoted as saying of the media in question that "These are for abnormal people, for perverts," his statement seems only natural from a moral perspective. (Although one does chuckle a bit when he says, "There's no other country in the world that lets such crude works exist.") Indeed, the media that Ishihara hopes to censor is sensationalized as child pornography, and an impartial reader has no choice but to view it with disgust. It is only in the very last line of the article that someone is quoted as saying, "It's a completely imaginary world, separate from real life."
I wish the journalist who wrote the article, Hiroko Tabuchi, had played up this side of the debate more. I wish she had mentioned that, while Ishihara and his cohort are drafting legislation against the depiction of imaginary girls, they are also fighting an ongoing battle against feminists who want to change the law that doesn't allow a married couple to maintain separate surnames (which hinders the career development of many female professionals). I wish these things because, in the past two weeks, enough people have quoted from or referenced the article that I am starting to fear how it may have influenced a non-specialist's view of Japanese popular culture.
As all of this ran through my mind while I paged through Girl, Illustrated, I decided that the best way to look at Japanese illustrated images of girls is to actually look at Japanese illustrated images of girls. I would therefore like to review Girl, Illustrated, a bilingual art book published in Japan and available in America through online retailers like Amazon, Borders, Barnes and Noble, and Tower Books. Before I begin, I would like to state that this book does not contain child pornography. I myself do not support child pornography, and it is not my aim to defend or justify it in any way. Instead, I hope to challenge common notions regarding "anime-style" Japanese illustrations of young women.
The style of illustration in question is known as bishōjo-kei, or "bishōjo style," with "bishōjo" meaning "beautiful young woman." A bishōjo (as opposed to a regular shōjo, or "young woman") is usually a female protagonist or central supporting character in a manga, anime, or light novel that belongs to a genre generally regarded as being targeted towards a male audience, like science fiction or adventure fantasy. Good examples might be Nausicaä (from Nausicaä of the Valley of the Wind), Nadia (from Nadia: The Secret of Blue Water), or Ayanami Rei (from Neon Genesis Evangelion). Bishōjo are rooted firmly in fantasy, whether that fantasy is a post-apocalyptic technological wasteland or a halcyon senior year of high school. They need not be connected to an actual narrative, however, and are often depicted in original artistic compositions.
Girl, Illustrated is a collection of such compositions. Each artist is allotted two pages and four to six full-color illustrations. Accompanying these images is a section for information about the artist, which includes fields for the artist's birth date, gender, hometown, webpage, inspiration, and comments. More often than not, most of these fields have been left blank, but the information is written in both English and Japanese when it is available. Unfortunately, the translation isn't always perfect. For example, something like 銃器・武器と女の子を描く (drawing girls with guns or other weapons) might become something like "drawing girls in their underwear with guns," but these short artists' comments are still fun to read.
This being said, the main draw of Girl, Illustrated is what the artists say with their illustrations. Through affective character design and rich, detailed backgrounds, each of these illustrations wordlessly suggests a story. The vast majority of these images have been created with digital ink in programs like Photoshop, Illustrator, and PaintTool SAI. Although most of the artists choose not to reveal their gender, judging from those that do, it seems that 2/5 are female. Among these female artists are young professional illustrators like Sakizou, Foo Midori, and fukahire. All of the artists, male or female, take beautiful young girls as their subject matter, and there doesn't seem to be any discernable difference between the themes and style of the male illustrators and those of the female illustrators. For example, this is a piece by the female artist onineko:
And here is a piece by the male artist Ichikawa Takashi:
Both of these illustrated girls seem to be young, pure, and innocent. They are magical beings firmly enmeshed in their respective fantasy worlds, and there is a kind of "Alice in Wonderland" quality about them that probably seems familiar to a Western (and non-otaku Japanese) audience. Illustrations like these won't raise any eyebrows.
Problems in the interpretation and judgment of these images arise when the girls are not quite so pure and innocent but instead betray hints of sexuality. For example, one picture by the male artist gorobots parodies the NHK (Japan Broadcasting Corporation) with the logo NPK (Japan Panty Corporation) and contains the text "When you sit down, I stand up," double entendre absolutely intended:
Such sexualized images of young women are not just drawn by men, however. Exposed breasts, bums, and panties are also explored in the work of female artists like Higuchi Norie:
The portfolios of other female artists whose work appears in Girl, Illustrated are full of scantily-clad young women enjoying themselves and each other's company. Regardless of the extent or intensity of the sexualization, however, the fantasy element of these pieces remains strong, and the girls are always more playful than pornographic.
As I mentioned earlier, I am not defending child pornography. Illustrated pornography in Japan is extraordinarily explicit, and it is quite clearly packaged as pornography and sold in separate venues, regardless of the imagined ages of its imaginary protagonists. As for sexualized but non-(overtly-)pornographic images of young girls, though, I might argue that they belong to a different discursive space altogether. Bishōjo simply are not real. They are not real because they are illustrated, obviously, but they are also not real because they are the embodied representatives of pure fantasy. Their world is not our world, and they are our gateways into that world. People who draw and appreciate them do so because of the beautiful otherworld they channel, not because they are fodder for onanistic inclinations. One might draw a parallel between the bishōjo style of illustration and the hyper-sexualized men and women on the covers of American fantasy novels; the tight leather pants and clinging silk dresses of these painted figures are not so much signifiers of pornography as they are emblems of a certain Tolkienian fantasy aesthetic.
The fundamental idea behind the proposed manga (and game and illustration) censorship law in Tokyo is that men are looking at women in a way that is psychologically unhealthy. There is obviously a pornographic gaze that is encouraged and exploited in many aspects of popular and commercial art, but I wonder if perhaps it wouldn't be unreasonable to posit the existence of something like a "fantasy gaze," or at least a type of gaze that is less concerned with the image itself than the story behind the image.
Moreover, the sizable percentage of women painting and consuming these bishōjo characters and illustrations complicates the idea of an all-powerful male gaze. One might argue, as have many feminist scholars, that these women have adopted an hermaphroditic gaze. In other words, female viewers have internalized the male gaze and therefore identify with male characters and viewers when they look at sexualized images of women. I myself would like to raise the possibility of a female gaze. This female gaze is responsible for the fanworks featuring male-on-male pairings from popular series like Naruto and Hetalia, of course, but I think it's also a way for women to portray and look at themselves and other women. By creating and appreciating mildly sexualized images of girls, for example, women can embrace and celebrate a sexuality that lies beyond virgin/mother/whore stereotypes. For women, then, the appeal of bishōjo is not merely the asexual appeal of the fantasy world they represent but also the self-reflexive appeal of being young, beautiful, magical, and, yes, sexual. Furthermore, who is to say that male viewers don't similarly employ this female gaze when looking at such images?
Girl, Illustrated isn't just a collection of gorgeous artwork. It's also a way of looking at and thinking about Japanese bishōjo illustrations. Included at the beginning of the volume is a (mostly) translated essay about how bishōjo characters are marketed and used to promote domestic regional tourism in Japan. Are the editors of the volume trying to suggest that perhaps bishōjo are Japan? It's a stretch, but it's also an interesting cultural perspective. In any case, this collection is both fascinating and beautifully produced. Even if you're more interested in fine art than you are in anime, Girl, Illustrated is still an excellent resource for examining both portrayals of the body and the possibilities of new digital media.


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Reinforcement for Emirates SkyCargo in South Africa
Emirates SkyCargo has selected Kuben Pillay as its cargo manager for the Durban (South Africa) operations. Amongst others, he gained experience in the air cargo business at King Shaka international airport (KSIA) in Durban and at OR Tambo international airport in Johannesburg.... more
DB Schenker Logistics optimises capacities in Belgium
DB Schenker Logistics recently began services at a new logistics centre with more than 5,000 sqm of operating space, 70 loading and unloading gates, plus 2,900 sqm of offices in Zwevegem (Belgium). The EUR 13 million new building offers the best possible infrastructure for... more
Scania growing in Morocco
In the past two years, vehicle manufacturer Scania Maroc sold about 500 trucks annually, up from about 180 per year in the previous decade. The truck manufacturer has now a market share of 22.5% in Morocco. The country's truck operators are typically small entities, but a few... more
HHLA maintains course
The German service provider Hamburger Hafen und Logistik AG (HHLA) increased its container throughput by 6.8 % to 3.8 million teu in H1/2013. The volume handled by HHLA's transport companies in the newly aligned intermodal segment rose by 21.8% to 581,000 teu. The operating... more
Further appointments for UTi Americas
UTi Worldwide has appointed Mike Valentine as new regional sales vice-president for the Americas. He reports to Ed Feitzinger, executive vice-president, global operations. Valentine will lead the integrated sales force across freight forwarding, contract logistics and... more
SBS Worldwide celebrates 30th anniversary
The logistics specialist SBS Worldwide is currently celebrating its 30th anniversary. It is one of the largest freight forwarders still operating as a privately-owned and managed company in the UK. The company founder and chairman launched the business in 1983 as S Black... more
Victoria state unveils long-term freight plan
The government of the state of Victoria (Australia) has launched a long-term strategic freight and logistics plan up to 2050. The scheme is to improve freight efficiency, grow productivity and better connect Victorian businesses with their national and international markets.... more
Isle of Man and South Korea grow closer
The Isle of Man Ship Registry has just completed a pilot project with the Korean Register (KR) as a first step towards full recognition of the Korean classification society. The move could mean more Korean owned and classed vessels using the Isle of Man flag in future. ... more
The Japanese are on course
At the end of June the three large Japanese shipping lines K Line, MOL and NYK completed the first quarter of their 2013 financial year. All three corporations are back in the black for the period, despite the rather tense mood in the markets. more
Less boxes in the western ports
Rotterdam and Antwerp, the two largest European ports, were able to maintain their results for the first half of 2013 at a similar level to 2012's figures, despite a tense market situation. Whilst Antwerp's liquid bulk throughput grew substantially, Rotterdam registered strong... more


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WINK in LAVENDER KNIT – NEW COLOR!
Product Information
Width: 45"
Fiber Content: 95% Organic Cotton / 5% Elastane
Fabric is sold by the bolt. Please log in to order. To set up an account, visit our Wholesale Page. To order by the yard, check out our Stockist Page for a shop near you.
Crosses measure 1/2″ square


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How secure is Mobile Device Management anyway?
January 8, 2014 7 Comments
Researchers have successfully breached the Good Technology container. MDM software can only be as secure as the underlying operating system.
As the adoption of smartphones and tablets grows exponentially, one of the biggest challenges facing corporate IT organizations is not the threat of losing the device – likely owned by the employee – but the threat of a targeted attack stealing sensitive corporate data stored on these mobile devices. As a first line of defense, an increasing number of companies rely on Mobile Device Management software and Secure Container solutions to secure and manage corporate data accessed from these mobile devices. However, a recent analysis conducted by Lacoon Mobile Security – presented a few weeks ago at the BlackHat conference in Amsterdam – shows that the leading secure container solution Good Technology can be breached and corporate email stolen from Apple iOS and Android devices.
Lacoon CEO Michael Shaulov, spoke with me about the shocking results of this research and made it clear that no matter what MDM software you deploy, you are in danger. MDM and Secure Containers depend on the integrity of the host system. "Ask yourself: If the host system is uncompromised, what is the added value? If the host system is in-fact compromised, what is the added value? We've been through this movie before", referring to the underlying endpoint management philosophy inherited from the previous PC era.
In their presentation "Practical Attacks against Mobile Device Management (MDM)", Michael Shaulov and Daniel Brodie, Security Researcher, explain the details of how they penetrated the Good Technology container to exfiltrate sensitive corporate email – Good Technology did not respond to my request for comment:
Android 4.0.4 device – Samsung Galaxy S3:
1. The attacker creates a "two-stage" application which bypasses the market's malicious app identification measures such as Google Bouncer or other mobile application reputation systems. The app is then published on Google Play or other legit Android appstores. By using the "two-stage" technique, the attacker can publish a seemingly innocent application and, once the victim installs the app, the app itself refers to the malicious code which is then downloaded.
2. The app exploits a mobile OS vulnerability which allows for privilege escalation. For example, the vulnerability in the Exynos5 chipset released in December 2012 that affects the drivers used by camera and multimedia devices.
3. The malware creates a hidden 'suid' binary and uses it for privileged operations, such as reading the mobile logs, as discussed in the next step. The file is placed in an execute-only directory (i.e. –x–x–x), which allows it to remain hidden from most MDM root detectors.
4. The malware listens to events in the 'adb' logs. These logs, and their corresponding access permissions, differ between Android versions. Note that for Android version 4.0 and higher root permissions are required in order to read the logs.
5. The malware waits for a log event that signifies that the user is reading an email.
6. The malware dumps the heap using /proc//maps and /mem. Accordingly, it can find the email structure, exfiltrate it and send it home – perhaps uploading it to an unsuspected DropBox account.
Apple iOS 5.1 device – iPhone:
Malware targeting iOS based devices needs to first jailbreak the device, and then installs the container-bypassing software.
1. The attacker installs a signed application on the targeted device, through the Enterprise/ Developer certificate. This may require physical access but there are known instances when this has done remotely.
2. The attacker uses a Jailbreak exploit in order to inject code into the secure container. The Lacoon researchers used the standard DYLD_INSERT_LIBRARIES technique to insert modified libraries into the shared memory. In this manner, their (signed) dylib are loaded into memory when the secure container executes.
3. The attacker removes any trace of the Jailbreak.
4. The malware places hooks into the secure container using standard Objective-C hooking mechanisms.
5. The malware is alerted when an email is read and pulls the email from the UI elements of the app.
6. Finally, the malware sends every email displayed on the device to the remote command and control server.
The analysis performed by the Lacoon analysts exposes the security limitation of the secure container approach. Shaulov believes that MDM provides management, not absolute security. It is beneficial to separate between business and personal data in a BYOD scenario. Its main use case is the selective remote wipe of enterprise content and Copy & Paste prevention.
Secure containers rely on different defense mechanisms to protect the corporate data. Generally these include iOS jailbreaking and Android rooting detection, prevention of the installation of applications from third-party markets in order to protect against malware and, most importantly, data encryption. However, these measures can be bypassed. On one hand there is a quite active community involved in jailbreaking/rooting efforts. On the other hand the jailbreaking/rooting detection mechanisms are quite restricted – see for example xCon, a free iOS app to defeat jailbreak detection. Usually, checks are performed only against features that signify a jailbroken/rooted device. For example, the presence of Cydia, a legit iOS app which allows the downloading of third party applications not approved by Apple, or the SU tool used on Android to allow privileged operations. More importantly, there are no detection mechanisms for exploitation. So even if the secure container recognizes a jailbroken/rooted device, there are no techniques to detect the actual privilege escalation.
MDM software and Secure Containers are supposed to detect jailbroken iOS and rooted Android devices but "they are dependent on the underlying operating system sandbox, which can be bypassed", Shaulov says.
MDM not so secure after all
Sebastien Andrivet, Co-founder and director of ADVTOOLS, took a different approach to auditing the security of MDM products and performed a thorough analysis of the server components, such as the administrative console, and their communications with the mobile devices. I met Andrivet in London at the Mobile and Smart Device Security Conference 2012, where he presented the alarming results of his research. Among other, Andrivet found persistent cross-site scripting and cross-site request forgery vulnerabilities in two leading MDM solutions – he would not publicly disclose the names of these products but I saw the screenshots of the trace logs and spotted some of the leading brands mentioned in the Lacoon report.
Andrivet openly stated that, despite being marketed as security tools, MDM products are not "security products" and in fact not so secure after all. However, he is also a bit skeptical about the significance of the findings of the Lacoon research. "Frankly, it is not so easy to penetrate these products, especially on iOS", says Andrivet. For example, to break into the Good container in the way described above, you need physical access to the device and the password. With an iPhone 4, it is still possible to break a 4-digit pass code. But it is not currently feasible to do the same with iPhone 4S and iPhone 5. Andrivet also observes that it is true that it is possible to repackage an existing iOS application and sign it with your own enterprise certificate. But to install it on the device, a victim will have to accept explicitly the installation of the certificate and then of the application itself. With social engineering, this might be possible, but definitely not so easy. Andrivet points out that the Lacoon researchers have not broken the secure container encryption. They found the information in clear somewhere else – i.e. in memory. What is important is that they found a way to get the data. How they did it (breaking or not the secure container) is not so important. They "breached" the container, even if they didn't "break" it.
The truth is that MDM products, as any other piece of software in the world, suffer from actual security vulnerabilities. But the Lacoon research is making headlines based on old versions of these products. "The risk is to provide misleading information", warns Andrivet. In fact, even military-grade spyphone products like FinFisher cannot infiltrate the most recent versions of mobile devices like iPhone 4S or 5 as it is far easier to attack an Android device than an iOS one.
MDM is no silver bullet
Mobile security is a complex topic, and there is no silver bullet. This is true of security in general and mobile is no different, says Ojas Rege, Vice President Strategy at MobileIron, one of the leading MDM software mentioned in the above researches. The challenge many organizations face is that they compromise user experience in the name of security. For mobile, that's the kiss of death, because users will not accept a compromised experience.
The key is to divide the problem into two: reducing the risk of data loss from well-intentioned users and reducing the risk of malicious attack, continue Rege. The former is, for example, giving users a compelling but secure way to share files instead of using consumer-grade services such as DropBox. The latter is what these researches are really about. MDM is important as a baseline but a full security program is going to require a great deal of education as well. "Jailbreak/rooting is a cat and mouse game", according to Rege. The reality is that these devices will always have personal use – no matter who owns them – so the chances of malicious software making its way into device are high. The level of sandbox security built into the core OS is a key determiner of what other protections might be needed and what the resulting risk might actually be.
The point about MDM not offering absolute security is a bit cavalier, according to David Lingenfelter, Information Security Officer at Fiberlink, another leading MDM product mentioned in the Lacoon research. Anybody in the security community who is touting or expecting absolute security has missed the point. Cybercriminals only have to be right once. While targeted attacks are definitely a reality, containers are designed for more than just stopping a targeted attack. They help with data leak prevention, blocking users from "accidentally" distributing corporate information through their personal apps.
For better or worse, corporate IT still has to work in the confines of a world dominated by compliance. Adding controls around corporate information by using containers helps risk and compliance teams show their auditors that they are taking what is in essence a consumer-grade device and adding corporate level processes to those devices, continue Lingenfelter.
Infection is inevitable
The lesson learned from trying to secure traditional endpoints may be applied here. The general consensus among the security community is that controls on endpoints are not sufficient anymore to protect from targeted attacks. We can expect the same in the mobile world.
"Infection is inevitable", continue Shaulov. As demonstrated by our research, MDM and Secure Containers do not and cannot provide absolute security. These are certainly useful tools to separate between business and personal data. As such, they should be part of a baseline for a multi-layered approach. Quoting an RSA report, Shaulov argues that "mitigating the effects of malware on corporate data, rather than trying to keep malware off a device entirely, may be a better strategy".
This new approach requires thinking outside of the box and the industry is now starting to wake up to this challenge and looking at the network level for threat mitigation. For example, solutions like FireEye, Damballa, Fidelis and Checkpoint – just to name a few – can look at different network parameters and aberrant behavior to detect a compromised device in the process of exfiltrating data. Parameters may be traffic to well-known C&C servers, heuristic behavioral analysis which signify abnormal behavior, sequences of events and data intrusion detection.
Lingenfelter agrees that approach to security has been, and needs to remain, an approach of layers. However, he warns that while other technologies that are based on heuristic style monitoring and detection of malicious activity have come a long way, they too are far from absolute security. Companies have to realize that most mobile technology has been designed for consumers. It has the security focus of consumer devices and applications, which is to make it as easy for the end user as possible. To say that there is going to be one single technology or approach to change this and make these devices have the security level of corporate devices is reckless. The true objective with mobile device security and management is to add on as much security, in layers, as possible without a significant impact on end user experience.
Have you deployed MDM to your mobile users? Do you trust mobile secure containers with your corporate data? How confident are you that your CEO's iPhone is not jailbroken – or that it never was? Can you detect a compromised tablet spying on your company's next board meeting?
NEXT: How Secure is Your Smartphone? Android, iOS, BlackBerry and Windows Phone Under Attack.


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This is it folks. Just one wanton warrior from Team Sex and one sweet soldier from Team Chocolate remain. Today, they enter the arena for the Showcase Showdown. There can only be one winner, folks, so you have to choose: Will it be Sex or Chocolate?
Looking back on the last couple of weeks, we've learned a lot. We've learned that hardly anyone likes Gelt. We've discovered that a lot of you think that 69 is overrated. And we now know that while there are those who enjoy white chocolate, they are definitely outnumbered by those who like dark chocolate.
When we first started the tournament, it was obvious that Oral Sex was a force to be reckoned with. The number one seed in the Sex Conference made it to the Sweet Sixteen and the Elite Eight, but Oral was no match for Missionary in the battle for the Final Four, and when Oral lost, well, that sucked. Now Missionary must be the ambassador for Team Sex.
As far as Team Chocolate goes, I had a feeling Brownies could go all the way. A special shout-out goes to Frosting, The Atlantic's Cinderalla pick, for doing better than expected. But Brownies will represent for the Chocolate Conference.
That's right, folks. The final battle is Missionary vs. Brownies. Sex vs. Chocolate. The winner of this match will have bragging rights and prove, once and for all, which is more desirable. Which is the better companion on a cold, dark night. Which pleasure is the best pleasure of them all?


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The map "Java La Grande," an imagined continent that invited close inspection from viewers, gives new meaning to the assertion that the map is the territory. For although this territory never existed, it was mapped: the medieval construction of the antipodes, a mode to balance the continents, was an artifact of early modern European cartography of considerable duration and lasting power. When Matteo Ricci mapped the world's regions in 1607 for his Chinese hosts, his copy of the Ortelian map included a large discussion of "Guinea" as a place not studied or known well by Europeans, and perhaps an independent island or attached to the southern pole–albeit one that was not known to be inhabited, and with which little if any contact had been made. In this sense, Guinea remained an outlier in the age of discoveries, and a somewhat rare blank spot on Ricci's global map.
As an artifact with an esteemed cartographical lineage, the image of the continental landmass continued to be mapped into existence by the mid-nineteenth century. But its appearance in the below chromolithograph of a Renaissance map from the library of baronet Sir Thomas Philips was declared the first map ever recorded of nothing less than the very continent of Australia, as ostensibly witnessed by the Portuguese sailors in the pristine state of nature in which they had allegedly first discovered it. The map was prized as an image of initial discovery.
The anonymous artist-cartographer recorded the recession of space in this map, which as it recedes its inhabitants are registered in brownish tracery, foregrounded the idyllic life of this entirely unknown land. You get the idea of arriving in a region taken as Australia that was the entrance to a landscape of untold wonders in the map of "Java La Grande" designed for Nicolas Vallard's nautical atlas of 1547 in Dieppe, a center for the diffusion of Portuguese nautical charts for an elite audience of European nobility, reproduced in this 1856 facsimile now stored among the jewels of the Australian National Library.
The pictorial landscape chart was a luxury embellishment of the sorts of rutters that were drawn with artists of local topography. The material object was prized and promoted by Phillips as a record of the first encounter with the territory of Australia, reproduced with such painstaking care in the mid-nineteenth century as a chromolithograph from the first baronet's library when he tried to disperse the Vallard atlas and other early modern books to the British Library, inspiring the reproduction of the map, which he mis-titled "The First Map of Australia," to promote the value of his collection The map made for the Vallard atlas by an unknown painter was probably valued because it seems to record an image of Portuguese encounter with the indigenous inhabitants of Australia. As part of the corpus of Dieppe charts that were, unlike earlier nautical maps, pictorial syntheses Portuguese discoveries of almost ethnographic qualitative richness as depictions of inhabitants for elite audiences, the image has provided a touchstone of a vanished native culture that is particularly powerful as an imagined precursor of the discovery of Australia, valued as an image of imagined contact. The Vallard map possesses the distinctively attractive qualitative lushness peculiar even to the Dieppe school of which it forms part.
The identification of Australia with the mythical "Java La Grande" is not entirely rooted in geographic fancy. Java La Grande was described by Marco Polo as the largest island in the world–but reflected some recognition of this unknown landmass that extended to Antarctica, and recurs in the Dieppe maps as a cosmographical idée fixe as not an island, but terra firma: at the same time as the current-Java was described by geographers of the 1540s, the Dieppe school identified La Grande Jave as an extension of the Antarctic Terra Australis, and it was taken as an early evidence of the southern continent's early discovery.
The map became taken as the territory. And so why not preserve this map as a treasure of the collections of the Australian National Library, even if it is a nineteenth-century copy–and quite a faithful one–of a map that represented quite a different imagined land?
Early identified as the first map made of the continent, this map provided a list of coastal ports that an artist proceeded to fill in with imagined views of inhabitants advancing as if to greet newly arriving visitors with arms literally open in welcoming signs, if not in a ritual procession. The intensity of play of imagination is evident in contrast to a later 1777 nautical map showing two ships' circumnavigation of the world under the command of Antoine de Bougainville, whose cartographer constrained himself to parts of the Eastern coast observed with sufficient detail to establish for readers, allowing far more local detail to the as yet unsettled continent, and confined himself to the better-known shorelines of its coast:
Yet what was later prized as the "first map of Australia" is distinct from a roughly contemporary 1543 chart by Guillaume Brouscon of the same school in Dieppe, who synthesized information from prized Portuguese charts to a new audience of landlocked European nobles. This earlier map devoted a considerable space to "Java La Grande," extending the rectangular format of the engraved global projections later standardized after their printing by Mercator and Ortelius, if already adopted by humanist geographers, and offering far more detailed depictions of the settled interior than nautical charts that confine themselves to coastal towns. The almost ornamental multiplication of compass roses that proliferate like heraldic crests on this map suggest its ornamental nature in a corpus of maps.
A fair amount of extension of the topos of cartographical invention or the mediation of new discoveries that animated these excited atlases of the late 1540s in Dieppe are reflected the map of Java le Grand among the 56 maps that the nautical sailor and self-styled cosmographer Guillaume le Testu included in his Comosgraphie Universelle, selon les Navigateurs, tant anciens que modernes. The work's comprehensive claims derived from its use of a range of Spanish and Portuguese charts together with maps of his own design that synthesized recent maps of the Americas:
He readily presented this map as rife with cartographical invention, as well as following cartographical conventions, as if suggesting the frequent embellishment of persuasive or recognizable detail in maps, more than the license his own achievements in mapping much of the Americas may have merited: "what I have marked and depicted is only by imagination, and I have not noted or remarked on any of the commodities or incommodities of the place, nor its mountains, rivers or other things; for there has never yet been any man who has made a certain discovery of it." The absence of "certain discovery" is an odd juxtaposition with his own discoveries, and the admission of the absence of such "certain discovery " led to a land that was entitled to be created by the imagination.
The imagined land's expanse was documented as well in nautical maps limited to shorelines, offering far less qualitative local details than the expanse of its coast, but suggesting in an enticing fashion its expanse, and multiplying elegant compass-roses as if for an excuse to include more gold leaf, as a sophisticated ornamental boundary of decorative motifs:
The narwhale rising from the waters just off the coast, shown without regard for the scale of islands or inlets on the coast, paired with a resting bobcat or lynx. This image of the Eastern coast of Australia is only slightly embellished from Vallard's original.
It's been recently suggested that the inventive maps of the Dieppe school fabricated the entire continent out of geographic legends to evoke a potential land for colonization by the French monarch, as in this earlier 1566 Desliens world-map. Indeed, these deluxe manuscripts reflect the broader interest of the materializing of wealth on the map, and, on the surface, seem to cast Java La Grande as something of the potential equivalent of what the Spaniards found in the Americas.
The notion of this fabrication of continent seems absurd, but had confirmation in geographic theory. Java La Grande is projected as a land of potential conquest and wealth, and is a survival of medieval written geographies that was transposed to a recognizably modern cartographical form, if it antedated the imagined expansive island of Taprobana, identified with Madagascar but often shown as a land of wealth, and in ways moved this target of European interest further East toward the Spice Islands and Indonesia.
The exquisitely tangible nature of the contents of the Vallard map may give some confirmation to its invention. The upper register of this first image of the original Vallard atlas, now in the Huntington library, showed the region's aboriginal inhabitants in a monochrome hues of striking similarity to a cave-painting as proud hunters bearing spears:
The image now held in Canberra is a striking copy of this image of the inhabitants of Java le Grande, which featured its inhabitants in a procession across the newly mapped land:
The placement of initial folio perhaps as it was the most pressing communication of cartographical news–pays particular attention to the forms of habitation in Java, and the houses in which the inhabitants live and the palm-nuts on which they live: as if to embody the information displayed in disembodied form in later world map projections: in the years before Mercator's Theatrum orbis terrarum, nautical charts concretized viewers' material relation to spatial particularity.
The map offers something like a luxurious window into the newly discovered land for viewers to contemplate in ways that simple terrestrial projections did not allow.
The imagined continent of luxury and untold riches, filled with nutmeg and cloves as well as "idolatrous inhabitants," made its way onto the globe by 1583, if somewhat assimilated to Antarctica:
This might explain the staying power of nautical charts, based on observational practices of sailors and possessing a clearer pedigree as transcriptions of space, into the seventeenth century. At the same time as material goods were arriving in Europe from west Africa and southeast Asia, maps provided something of a spatial catalogue to understand their arrival and place them somewhere in a lived topography, as much as they offered tools of orientation. Java La Grande was attractive as something of an evidence of the inhabitation of a region later identified with Australia, before the arrival of Captain Cook, in ways that depicted the inhabitants that occupied its expanse in something of a romantic light.


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This is part twelve of our Combined Vowel Korean Worksheet Series. The twelfth Korean character we are going to look at is "ㅌ" which has a sound similar to an English "T". This worksheet includes all the different possible combined vowel combinations related to ㅌ.
A few example words which include the ㅌ with combined vowels are: 튀김 = Twii/Gim (Fried Food), 퇴근 = Twae/Gern (Come home from work) and 태극기 = Tae/Gerg/Gee (National Flag of South Korea).
Here is your free printable worksheet either as a JPEG or PDF file, we hope that you find it useful:
CLICK HERE for your free Fresh Korean "ㅌ Combined Vowels Korean Writing Practice Worksheet" PDF Download
To catch up with the last part 11 please click this link.
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About Corona
Corona (Spanish for "Crown") is a city in Riverside County, California, United States. At the 2020 census, the city had a population of 157,136, up from 152,374 at the 2010 census. The cities of Norco and Riverside lie to the north and northeast, Chino Hills and Yorba Linda to the northwest, Anaheim to the west, Cleveland National Forest and the Santa Ana Mountains to the southwest, and unincorporated Riverside County along the rest of the city's borders. Downtown Corona is approximately 48 miles (77 kilometers) southeast of Downtown Los Angeles and 95 miles (153 km) north-northwest of San Diego. Corona, located along the western edge of Southern California's Inland Empire region, is known as the "Circle City" due to Grand Boulevard's 3 mi (4.8 km) circular layout.
Neighborhoods in Corona, California
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